Spotlight Ballet Rules* Ballet Students Who Will Be Attending a Dance
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Spring Performances Celebrate Class of 2018
Fall 2018 Spring Performances Celebrate Class of 2018 The Morris and Elfriede Stonzek Spring Performances, presented last May, served as a fitting celebration of the 2018 graduating class and a wonderful way to kick off Memorial Day weekend. In keeping with tradition, the performances opened with a presentation of the fifteen seniors who would receive their diplomas the following week—HARID’s largest-ever graduating class. Alex Srb photo © Srb photo Alex The program opened with The Fairy Doll Pas de Trois, staged by Svetlana Osiyeva and Meelis Pakri. Catherine Alex Srb © Alex Doherty sparkled as the fairy doll, in an exquisite pink tutu, while David Rathbun and Jaysan Stinnett (cast as the two A scene from the Black Swan Pas de Deux, Swan Lake, Act III pierrots competing for her attention) accomplished the challenging technical elements of the ballet while endearingly portraying their comedic characters. The next work on the program was the premiere of It Goes Without Saying, choreographed for HARID by resident choreographer Mark Godden. Set to music by Nico Muhly and rehearsed by Alexey Kulpin, this work stretched the artistic scope of the dancers by requiring them to speak on stage and move in unison to music that is not always melodically driven. The ballet featured a haunting pas de Alex Srb photo © Srb photo Alex deux, performed maturely by Anna Gonzalez and Alexis Alex Srb © Alex Valdes, and a spirited, playful duet for dancers Tiffany Chatfield and Chloe Crenshaw. The Fairy Doll Pas de Trois The second half of the program featured Excerpts from Swan Lake, Acts I and III. -
SWAN LAKE Dear Educators in the Winter Show of Oregon Ballet Theatre’S Student Performance Series (SPS) Students Will Be Treated to an Excerpt from Swan Lake
STUDENT PERFORMANCE SERIES STUDY GUIDE / Feburary 21, 2013 / Keller Auditorium / Noon - 1:00 pm, doors open at 11:30am SWAN LAKE Dear Educators In the winter show of Oregon Ballet Theatre’s Student Performance Series (SPS) students will be treated to an excerpt from Swan Lake. It is a quintessential ballet based on a heart-wrenching fable of true love heroically won and tragically Photo by Joni Kabana by Photo squandered. With virtuoso solos and an achingly beautiful score, it is emblematic of the opulent grandeur of the greatest of all 19th-Century story ballets. This study guide is designed to help teachers prepare students for their trip to the theatre where they will see Swan Lake Act III. In this Study Guide we will: • Provide the entire synopsis for Christopher Stowell’sSwan Lake, consider some of the stories that inspired the ballet, Principal Dancer Yuka Iino and Guest Artist Ruben Martin in Christopher and touch on its history Stowell’s Swan Lake. Photo by Blaine Truitt Covert. • Look closely at Act III • Learn some facts about the music for Swan Lake • Consider the way great dances are passed on to future generations and compare that to how students come to know other great works of art or literature • Describe some ballet vocabulary, steps and choreographic elements seen in Swan Lake • Include internet links to articles and video that will enhance learning At the theatre: • While seating takes place, the audience will enjoy a “behind the scenes” look at the scenic transformation of the stage • Oregon Ballet Theatre will perform Act III from Christopher Stowell’s Swan Lake where Odile’s evil double tricks the Prince into breaking his vow of love for the Swan Queen. -
QCF Examinations Information, Rules & Regulations
Specifications for qualifications regulated in England, Wales and Northern Ireland incorporating information, rules and regulations about examinations, class awards, solo performance awards, presentation classes and demonstration classes This document is valid from 1 July 2018 1 The Royal Academy of Dance (RAD) is an international teacher education and awarding organisation for dance. Established in 1920 as the Association of Operatic Dancing of Great Britain, it was granted a Royal Charter in 1936 and renamed the Royal Academy of Dancing. In 1999 it became the Royal Academy of Dance. Vision Leading the world in dance education and training, the Royal Academy of Dance is recognised internationally for the highest standards of teaching and learning. As the professional membership body for dance teachers it inspires and empowers dance teachers and students, members, and staff to make innovative, artistic and lasting contributions to dance and dance education throughout the world. Mission To promote and enhance knowledge, understanding and practice of dance internationally by educating and training teachers and students and by providing examinations to reward achievement, so preserving the rich, artistic and educational value of dance for future generations. We will: communicate openly collaborate within and beyond the organisation act with integrity and professionalism deliver quality and excellence celebrate diversity and work inclusively act as advocates for dance. Examinations Department Royal Academy of Dance 36 Battersea Square London SW11 3RA Tel +44 (0)20 7326 8000 [email protected] www.rad/org.uk/examinations © Royal Academy of Dance 2017 ROYAL ACADEMY OF DANCE, RAD, and SILVER SWANS are registered trademarks® of the Royal Academy of Dance in a number of jurisdictions. -
RUSSIAN NATIONAL BALLET SWAN LAKE: Wednesday, January 22, 2020; 7:30 Pm the SLEEPING BEAUTY: Thursday, January 23, 2020; 2 & 7:30 Pm Media Sponsor
RUSSIAN NATIONAL BALLET SWAN LAKE: Wednesday, January 22, 2020; 7:30 pm Media Sponsor THE SLEEPING BEAUTY: Thursday, January 23, 2020; 2 & 7:30 pm A Columbia Artists Production Direct from Moscow, Russia RUSSIAN NATIONAL BALLET COMPANY OF 50 Artistic Director: Elena Radchenko Company Biography The Russian National Ballet Theatre was founded in Moscow during the transitional period of Perestroika in the late 1980s, when many of the great dancers and choreographers of the Soviet Union’s ballet institutions were exercising their new- found creative freedom by starting new, vibrant companies dedicated not only to the timeless tradition of classical Russian Ballet but to invigorate this tradition as the Russians began to accept new developments in the dance from around the world. The company, then titled the Soviet National Ballet, was founded by and incorporated graduates from the great Russian choreographic schools of Moscow, St. Petersburg and Perm. The principal dancers SWAN LAKE Photo: Alexander Daev of the company came from the upper ranks of the great ballet companies and academies of Russia, and the companies of Riga, Kiev and even Warsaw. Today, the Russian National Ballet Theatre SWAN LAKE is its own institution, with over 50 dancers of singular instruction and vast experience, many of whom have been with the company Full-length Ballet in Four Acts since its inception. Music by Pyotr Ilyich Tchaikovsky Choreography by Marius Petipa, Lev Ivanov and Yuri Grigorovich In 1994, the legendary Bolshoi principal dancer Elena Radchenko Restaging by Elena Radchenko, assistant Alexander Daev was selected by Presidential decree to assume the first permanent Synopsis by Vladimir Begichev and Vasily Geltser artistic directorship of the company. -
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. -
Kinematyczna Analiza Elementu “Grand Pas De Chat”
Kinematic analysis of the “Grand pas de chat” element J. Gorwa1, L. B. Dworak1, J. Jurkojć2, R. Michnik2, D. Tejszerska2 1 Department of Biomechanics, University School of Physical Education in Poznan 2 Department of Applied Mechanics. Silesian University of Technology, Gliwice 1. Introduction Current research shows that some of dancing movements, specially during the landing phase (during the eccentric phase of muscle work related to amortization) produce high values of the vertical component of ground reaction force, able to reach the level of 9.4 BW (Picon, 2002; Dworak, 2004; Gorwa et al. 2008). Serious injuries often happen during these phases of jumps. As reported by Luke et al. (2000), Solomon et al. (1995, 1996), Liederbach in: Brownstein and Bronner (1984), the largest percentage of post-traumatic injuries that occur in the circles of professional dancers are chronic injuries such as: inflammatory conditions of soft tissues, overload injuries, muscle strains and tears. Various authors report on different location and percent share of injuries (Micheli, (1983), Brown and Kaufer, (1971); DeMann, (1994); Solomon, (1986); Świderska, (1995)), Gorwa (2008). Nevertheless, the ankle joint, the foot, the spine, the hip and the knee joints are regions that are mentioned most frequently. Since correct technique is a factor that significantly lowers the risk of injuries, and the degree of control of movement habits, that is the appropriate execution of a particular sports technique, determines the force values observed during the landing phase (Rutkowska-Kucharska et al. (2004)), the authors of this study assessed the kinematic values as well as recorded the technique of performing the „grand pas de chat” classical dance element . -
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. -
Dictionary of Classical Ballet Terminology Free
FREE DICTIONARY OF CLASSICAL BALLET TERMINOLOGY PDF Rhonda Ryman | 100 pages | 14 Jun 2007 | Royal Academy of Dance | 9781904386872 | English | London, United Kingdom Ballet Terms A To Z - Dictionary of basic Ballet moves In ballet, there are several terms that are used. Dictionary of Classical Ballet Terminology can be easy for a beginner to feel lost with all of the terminology! These movements are typically done after warmup and closer toward the last part of class to avoid injury, and to maximize a dancers range while warmed up. Abstract ballet are ballets without a plot unlike the Nutcracker, Swan Lake, etc. Most often, contemporary ballets are considered abstract ballets. Arabesque is a position in ballet where the body is supported on a single leg, while the other leg is extended directly behind the body with a straight knee. There are several different versions of arabesque such as first, second, and third arabesque. They can also be done at different heights or with a straight leg or in plie. The basics being that the two legs join together in the air. An attitude is a position where the dancers stands on one leg with the other lifted, either in the front, or back. The leg that is in the air is usually slightly bent at the knee, creating an approximate degree angle. En avant refers to moving towards the front. En avant is not an actual step or position in ballet, but is used in conjunction with other terms, such as tendu en Dictionary of Classical Ballet Terminology. Adagio refers to slow movements in ballet. -
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. -
Swan Lake 2021 Cast List
Long Beach Ballet’s SWAN LAKE 2021 Cast Cast A performance ...... Saturday, June 12th – 2:00 p.m. Cast B performance ...... Sunday, June 13th – 2:00 p.m. Cast AB ......................... Both performances A Abigail Adolph Neopolitan Dance A Ayumi Aguirre Bassallo Mazurka Dance AB Sumi Akin Hungarian Dance AB Erica Alfaro Palace Jester B Kennedy Allen Neopolitan Dance A Imani Amyson Russian Dance B Leigh Anderson Russian Dance A Astrid Angulo Russian Dance AB Ella Ruby Arko Palace Waltz A Melia Armenta Neopolitan Dance B Elizabeth Ashley Mazurka Dance A Samantha Bayudan Mazurka Dance AB Kennedy Beach Palace Herald AB Nadia Benjamin Spansh Dance AB Nikki Boggs Hungarian Dance AB Artemis BrodakSilva Palace Jester A Alesi Brown Young Hungarian Czardas B Natalie Brunt Neopolitan Dance B Nia Brunt Russian Dance AB Lily Bumacod‐Weismuller Palace Herald AB Autumn Bumacod‐Weismuller Palace Herald A Maeve Callahan Russian Dance AB Rachel Camerino Young Russian Dance AB Nicole Capcha Palace Waltz AB Camila Carrillo Palace Jester B Kaytlan Carvajal Russian Dance B Sophia Casillas Mazurka Dance AB Joaquin Chavez Mazurka Boy B Arianna Cisneros Young Hungarian Czardas AB Juliana Colorado Spansh Dance AB Marisa Conneally Hungarian Dance AB Valentina Crain Spansh Dance AB Makena Crawshaw Young Russian Dance AB Olivia Cullado Palace Jester A Audrey Culligan Mazurka Dance A Olivia Dailey Young Hungarian Czardas AB Isabella Dee Young Russian Dance AB Samantha Dege Hungarian Dance AB Aundenet Diress Hungarian Dance AB Hadley Duzan Spansh Dance A Michelle -
2008 CICB International Competition
2014 CICB International Competition Australian DVD Applicants Candidates unable/unwilling to attend the Bursary Eliminations scheduled for Sunday April 13th 2014 may submit a DVD application for review by the Elimination Adjudicators for self-funding approval. Due Date: Friday 14th March 2014, Cecchetti National Office, PO Box 425, Clifton Hill Vic 3068 Cost: $75.00 Entry Criteria: Cecchetti Advanced 1 Category A or higher Minimum age: 15 and Maximum age: 19 at commencement of the International Competition – 7th August 2014. Be a student and non-professional classical ballet dancer. DVD must contain the following: Selected exercises from a class Barre – plié, tendu, adage, and grands battement, Centre – port de bras, adage, pirouette, 3 allegro (petit, medium, grand) Contemporary Solo of between 2.5 and 3 minutes long Classical Solo from the International Repertoire. Classical Solo should be recorded twice, once in leotard and once in costume and this must reflect what will be performed and worn at the International Competition should they be successful. Contemporary Solo should be recorded once in full costume and this must reflect what will be performed and worn at the International Competition should they be successful. DVD Costume requirements Class—GIRLS any unadorned Leotard (no skirts) and BOYS any unadorned Unitard Classical solo (1) – GIRLS any unadorned Leotard and BOYS any unadorned Unitard Classical solo (2) - FULL costume. Contemporary solo (1) - choice of costume appropriate to choreography Footwear: Contemporary – bare feet or paws/foot thongs, Classical – pointe shoes (Girls), leather or canvas ballet shoes (Boys). Classical Repertoire To be used for the Bursary Eliminations 13th April 2014, DVD Applications & International Competition.