YAGP 2021 Japan (Osaka) Oct. 22 - 25, 2020 Junior Finalists
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Pre Competitve Classical Top 15
PRE COMPETITVE CLASSICAL TOP 15 1. BRADY FARRAR VARIATION FROM SATANELLA - Stars Dance Company 2. CATHERINE ROWLAND DULCINEA VARIATION DON QUIXOTE - Magda Aunon School of Classical Ballet 3. ASHLEY VALLEJO KITRI VARIATION FROM DON QUIXOTE - Stars Dance Company 4. SCARLETT BARONE BLACK SWAN VARIATION - Impac Youth Ensemble 5. ROMI BRITTON VARIATION FROM LA ESMERALDA - Meg Segreto's Dance Center 6. ERICA AVILA VARIATION FROM LA ESMERALDA - Meg Segreto's Dance Center 7. PABLO MANZO THE NUTCRACKER MALE VARIATION - Vladimir Issaev School of Classical Ballet 8. DESTANYE DIAZ VARIATION FROM GRADUATION BALL - Stars Dance Company 9. MONIQUE MADURO LA FILLE MAL GARDEE – Pointe Centro de Danzas 10. MADISON BROWN PRINCESS FLORINE VARIATION SLEEPING BEAUTY – Lents Dance Company 11. VERONICA MERINO LA FILLE MAL GARDEE - Pointe Centro de Danzas 12. KACI WILKINSON SILVER FAIRY VARIATION SLEEPING BEAUTY – Backstage Dance Academy 13. KAITLYN SILOT DON QUIXOTE VARIATION - Artistic Dance Center 14. SORA TERAMOTO BLUE BIRD VARIATION - Baller Elite Dance Studio 15. RACHEL LEON LA FILLE MAL GARDEE - Stars Dance Company PRE COMPETITVE CONTEMPORARY TOP 15 1. DIANA POMBO BECOMING - TPS (The Pombo Sisters) 2. BRADY FARRAR RESILIENT - Stars Dance Company 3. DESTANYE DIAZ IMPACT - Stars Dance Company 4. ASHLEY VALLEJO TAKE ME - Stars Dance Company 5. RACHEL LEON MOONLIGHT SONATA - Stars Dance Company 6. MADISON BROWN NOUVEAU TANGO - Lents Dance Company 7. ERICA AVILA MIND HEIST - Meg Segreto's Dance Center 8. SCARLETT BARONE HAND IN HAND - Impac Youth Center 9. MONIQUE MADURO CONFUSED - Pointe Centro de Danzas 10. CATHERINE ROWLAND THE GENIE - Magda Aunon School of Classical Ballet 11. ANGELINA SIERRA EVERYTHING MUST CHANGE - Ballet East 12. -
Classical Repertoire List for Junior Division
CLASSICAL REPERTOIRE LIST FOR JUNIOR DIVISION 12-14 years of age Must be 12 by January 1, 2019 Dancers must perform a variation from the approved senior category list below. Variation must be performed on pointe. We strongly advise our participants to choose the variation that is appropriate to their age and skill level. Classical solos may not be longer than 2:30. Ballet (Choreographer) • Coppelia (A. St. Leon) Pas de Deux and all Variations • Diana & Acteon (A. Vaganova) Pas de Deux and Variations • Don Quixote (M. Petipa) Pas de Deux and all Variations • Fairy Doll (S. Legat) • Flower Festival at Genzano (A. Bournonville) Pas de Deux and all Variations • Giselle (J. Perrot, J. Coralli) Variation of Giselle, Act I Peasant Pas de Deux and Variations, Pas de Deux Variations from Act II • Harlequinade (M. Petipa) Pas De Deux and Variations • La Bayadere (M. Petipa) Three Shade Variations, Act III; Gamzatti Variation, Pas de Deux and Variations, Bronze Idol, Nikia Variation (Nikia Variation is not accepted for competition, unless under 2:30 minutes.) Please note: Gamzatti Temple Variation (Choreography - N. Makarova) - is NOT accepted (or judges can lower your score). • La Esmeralda (M. Petipa) Pas de Deux and all Variations • La Fille Mal Gardee (B. Nijinska, D. Romanoff) Pas de Deux and all Variations • La Sylphide (A. Bournonville) Pas de Deux and all Variations • Laurencia (V. Chabukiani) • Le Corsaire (M. Petipa) Pas d'Esclave and Variations, Odalisque Variations, Jardin Anime, Act III Pas de Deux and Variations • Les Sylphides/Chopiniana (M. Fokine) Male and Female Mazurkas, Waltz # 7 and Waltz # 11, Prelude • Napoli (A. -
Spotlight Ballet Rules* Ballet Students Who Will Be Attending a Dance
Spotlight Ballet Rules* Ballet students who will be attending a dance program away from home and outside of Southern California during the Spotlight year and whose parent(s) still live in Southern California may participate in Spotlight as long as they attend auditions, rehearsal and final performance if advancing to Grand Finale Performance. Proof of study will be required from dance program. You may not be an apprentice or full time member of a professional ballet company and participate in Spotlight. What’s required of me for my Ballet Preliminary 1 video audition? All students begin with a Preliminary 1 video audition. Those scoring highest will advance to Preliminary 2 live auditions in February 2019. Those scoring highest after Preliminary 2 will advance to the Semifinals Please record yourself performing one solo from the required list below If selected to advance to Preliminary 2, you will perform two solos for your live audition. You can change your variations if you advance to Preliminary 2 In choosing a variation for your video recording, we encourage you to choose a solo that best reflects your current stage of technical and artistic abilities. It is not necessary to perform an Etoile or Principal variation if you are not quite ready to tackle it. Choose a solo variation that best fits where you are in your studies and allows you to shine! Some examples of soloist variations that might be good choices are: Princess Florine from The Sleeping Beauty Act lll or any of The Sleeping Beauty fairies, the Peasant pas de deux from Giselle (Act I) or Cupid from Paquita, Friends of Kitri from Don Quixote (Act I), Fairy Doll, Harlequinade, Odalisques from Le Corsaire (Act I), Flames of Paris or the pas de trois from Swan Lake (Act I). -
ABSTRACTS Keywords: Ballet, Performance, Music, Musical
ABSTRACTS Yuri P. Burlaka PAQUITA GRAND PAS AND LE CORSAIRE GRAND PAS: COMPARATIVE ANALYSIS The article explores the origin of creation and the production history of such masterpieces as Grand pas from Paquita and Grand pas Le Jardin Animé from Le Corsaire by Marius Petipa. The analysis proves the fact that with the invention of these choreographic structures the Romantic Pantomime Ballet turn into the Grand Ballet of the second half of the 19th century. In Petipa’s mature works the plot of the ballet is revealed not only in pantomime but through dance as well. Keywords: Marius Petipa, Paquita, Le Corsaire, history of Russian Ballet, ballet dramaturgy. Anna P. Grutsynova MOSCOW DON QUIXOTE: ON THE WAY TO ST. PETERSBURG The article is devoted to one of M. Petipa’s the most famous ballets called Don Quixote which was shown in Moscow and St. Petersburg versions in 1869 and 1871 respectively. The primary Moscow choreography is in a focus. Musical dramaturgy of the ballet is analyzed as well as connections between musical dramaturgy and drama plot are traced. Besides, the article contains a brief comparative analysis of music from Moscow and St. Petersburg choreographies of Don Quixote. Keywords: ballet, performance, music, musical dramaturgy, libretto, Don Quixote, M. Petipa, L. Minkus. Grafi ra N. Emelyanova P. TCHAIKOVSKY’S AND M. PETIPA’S THE SLEEPING BEAUTY IN K. SERGEYEV’S AND YU. GRIGOROVITCH’S VERSIONS The article is focused on preservation of the classical ballet heritage. An example of this theme is The Sleeping beauty ballet by M. Petipa and P. Tchaikovsky in K. -
Competition Schedule
Sunday, April 14th, 2019 John R. Armstrong Performing Arts Center 24600 F.V. Pankow Building Clinton Township, MI 48036 ~Dedicated to the Memory of the Cecchetti Council of America Charter Board~ It is with great respect and admiration that we remember our Charter Board. Their dedication and love of the Cecchetti method lives on in every CCA member. Jack Bickle Olga Fricker Sylvia Hamer Marjorie Hassard Gertrude Edwards-Jory Leona Lucas Jane Caryl Miller Chula (Harriet) Morrow Phyllis Peterson-Thorne Enid Ricardeau Virgiline Simmons Theodore Smith Competition Schedule Please be advised this is a live competition and the schedule may shift. Dancers need to be prepared to dance sooner or later than the time listed below. 8:30am Building opens/Check-in Begins Teachers must check in dancers in at the registration desk upon arrival. Check in will be one hour prior to the start of each category. Doors open at 8:30am. 9:15-9:30am Junior Contemporary Open Stage 9:30-10:15am Junior Contemporary Competition 10:15-10:30am Senior Contemporary Open Stage 10:30-11:45am Senior Contemporary Competition 11:45-12:15pm Break 12:15-12:30pm Junior Classical Open Stage 12:30-1:30pm Junior Classical Competition 1:30-1:45pm Senior Classical Open Stage 1:45-3:15pm Senior Classical Competition 3:15-3:30pm Break 3:30-4:15pm Ensemble Competition 4:15-5:00pm Deliberation 5:00pm Awards Ceremony 1 Participating Studios Dear Participants, Parents and Teachers, Welcome to the first Cecchetti Classical Ballet Competition! We are thrilled that you are taking part in this competition and hope that you will learn from each other and the feedback that you receive. -
Program in Cuba, Costa Rica, Panama, and Belize During the First Semester and Another Service Based Program in Fiji During the Second Semester
presents Senior Showcase 2020 Featuring Olivia Caron Fiona DeMott Mary Joyce Michelle Labadie Caroline Meyer Grace Mitchell Emma Scanlan Directed by Frances Ortiz, Ginna Ortiz, and Ted Thomas Seniors Olivia Caron Fiona DeMott Mary Joyce Michelle Labadie Caroline Meyer Grace Mitchell Emma Scanlan Biographies Ginna Ortiz (Co-Director) received a BFA from SUNY Purchase. In recent years, she has danced professionally with the Dance Theater of Harlem and has been a guest teacher at Yale University. Ginna is a company member and rehearsal director with Thomas/Ortiz Dance. She has been a teacher at New England Academy of Dance since 1996 and become co-director in 2003. Frances Ortiz (Co-Director) obtained a BFA from SUNY Purchase and a Masters in Dance Education from NYU. She received scholarships to the Dance Theater of Harlem, the Martha Graham School and the Alvin Ailey School. She has performed works by Kevin Wynn, Elisa Monte and Tim Martins among others. Her choreography has been showcased on PBS in City Arts. In 2002 Ms. Ortiz co-founded Thomas/Ortiz Dance with Ted Thomas. She is currently a teacher at Greenwich High School and the co-director of New England Academy of Dance. Ted Thomas (Associate Director) received his BFA from SUNY Purchase and his MA in Dance Education from NYU. He has performed with Ballet Hispanico, the Elise Monte Dance Company, The Paul Taylor Dance Company and the Nikolais/ Louis Dance Company. In 2002 Mr. Thomas co-founded Thomas/Ortiz with Frances Ortiz. This year he was awarded the 2018 Connecticut Fellow for Artistic Excellence in Ballet, Modern and Choreography. -
Coppelia-Teacher-Resource-Guide.Pdf
Teacher’s Handbook 1 Edited by: Carol Meeder – Director of Arts Education February 2006 Cover Photo: Jennifer Langenstein – Pittsburgh Ballet Theatre Principal Dancer Aaron Ingley – Pittsburgh Ballet Theatre Corps de Ballet Dancer Ric Evans – Photographer 2 Introduction Dear Educator, We have often thanked you, the academic community and educators of our children, for being partners with us in Arts Education. We have confirmed how the arts bring beauty, excitement, and insight into the experience of everyday living. Those of us who pursue the arts as the work of our lives would find the world a dark place without them. We have also seen, in a mirror image from the stage, how the arts bring light, joy, and sparkle into the eyes and the lives of children and adults in all walks of life. Pittsburgh Ballet Theatre strives not only to entertain but to demonstrate the significance and importance of presenting our art in the context of past history, present living, and vision for the future. In this quest we present traditional ballets based on classic stories revered for centuries, such as Coppelia and Cinderella; and contemporary ballets by artists who are living, working, and creating everyday, such as our jazz program Indigo In Motion and the premiers we have done to the music of Sting, Bruce Springsteen, and Paul Simon. In this way we propel our art into the future, creating new classics that subsequent generations will call traditional. It is necessary to see and experience both, past and present. It enhances our life and stirs new ideas. We have to experience where we came from in order to develop a clear vision of where we want to go. -
The Firebird
EDUCATION Education RESOURCE THE WITH PAQUITA SUPPORTED BY NATIONAL TOURING SUPPORTING EDUCATION CHOREOGRAPHER VAL CANIPAROLI PARTNER rnzb.org.nz facebook.com/nzballet CONTENTS Curriculum links 3 The Firebird 4 The characters 4 The story 5 The creatives 7 Q&A with Loughlan Prior 12 The history of The Firebird 14 Dance activities 16 Crafts and puzzles 18 What to do at a ballet 22 Ballet timeline 23 THE FIREBIRD 29 JULY – 2 SEPTEMBER 2021 2 CURRICULUM LINKS In this unit you and your students will: WORKSHOP LEARNING • Learn about the elements that come OBJECTIVES FOR together to create a theatrical ballet LEVELS 3 & 4 experience. Level 3 students will learn how to: • Identify the processes involved in Develop practical knowledge making a theatre production. • Use the dance elements to develop and share their personal movement vocabulary. CURRICULUM LINKS IN Develop ideas THIS UNIT • Select and combine dance elements in response to a variety of stimuli. Values Communicate and interpret Students will be encouraged to value: • Prepare and share dance movement • Innovation, inquiry and curiosity, individually and in pairs or groups. by thinking critically, creatively and • Use the elements of dance to describe dance reflectively. movements and respond to dances from a • Diversity, as found in our different cultures variety of cultures. and heritages. • Community and participation for the Level 4 students will learn how to: common good. Develop practical knowledge • Apply the dance elements to extend personal KEY COMPETENCIES movement skills and vocabularies and to explore the vocabularies of others. • Using language, symbols and text – Develop ideas Students will recognise how choices of • Combine and contrast the dance elements to language and symbols in live theatre affect express images, ideas, and feelings in dance, people’s understanding and the ways in using a variety of choreographic processes. -
2017 - 2018 SEASON World Ballet Stars • Giselle • the Nutcracker • Peter Pan Lightwire Theater: a Very Electric Christmas
2017 - 2018 SEASON World Ballet Stars • Giselle • The Nutcracker • Peter Pan Lightwire Theater: A Very Electric Christmas 2017-2018 SEASON PASSION. DISCIPLINE. GRACE. Attributes that both ballet dancers and our expert group of medical professionals possess. At Fort Walton Beach Medical Center, each member of our team plays an important part in serving our patients with the highest quality care. We are proud to support the ballet in its mission to share the beauty and artistry of dance with our community. Exceptional People. Exceptional Care. 23666 Ballet 5.5 x 8.5.indd 1 8/26/2016 3:47:56 PM MESSAGE FROM THE DIRECTOR Dear Friends: Welcome to the 48th season of the Northwest Florida Ballet! With the return of the Northwest Florida Ballet Symphony Orchestra and FIVE productions at venues all along the Emerald Coast, we have proven our commitment to elevating the performing arts in the communities we serve. As friends of NFB and valued patrons of the arts, we have listened to your feedback and identified new performance locations and expanded use of others to continue bringing you the world-class productions our organization is known for. Todd Eric Allen, NFB Artistic Director & CEO The season begins with World Ballet Stars, a main stage production at the Mattie Kelly Arts Center in September. Through our expanded partnership with Grand Boulevard, we will present Giselle to the community as a free outdoor performance in Grand Park in October. We return to the Mattie Kelly Arts Center in November for our 38th annual production of The Nutcracker. In December we bring back the electrifying Lightwire Theater with A Very Electric Christmas for two performances at the Destin United Methodist Church Life Center. -
Stephanie Schroedter Listening in Motion and Listening to Motion. the Concept of Kinaesthetic Listening Exemplified by Dance Compositions of the Meyerbeer Era
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Berner Fachhochschule: ARBOR Stephanie Schroedter Listening in Motion and Listening to Motion. The Concept of Kinaesthetic Listening Exemplified by Dance Compositions of the Meyerbeer Era Musical life in Paris underwent profound and diverse changes between the July Monar- chy and the Second Empire. One reason for this was the availability of printed scores for a broader public as an essential medium for the distribution of music before the advent of mechanical recordings. Additionally, the booming leisure industry encouraged music commercialization, with concert-bals and café-concerts, the precursors of the variétés, blurring the boundaries between dance and theatre performances. Therefore there was not just one homogeneous urban music culture, but rather a number of different music, and listening cultures, each within a specific urban setting. From this extensive field I will take a closer look at the music of popular dance or, more generally, movement cultures. This music spanned the breadth of cultural spaces, ranging from magnificent ballrooms – providing the recognition important to the upper-classes – to relatively modest dance cafés for those who enjoyed physical exercise above social distinction. Concert halls and musical salons provided a venue for private audiences who preferred themoresedateactivityoflisteningtostylized dance music rather than dancing. Café- concerts and popular concert events offered diverse and spectacular entertainment -
Robert F. Cook Dance Bio: 10/09, Revised 7/12
Robert F. Cook dance bio: 10/09, revised 7/12 Studied with Louis Nunnery and Constance Hardinge (1957-65) and at the School of American Ballet (Stanley Williams, André Eglevsky, and Alexandra Danilova) under the auspices of the Ford Foundation (Summers, 1964- 65). Further training at Atlanta Ballet (1962; Robert Barnett, Merrilee Smith), Joffrey School (1965; Françoise Martinet) and in Paris with Serge Peretti, then retired from the school of the Paris Opera (1964). Workshops and master classes with Roni Mahler, Salvatore Aiello, Maryon Lane, and Edward Villella. Later study at Richmond Ballet (1980-82; Arnott Mader, Leslie Peck, Jerry Schwender, Mary Sue Dodd) and RAD training in Edinburgh and Cambridge (UK, 1983-84). Appeared with Cauthen-Nunnery Ballet (Charlotte, NC, 1959) and with Bristol Ballet (Bristol, VA; a regional honor company; apprentice, 1960-62, member 1963-65, dance captain 1965). Soloist with the summer drama Horn in the West, Boone, North Carolina, 1959-62. Medalist in Highland Fling, Sword Dance, and Seann Triubhas at Grandfather Mountain Highland Games (1958- 60). Demi-soloist in Atlanta Ballet’s production of Swan Lake under the direction of David Blair (1965); this was the first production of the entire ballet in the United States. Guest artist with Virginia Players (1977-78), at Randolph-Macon Woman’s College (1980-81), Richmond Ballet (1982), and Fairfax Ballet (2001-2005). Recent major roles include Drosselmeyer in The Nutcracker, Dr. Coppelius in the Balletschool’s Coppelia, Death in Mary Marshall’s Emperor and the Nightingale, the Father of the Reluctant Bride in Pecos Bill and the Cyclone, and the Father in La fille mal gardée. -
Soirée Petipa Vignette De Couverture Marins Petipa
Soirée Petipa Vignette de couverture Marins Petipa. Opéra de Bordeaux DE/J_ BORDEAUX SOIREE PETIPA Ballet de l'Opéra de Bordeaux Paquita (grand pas) Huit danseuses : Nathalie Anglard, Silvie Daverat, Sophie Guyomard, Stefania Sandrin, Barbara Vignaud, Carole Dion, Corba Mathieu, Maud Rivière Couples : Céline Da Costa, Petulia Chirpaz Hélène Ballon, Celia Millan Viviana Franciosi, Sandrine Gouny Première Variation : Emmanuelle Grizot Deuxième Variation : Aline Bellardi Troisième Variation : Christelle Lara Quatrième Variation : Sandra Macé Raymonda (J*™ acte) Czardas Solistes : Viviana Franciosi Giuseppe Delia Monica (24, 25, 29 avril), Gilles Martin (27, 28 avril) Couples : Petulia Chirpaz, Céline Da Costa, Maud Rivière (24, 25, 29 avril), Corba Mathieu (27, 28 avril), Carole Dion, Sandrine Gouny, Chantai Perpignan, Stefania Sandrin, Sophie Guyomard Gilles Martin ou Giuseppe Delia Monica, Salvatore Gagliardi, Johannes Haider, Alexis Malovik, Christophe Nicita, Omar Taïebi, Sébastien Riou, Emiliano Piccoli Première Variation (variation d'Henriette) : Christelle Lara Deuxième Variation (variation de Clémence) : (24, 25, 29 avril) : Emmanuelle Grizot, Silvie Daverat, Barbara Vignaud (27, 28 avril) : Sandra Macé, Celia Millan, Hélène Ballon Pas de dix Nathalie Anglard, Hélène Ballon, Aline Bellardi, Barbara Vignaud Brice Bardot, Jean-Jacques Herment, Konstantin Inozemtzev, Gregory Milan Opéra de Bordeaux Ballet de l'Opéra de Bordeaux Directeur artistique : Charles Jude Soirée Petipa Paquita (grand pas) Don Quichotte (pas de deux du 3ème acte)