Week 5 July 26 ‐ August 1, 2015

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Having trouble viewing this email? Click here Newsletter | Summer 2015 | Week 5 July 26 ‐ August 1, 2015 Week 5 As week five nears to an end, we are thrilled with the work everyone has displayed and the passion we have seen. Young Choreographers week is a special week for us here at Burklyn. It is a perfect opportunity to give young dancers who have the desire to choreograph a venue to display their talents. "We should consider every day lost on which we have not Ballet is purifying, every danced at least once." .....Friedrich Nietzsche movement physically honed and essential, with no superfluity or excess. ‐ Jennifer Homans Edinburgh Connection 2015 Alice in Wonderland is in full swing! It's been a great adventure revisiting this ballet with an incredible young cast. As we prepare for the trip to Scotland our dancers are finding their way into the roles of these crazy characters of this strange world. The preview performance is on August 2 at 2:30 pm and will be a true adventure for all ages! Pas de Quatre On the night it premiered in London, July 12, 1845, the ballet caused a sensation with the critics and the public alike. The reason for this was that it brought together, on one stage, the four greatest ballerinas of the time ‐ in order of appearance, and by age from youngest to eldest, Lucile Grahn, Carlotta Grisi, Fanny Cerrito, and Marie Taglioni. Dancer Spotlight Joanne Whitehill, Artistic Director, with Oliver Green‐Cramer, winner of the Sickle Foot Award. Elinor Grace Vaughn Hometown: Odessa, TX ~ dances with Midland Festival Ballet Favorite Ballet: Giselle Role she would most like to dance: "Arabian" from The Nutcracker Interesting Fact: She was once a gymnast and has a dog named Cody Counselor of the Week MIke Stone Mike Stone is from Flower Mound, Texas. He lives in Dallas where he is a student at Southern Methodist 2016 Audition University. He also teaches at North Central Ballet and Collin County Ballet. Tour and Master Class Series Favorite Ballet: Would you like your home Le Corsaire studio to host a 2016 Burklyn Ballet Theatre Favorite Role: Ali in Le Corsaire Audition and Master Class? We are currently booking Favorite Foods: our audition tour and pizza taking reservations for our master class series. For Interesting Fact: more information, Contact At one time in his life he was a drummer in a band! Christina Paolucci at [email protected] Copyright © 20XX. All Rights Reserved. Forward this email This email was sent to [email protected] by [email protected] | Update Profile/Email Address | Rapid removal with SafeUnsubscribe™ | About our service provider. Burklyn Ballet theatre | PO Box 923 | Denville | NJ | 07834.

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Les Ballets Trockedero De Monte Carlo
Le Lac des Cygnes (Swan Lake), Act II Saturday, March 14, 2020, 8pm Sunday, March 15, 2020, 3pm Zellerbach Hall Les Ballet Trockadero de Monte Carlo Featuring Ludmila Beaulemova Maria Clubfoot Nadia Doumiafeyva Helen Highwaters Elvira Khababgallina Irina Kolesterolikova Varvara Laptopova Grunya Protozova Eugenia Repelskii Alla Snizova Olga Supphozova Maya Thickenthighya Minnie van Driver Guzella Verbitskaya Jacques d’Aniels Boris Dumbkopf Nicholas Khachafallenjar Marat Legupski Sergey Legupski Vladimir Legupski Mikhail Mudkin Boris Mudko Mikhail Mypansarov Yuri Smirnov Innokenti Smoktumuchsky Kravlji Snepek William Vanilla Tino Xirau-Lopez Tory Dobrin Artistic Director Isabel Martinez Rivera Associate Director Liz Harler General Manager Cal Performances’ 2019–20 season is sponsored by Wells Fargo. 21 22 PLAYBILL PROGRAM Le Lac des Cygnes (Swan Lake), Act II Music by Pyotr Ilyich Tchaikovsky Choreography after Lev Ivanovich Ivanov Costumes by Mike Gonzales Décor by Clio Young Lighting by Kip Marsh Benno: Mikhail Mypansarov (friend and confidant to) Prince Siegfried: Vladimir Legupski (who falls in love with) Alla Snizova (Queen of the) Swans Ludmila Beaulemova, Maria Clubfoot, Nadia Doumiafeyva, Minnie van Driver, Elvira Khababgallina, Grunya Protozova, Maya Thickenthighya, Guzella Verbitskaya (all of whom got this way because of) Von Rothbart: Yuri Smirnov (an evil wizard who goes about turning girls into swans) INTERMISSION Pas de Deux or Modern Work to be Announced Le Grand Pas de Quatre Music by Cesare Pugni Choreography after Jules
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BSM Show Order Sheet
Show 1 Artist (If Cover, put original Costume Show Song (Full Title) Hair Tights Style/Color Shoes Order Class artist then Description performed by) Red and black Tan slip-on jazz Incredibles Mash Incredibles 2 stretchy jumpsuit 1 Production Up Soundtrack with mask and High Ponytail NA shoes with boot covers gloves Creative Black sequin High bun with Light suntan footed 2 Movement "All Shook Up" Billy Joel leotard with glitter ﬂower bow on right tights Pink ballet shoes (Friday) dot tulle tutu side High Ponytail- Pre-Ballet 1 Pink leotard and 3 Fly to your Heart Selena Gomez shorts with pink Flowers pinned on Light suntan footed Pink ballet shoes right side by hair tights (M2) tutu elastic Girls- Tan split sole Pre-Jazz 2/3 Teal unitard with High ponytail with Light suntan footed jazz shoes 4 Shining Star Jump5 (Monday) silver skirt teal headband tights Boys- Black slip-on jazz shoes Senior Hip Hop Madame Gandhi, Pink shirt and green Black hip hop 5 Future is Female High ponytail N/A Troupe Kesha, Cardi B leggings sneakers Creative pink polka dot High Ponytail with Light suntan footed 6 Lollipop The Chordettes hair bow on right Pink ballet shoes Movement costume tights (Tuesday) side Petite The Jackson 5, Red sequin High ponytail with Light suntan Tan split sole jazz 7 I Want You Back Performed by Performance spandex unitard bun wrap convertible shoes Team TWICE Pre-Tap 1 From the Princess Girls- Mint sequin High ponytail, Light suntan footed Girls-Black buckle/ 8 Dig A Little Deeper and the Frog leotard with mint ﬂower clip pinned (Monday
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Finding Aid for Bolender Collection
KANSAS CITY BALLET ARCHIVES BOLENDER COLLECTION Bolender, Todd (1914-2006) Personal Collection, 1924-2006 44 linear feet 32 document boxes 9 oversize boxes (15”x19”x3”) 2 oversize boxes (17”x21”x3”) 1 oversize box (32”x19”x4”) 1 oversize box (32”x19”x6”) 8 storage boxes 2 storage tubes; 1 trunk lid; 1 garment bag Scope and Contents The Bolender Collection contains personal papers and artifacts of Todd Bolender, dancer, choreographer, teacher and ballet director. Bolender spent the final third of his 70-year career in Kansas City, as Artistic Director of the Kansas City Ballet 1981-1995 (Missouri State Ballet 1986- 2000) and Director Emeritus, 1996-2006. Bolender’s records constitute the first processed collection of the Kansas City Ballet Archives. The collection spans Bolender’s lifetime with the bulk of records dating after 1960. The Bolender material consists of the following: Artifacts and memorabilia Artwork Books Choreography Correspondence General files Kansas City Ballet (KCB) / State Ballet of Missouri (SBM) files Music scores Notebooks, calendars, address books Photographs Postcard collection Press clippings and articles Publications – dance journals, art catalogs, publicity materials Programs – dance and theatre Video and audio tapes LK/January 2018 Bolender Collection, KCB Archives (continued) Chronology 1914 Born February 27 in Canton, Ohio, son of Charles and Hazel Humphries Bolender 1931 Studied theatrical dance in New York City 1933 Moved to New York City 1936-44 Performed with American Ballet, founded by
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Romantic Ballet
ROMANTIC BALLET FANNY ELLSLER, 1810 - 1884 SHE ARRIVED ON SCENE IN 1834, VIENNESE BY BIRTH, AND WAS A PASSIONATE DANCER. A RIVALRY BETWEEN TAGLIONI AND HER ENSUED. THE DIRECTOR OF THE PARIS OPERA DELIBERATELY INTRODUCED AND PROMOTED ELLSLER TO COMPETE WITH TAGLIONI. IT WAS GOOD BUSINESS TO PROMOTE RIVALRY. CLAQUES, OR PAID GROUPS WHO APPLAUDED FOR A PARTICULAR PERFORMER, CAME INTO VOGUE. ELLSLER’S MOST FAMOUS DANCE - LA CACHUCHA - A SPANISH CHARACTER NUMBER. IT BECAME AN OVERNIGHT CRAZE. FANNY ELLSLER TAGLIONI VS ELLSLER THE DIFFERENCE BETWEEN TALGIONI AND ELLSLER: A. TAGLIONI REPRESENTED SPIRITUALITY 1. NOT MUCH ACTING ABILITY B. ELLSLER EXPRESSED PHYSICAL PASSION 1. CONSIDERABLE ACTING ABILITY THE RIVALRY BETWEEN THE TWO DID NOT CONFINE ITSELF TO WORDS. THERE WAS ACTUAL PHYSICAL VIOLENCE IN THE AUDIENCE! GISELLE THE BALLET, GISELLE, PREMIERED AT THE PARIS OPERA IN JUNE 1841 WITH CARLOTTA GRISI AND LUCIEN PETIPA. GISELLE IS A ROMANTIC CLASSIC. GISELLE WAS DEVELOPED THROUGH THE PROCESS OF COLLABORATION. GISELLE HAS REMAINED IN THE REPERTORY OF COMPANIES ALL OVER THE WORLD SINCE ITS PREMIERE WHILE LA SYLPHIDE FADED AWAY AFTER A FEW YEARS. ONE OF THE MOST POPULAR BALLETS EVER CREATED, GISELLE STICKS CLOSE TO ITS PREMIER IN MUSIC AND CHOREOGRAPHIC OUTLINE. IT DEMANDS THE HIGHEST LEVEL OF TECHNICAL SKILL FROM THE BALLERINA. GISELLE COLLABORATORS THEOPHILE GAUTIER 1811-1872 A POET AND JOURNALIST HAD A DOUBLE INSPIRATION - A BOOK BY HEINRICH HEINE ABOUT GERMAN LITERATURE AND FOLK LEGENDS AND A POEM BY VICTOR HUGO-AND PLANNED A BALLET. VERNOY DE SAINTS-GEORGES, A THEATRICAL WRITER, WROTE THE SCENARIO. ADOLPH ADAM - COMPOSER. THE SCORE CONTAINS MELODIC THEMES OR LEITMOTIFS WHICH ADVANCE THE STORY AND ARE SUITABLE TO THE CHARACTERS.
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Swan Lake Audience Guide
February 16 - 25, 2018 Benedum Center for the Performing Arts, Pittsburgh Choreography: Marius Petipa and Lev Ivanov Staging: Terrence S. Orr Music: Peter Ilyich Tchaikovsky Swan Lake Sponsors: The Benter Foundation, The Pittsburgh Foundation, Eden Hall Foundation, Anonymous Donor February 16 - 25, 2018 Benedum Center for the Performing Arts | Pittsburgh, PA PBT gratefully acknowledges the following organizations for their commitment to our education programming: Allegheny Regional Asset District Henry C. Frick Educational Fund of The Buhl Anne L. and George H. Clapp Charitable Foundation Trust BNY Mellon Foundation Highmark Foundation Claude Worthington Benedum Foundation Peoples Natural Gas Eat ‘n Park Hospitality Group Pennsylvania Council on the Arts Edith L. Trees Charitable Trust Pennsylvania Department of Community ESB Bank and Economic Development Giant Eagle Foundation PNC Bank Grow up Great The Grable Foundation PPG Industries, Inc. Hefren-Tillotson, Inc. Richard King Mellon Foundation James M. The Heinz Endowments and Lucy K. Schoonmaker Cover Photo: Duane Rieder Artist: Amanda Cochrane 1 3 The Setting and Characters 3 The Synopsis 5 About Swan Lake 6 The Origins of the Swan Lake Story 6 Swan Lake Timeline 7 The Music 8 The Choreography 9 The Dual Role of Odette + Odile 9 Acts 1 & 3 10 Spotlight on the Black Swan Pas de Deux 10 The Grand Pas Explained 11 What’s a fouette? 11 Acts 2 & 4 12 Dance of the Little Swans 13 The White Act 13 Costumes and Scenic Design 13 Costumes By the Numbers 14 The Tutus 14 A Few Costume Tidbits! 15 Did You Know? Before She was the Black Swan 16 Programs at the Theater 17 Accessibility 2 The Setting The ballet takes place in and near the European castle of Prince Siegfried, long ago.
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The Viewpointe May-June 2006 Single Pages.Indd
Volume VIII Issue I Summer, 2006 ALEXANDRA ZAHARIAS, ARTISTIC DIRECTOR Board of Directors President Notes From the Artistic Director Interim Treasurer Greg Chastain Thank you, Thank you, Thank you! Thank you, Vice President Dennis Hollenkamp everyone, for a great year. It was a grand season of performances, culminating in the beautiful Secretary production of A Midsummer Night’s Dream & Paquita Michael Baron in March, which truly was a dream! It was a perfect Frank Buckley example of the dedicated work done by our dancers, Pat Catanzaro choreographers, and artistic staff. Our contributors Keith Cole Sally Duncan and corporate sponsors have increased dramatically Brad Jones this year, due in large part to our hard-working Jo Lucas fundraising committee, a determined marketing Laurie Murphy Laura Lee Robinson and communications endeavor, a dedicated board Alexandra Zaharias of directors, and our wonderful Friends of the Ballet. Their teamwork and tireless efforts have taken this Artistic Staff company to greater heights than ever before. Artistic Director Alexandra Zaharias Many thanks to the twenty-seven talented dancers of Alexandra Ballet who performed at all our venues Company Administrator CiCi Houston this season, including the Missouri Botanical Garden, Photo: Melba McCarver Saint Louis Galleria, Blanche M. Touhill Performing Ballet Mistresses Arts Center, Edison Theatre, the University Club in Norma Gabriel CiCi Houston Clayton, Anderson University in Indiana, and our very own studios. You have performed with grace and maturity far beyond your years, and each and every one of you deserves Friends of to feel proud of your performances this season. Alexandra Ballet The Friends is a group of I am especially grateful to the Artistic Staff, whose uncompromising standards raised individuals committed to the the level of ability of the entire company.
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Marie Taglioni, Ballerina Extraordinaire: in the Company of Women
NINETEENTH-CENTURY GENDER STUDIES # ISSUE 6.3 (WINTER 2010) Marie Taglioni, Ballerina Extraordinaire: In the Company of Women By Molly Engelhardt, Texas A&M University—Corpus Christi <1>The nineteenth-century quest for novelty during the 1830s and 40s was nowhere better satisfied than from the stages of the large theatres in London and Paris, which on a tri-weekly basis showcased ballet celebrities and celebrity ballets as top fare entertainment.(1) While few devotees had the means to actually attend ballet performances, the interested majority could read the plots and reviews of the ballets published in print media—emanating from and traversing both sides of the channel—and know the dancers, their personalities and lifestyles, as well as the dangers they routinely faced as stage performers. During a benefit performance in Paris for Marie Taglioni, for example, two sylphs got entangled in their flying harnesses and audiences watched in horror as a stagehand lowered himself from a rope attached to the ceiling to free them. Théophile Gautier writes in his review of the performance that when Paris Opera director Dr. Veron did nothing to calm the crowds, Taglioni herself came to the footlights and spoke directly to the audience, saying “Gentlemen, no one is hurt.”(2) On another occasion a cloud curtain came crashing down unexpectedly and almost crushed Taglioni as she lay on a tombstone in a cloisture scene of Robert le Diable.(3) Reporters wrote that what saved her were her “highly- trained muscles,” which, in Indiana Jones fashion, she used to bound off the tomb just in time.
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Dance in Copenhagen, C. 1750-1840
Dance in Copenhagen Dance in Copenhagen, c. 1750-1840 By Henning Urup The subject of this article is dance forms in Denmark, and especially in Copenhagen, in the period c. 1750-1840. The account is based on the preseryed source material, and this involves an important methodological problem. Dance is a transitory phenomenon in the form of motion in the present. The written sources are descriptions of something seen and experienced, or instructions on how the dance/music is to be executed. It has always been diffiCldt to write dan ces down, and for that reason many dan ces have never been recorded on paper. In the European musical tradition, the notation of mus ic plays a central role, and the concept ofthe work is ofte n tied to the notation. By analog)' with this, incomplete or inadequate dance notation poses a problem. Musical notation gives us information about pitch and durations as well as dynamics and phrasing. The notation of dance requires similar infor mation, but also indications of body movemen ts, orien tations of arms and legs and progressions of movement through space. Dance notation therefore becomes complicated, and the various systems of notation are usually associated with specific dance forms and styles where. because of certain shared assumptions, one does not need to write down too much. Elements that are self-evident in the tra dition in question are usually omitted. Many important details have thus never been written down, and this poses an important problem for later researchers. The relationship of the author to dance and music is of great importance in interpreting the source material.
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Swan-Lake-Study-Guide-2017-18.Pdf
Swan Lake Study Guide 2017---18-18 Presented By the Department of Community Engagement Table of Contents The Quintessential Ballet 3 Milwaukee Ballet’s Swan Lake 4 Choreographic Birds of a Feather – Petipa, Ivanov & Pink 5 Did You Know? – Matthew Bourne 14 Behind the Music – Pyotr Tchaikovsky 15 Appendix A: Being A Good Audience Member 16 Sources and Special Thanks 17 2 The Quintessential Ballet Welcome to the Study Guide for Swan Lake , perhaps the world’s most widely recognized ballet aside from The Nutcracker . It has been called the “quintessential ballet” (quintessential means the purest and most perfect or the embodiment of, in this case, ballet!) and is often the show that pops into people’s minds when the word ballet is mentioned. Since its premiere in Moscow, Russia, it has been presented in over 150 versions by more than 100 companies in at least 25 different countries. That’s a lot of swans! Swan Lake didn’t start out successfully – which is surprising, considering its fame today. It premiered on February 20, 1877, and although Tchaikovsky’s spectacular music was used from the beginning, the choreography, originally done by Julius Reisinger, was less than stellar. A critic who was at the performance wrote, "Mr. Reisinger’s dances are weak in the extreme.... Incoherent waving of the legs that continued through the course of four hours - is this not torture? The corps de ballet stamp up and down in the same place, waving their arms like a windmill’s vanes - and the soloists jump about the stage in gymnastic steps." Ouch! Unfortunately Reisinger failed to mesh his choreography with the psychological, beautiful music Tchaikovsky created.
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A Romantic Tutu Inspired by the Costumes of the Pas De Quatre Ballet of 1845
Allycia Coolidge wearing a romantic tutu inspired by the costumes of the Pas de Quatre ballet of 1845. Photograph by Joanna Lupker. MAKING HISTORY: A ROMANTIC TUTU By Allycia Coolidge & In our Making History project, we chose to analyze and recreate a Romantic Joanna Lupker tutu inspired by the Pas de Quatre ballet. This ballet was first performed in BDes Fashion Students London, England during the Romantic era on July 12, 1845 and choreographed by Jules Perrot. This ballet featured four prima ballerinas of the Romantic era: January 20, 2017 Lucile Grahn, Taglioni, Carlotta, and Fanny Cerrito. They were icons of the time and often appeared in each other’s benefit performances, but this was the first performance to showcase all four leading female dancers in a single ballet. Prior to the Romantic period, female dancers wore heavy constrictive dresses resembling court fashion that weighed them down and limited their ability to dance. The key change in ballet costuming was the rise of skirt hems, which was seen as quite scandalous at the time (Mida 37). The changes allowed ballerinas to show off their much improved and intricate footwork. This new shortened ballet skirt fell to just below the knee. The Romantic tutu endures as a classic costume of ballet that continues to be featured in performances of major dance companies around the world. Each element of the costume emphasizes the femininity of the dancer. 1 When this ballet was presented in 1845, the bodices of the costumes were constructed very similarly to those seen in regular clothing. Like the corsets of the time, they were tight (Bicat), with low cut necklines to put the dancer’s long necks on display (Victoria and Albert Museum).
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Ballet of Canada
'$ # '·"'~-M' :\ \ ~>t 1975: The Creative Woman: ~trlcia Beatty, An , 'fJttSoutHam Editorial Susan Cohen Editor / Redactrice S1 one de Beauvoir's oft quoted remark that "it is in La remarque familiere de Simone de Beauvoir a l'effet que CL. t re that women have best succeeded in asserting " c'est dans le monde culture! que la femme a le mieu :"'e e lves" is especially true in dance and particularly reussi a s'affirmer" s'avere particulierement vraie dans le Canadian dance in 1975, International Women's domaine de la danse et surtout sur la scene canadienne. s Selma Odom, a professor of dance history at en 1975, an nee internationale de la femme. Pour emprun J iversity, puts it in her article, "it is almost ter quelques mots de !'article de Selma Odom, professeur - ·· to f ind the number of their accomplishments d'histoire de la danse a l'Universite York, " ii est presque .... : e fiel d. The Canadian women who have made etourdissant" de constater la latitude qu'on a accordee a ions to dance are many. As teachers, organizers la femme aujourd'hui et l'ampleur de ses realisations dans 3. :: ::e...,ormers , they have genuinely shaped the dance ce domaine. On ne compte plus les canadiennes qui ont :- • -·e:'"'at we know. In the list we find the three founders contribue a la danse, leur nombre est trop imposant. :· =-· ....,a;or ballet companies, Gweneth Lloyd, Celia Comme professeurs, organisatrices et artistes, elles ont = a- :a a~ udmilla Chiriaeff, Betty Oliphant, principal of laisse leur marque; elles ont en fait fa<;:onne l'art de la a: -ial Ballet School, Monique Michaud, first dance danse que nous connaissons.
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Since Ballet Terms Can Often Be Tricky to Pronounce, I Have Included the Word Translations in Brackets to Help You Say the Terms
Since ballet terms can often be tricky to pronounce, I have included the word translations in brackets to help you say the terms. A Adage, Adagio (a-DAHZH) At ease or at leisure. Adage is incorporated into ballet classes and most classical pas de deux combinations. It is a series of slow, graceful exercises during the centre practice which is generally focused on line, balance and fluidity. It takes lots of practice to gain the stability and control whilst still having a sense of fluid movement. En L'Air (ahn lehr) In the air. This ballet term is generally associated with ballet movements that are in the air. For example, tour en l'air which is a high turning jump mainly for the male dancers. It indicates that for ballet exercises like rond de jambe and adage the leg should be lifted off the floor, such as rond de jambe en l'air. Allégro ([a-lay-GROH) Bright and brisk movements. This ballet term is associated to all jumps in ballet. So, whether it is petite allégro, or grand allégro a dancer will aim to show a sense of ballon and spring in the elevation. Arabesque (a-ra-BESK) This is one of the basic poses in ballet. The position of an arabesque shows one leg as the supporting leg and the other extended behind you. The arms can be held in various positions to show a first, second, or third arabesque. An arabesque is like a tendu derriere but lifted en l'air. The aim is to lift the leg without showing too much adjustment in the body, such as pitching forward.
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