Don Quijote Nesmrtelná Baletní Klasika
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Classical Music Learning Guide for Swan Lake
Classical Music Distance Learning Guide Distance Learning Guide This guide is designed to help you: • Introduce the story and artistry of Swan Lake to students. • Introduce students to classical music in a fun an engaging way. Contributors: Vanessa Hope, Director of Community Engagement DeMoya Brown, Community Engagement Manager Table of Contents About Swan Lake Artistic & Production Team………………………………………………………….……….…………...….3 The Swan Lake Story ………………………………………………………………...………………….….4 The Swan Lake Creators………………………………………..……………………...…………………....5 The History of Swan Lake……………………………………………………….…………………………..6 Set Design ……...…………………………………...………………...……………………………………...7 Characters…………………………………………………………………….……………………………….8 Introduction to Classical Music ………………………………………………………………………………………9 Music of Swan Lake …………………………………………………………………………………..10—11 Music Activities………………………………………………………………………………………...12—14 Community Engagement Mission Intrinsic to The Washington Ballet’s mission to bring the joy and artistry of dance to the nation’s capital, our community engagement programs provide a variety of opportunities to connect children and adults of all ages, abilities and backgrounds to the art of dance. We aspire to spark and enhance a love for dance, celebrate our cultural diversity and enrich the lives of our community members. To learn more visit: www.washingtonballet.org The Washington Ballet’s Community Engagement programs are supported by: DC Commission on the Arts and Humanities John Edward Fowler Memorial Foundation Howard and Geraldine Polinger -
T H E B a L L E T B L a N
T A C O M A C I T Y B A L L E T L I B R A R Y T H E B A L L E T B L A N C S W R I T T E N B Y E R I N M. C E R A G I O L I The Ballet Blancs The Ballet Blancs or “White Ballets” were christened so because the Ballerina and the Corps de Ballet all wore white tutus, either Romantic or Classical, and so the name of the genre is de- rived from the white tutu. The Ballet Blancs incorporated the Romantic Style of Classical Ballet from the nineteenth century, whose plot was populated by dryads, enchanted maidens, fairies, ghosts, naiads, shades, shadows or other supernatural creatures and spirits.. The Ballet Blancs T H E B A L L E T O F T H E N U N S The Ballet of the Nuns Set Design By Pierre Ciceri “THE BALLET OF NUNS” “By the hundred they rise from the graveyard and drift into the cloister. They seem not to touch the earth. Like vaporous images, they glide past one another… Suddenly their shrouds fall to the ground. They stand in all their voluptuous nakedness, and there begins a bacchanal.” ~Hans Christian Andersen~ After the July Revolution of 1830, a Constitutional Monarchy was established in France under the Reigning Monarch, Louis-Philippe I. Now ruling the nation, French Parliament decided to remove the Paris Opera from the Royal Household and completely withdrew the enormous state subsidy that had been granted the Paris Opera since 1669. -
Alexei Ratmansky on ABT’S Harlequinade
Spring-Summer 2019 Ballet Review From the Sp/Su 2019 issue of Ballet Review Alexei Ratmansky on ABT’s Harlequinade Cover photo by Paul Kolnik, NYCB: Joseph Gordon in Dances at a Gathering. © 2019 Dance Research Foundation, Inc. Ballet Review 47.1-2 Spring-Summer 2019 Editor and Designer: Marvin Hoshino Managing Editor: Roberta Hellman Senior Editor: Don Daniels Associate Editors: Joel Lobenthal Larry Kaplan Ballet Review is a nonprofit Alice Helpern journal pub lished by the Dance 168 Webmaster: Research Foundation, Inc. It David S. Weiss is supported in part by funds from the National Endowment Copy Editor: Naomi Mindlin for the Arts, the New York State Council on the Arts, The Fan Photographers: Fox and Leslie R. Samuels Tom Brazil Foundation, and individuals. Costas Contributions to the Dance Associates: Research Foundation, Inc., Peter Anastos 100 Hudson St. – Apt. 6B, Robert Greskovic New York, NY 10013, are 76 George Jackson tax-deduc tible. Elizabeth Kendall Board ofDirectors: Paul Parish Hubert Goldschmidt, Roberta Nancy Reynolds Hellman, Marvin Hoshino, James Sutton Nancy Lassalle, Dawn Lille, Edward Willinger Michael Popkin, Theodore C. Sarah C. Woodcock Rogers, Barbara E. Schlain, David Weiss. * For the latest information on subscriptions, see our website: balletreview.com. Current 95 double issue: $35. Editorial correspondence, books for review, subscriptions, and changes of address to Ballet Review, 100 Hudson St. – Apt. 6B, New York, NY 10013. Manuscripts must be accom- panied by a self-addressed, stamped returnenvelope. E-mail: [email protected]. * 207 ©2019 Dance Research Foun- dation, Inc. All rights reserved. Printed in China. issn: 0522- 0653. Periodical postage paid at New York, NY, and additional mailing offices. -
Dancing Genius: the Stardom of Vaslav Nijinsky
Dancing Genius This page intentionally left blank Dancing Genius The Stardom of Vaslav Nijinsky Hanna Järvinen The Theatre Academy of the University of the Arts Helsinki, Finland © Hanna Järvinen 2014 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No portion of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, Saffron House, 6–10 Kirby Street, London EC1N 8TS. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The author has asserted her right to be identified as the author of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2014 by PALGRAVE MACMILLAN Palgrave Macmillan in the UK is an imprint of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire RG21 6XS. Palgrave Macmillan in the US is a division of St Martin’s Press LLC, 175 Fifth Avenue, New York, NY 10010. Palgrave Macmillan is the global academic imprint of the above companies and has companies and representatives throughout the world. Palgrave® and Macmillan® are registered trademarks in the United States, the United Kingdom, Europe and other countries. ISBN 978–1–137–40772–6 This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. -
Bringing the Past Alive
Bringingthe PastAlive "Remember you are magical beings andthat you necks," he kept reminding the fairies. \ilhenever a question aroseabour shine from your sides," choreographer Alexei Ratmansky exhorted a a step or an angle of the body, the Ratmanskys consulted a black binder group of dancers.They were rehearsingthe {airies' entrance in Ameri- of notes and a laptop loaded with photographs and drawings. can Ballet Theatre's new production of The SleepingBeauty, which ABT's new SleepingBeauty is something of a radical undertaking. premiered in Costa Mesa in March, and came to New York in late May. Instead of reinterpreting the ballet, Ratmansky resolvedto get asclose as The choreographer'scheeks were flushed; his quiet voice vibrated with he could to the stepsimagined in 1890by Marius Petipa.And in doing intensiqr He leaned eagerly forward as he stood at the front of the stu- so,his Beauty and other recent reconstructionshave revealedjust how dio, backed by four ballet mastersand his wife, Tatiana,who assistedin much the style of theseballets has evolved sincethev were created.As the the staging."Remember to pronounce your words clearly," Ratmansky dancehistorian Lynn Garafola said recently,"The notion of an original urged the fairies, referring to the detailed mime. As they moved, he re- is hard to pin down, becauseballets are remade in performance." Over cited alongwith them: "From here,ro here"-now the fairiesgestured time, the accruedtweaks-accommodations for expandingtechnique, toward the crib-"you will be protectedby us." the excisionor simplification of mime, changesin musical timing and No detailwas too slight to escapehis inreresr,from the height dynamics-turn the balletsinto something quite different from what was of the legs-never above90 degrees*to the curve of the kneesand originally intended, divorcing the choreography from its story, affect and the slightly less-than-typical turnout. -
Information to Users
INFORMATION TO USERS The most advanced technology has been used to photograph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 1S40316 The role of Nicolas Legat in twentieth century ballet Miller, Alison, M.A. -
AZ EURÓPAI SZÍNPADI TÁNC TÖRTÉNETE a Magyar Táncművészeti Főiskola Tankönyv- És Jegyzetsorozata
AZ EURÓPAI SZÍNPADI TÁNC TÖRTÉNETE A Magyar Táncművészeti Főiskola tankönyv- és jegyzetsorozata Sorozatszerkesztő: Bolvári-Takács Gábor MAJOR RITA GARA MÁRK AZ EURÓPAI SZÍNPADI TÁNC TÖRTÉNETE AZ ELŐZMÉNYEKTŐL A 19. SZÁZAD VÉGÉIG Magyar Táncművészeti Főiskola Budapest, 2014 TARTALOM Előszó ........................................................................................................................ 9 1. fejezet: Az őskor táncos emlékei (MR) ................................................................ 11 Prehistorikus idők ............................................................................................. 12 Korai táncábrázolások ........................................................................................ 12 Mágikus gondolkodás, mágikus szertartás .......................................................... 14 Eksztázis, révület – átlényegülés ......................................................................... 16 A varázsló .......................................................................................................... 17 A tánc és a mozdulatok a varázslatban ............................................................... 18 Térformák ......................................................................................................... 19 Miről „szóltak” őseink táncai? ............................................................................ 20 Ősi örökség modern formában .......................................................................... 21 2. fejezet: Az ókori görög tánckultúra -
Culture Teatrali
CULTURE TEATRALI STUDI, INTERVENTI E SCRITTURE SULLO SPETTACOLO 14, primavera 2006 Direzione: Marco De Marinis Redazione: Insegnamenti di Storia del Teatro e dello Spettacolo e Semiologia dello Spettacolo della Facoltà di Lettere e Filosofia dell’Università di Bologna (Diparti- mento di Musica e Spettacolo, via Barberia 4, 40123 Bologna). Comitato di redazione: Georges Banu (Université de la Sorbonne, Paris III) Josette Féral (Université du Québec à Montréal) Raimondo Guarino (Università di Roma III) Osvaldo Pellettieri (Universidad de Buenos Aires) Arnaldo Picchi (1943-2006) (Università di Bologna-DAMS) Nicola Savarese (Università di Roma III) La rivista esce anche grazie all’apporto volontario e gratuito di un gruppo di laureati e ricercatori in discipline teatrali presso il DAMS di Bologna. Attualmente fanno parte di questo gruppo di lavoro: Fabio Acca, Lucia Amara, Roberto Anedda, Sara Ba- ranzoni, Francesca Bortoletti, Adele Cacciagrano, Monica Cristini, Piersandra Di Matteo, Erica Faccioli, Francesca Gasparini, Tihana Maravić, Enrico Pitozzi, Annalisa Sacchi, Dario Turrini. ___________________________________________________________________ Autorizzazione del Tribunale di Bologna n. 7374 del 6 novembre 2003 Direttore responsabile: Marco De Marinis Il prezzo di ogni numero è di Euro 15,50 (IVA assolta). Abbonamento a due numeri Euro 25,82 (IVA assolta) da versare sul conto corrente postale n. 31378508 intestato a Carattere - Via Passarotti 9/a - 40128 Bologna. Per informazioni si può scrivere a: [email protected] Edizioni Carattere - Bologna Editing: (rob.a) grafica - Bologna Stampa: Cartografica Artigiana - Ferrara Finito di stampare: aprile 2007 S O M M A R I O DANZA/900 Testimonianze e riflessioni intorno al processo creativo a cura di Rossella Mazzaglia 7 Rossella Mazzaglia Introduzione 13 Elena Cervellati Strutture codificate e autonomie autoriali nel balletto tra Ottocento e primo Novecento: Giselle 25 Lynn Garafola Creare le danze: processo e pratica nei Ballets Russes di Djagilev 53 Mary Wigman Danza di gruppo e danza corale. -
Badigital.Bellasartes.Gob.Mx .In
Repositorio de investigación y educación artísticas INBA Digital del Instituto Nacional de Bellas Artes Instituto Nacional de Bellas Artes y literatura Academia de la Danza Mexicana TRABAJO RECEPCIONAL DON QUIJOTE Y BALLET NEOCLÁSICO PRESENTA: CINDEE IVONNE PUENTE ESCALANTE PARA OBTENER EL TÍTULO EN: INTÉRPRETE DE DANZA DE CONCIERTO Asesoría técnica y coreográca: Fabienne Lacheré Maestra y Bailarina Directora del eFeL Danse AC Licenciada en Ciencias de la Educación (Francia) Asesoría teórico pedagógica: Consuelo Sánchez Salas Pedagoga y Promotora Cultural Maestría en Educación y Diversidad Cultural UNAM Subdirectora Académica del Programa Niños Talento DIF-DF MÉXICO, D.F., JUNIO DE 2011 www.inbadigital.bellasartes.gob.mx Cómo citar este documento: Puente Escalante, Cindee Ivonne, Don Quijote y el Ballet Neoclásico, ADM/INBA/CONACULTA, México, D.F., 2011 Descriptores Temáticos (palabras clave): Ballet, Ballets rusos, Neoclasicismo, Danza moderna, Ballet “Don Quijote”, Petipa, Gorsky, Balanchine 111. PRODUCCIONES DEL BALLET DON QUIJOTE 3.1. PETIPA Don Quijote. Ballet en cuatro actos, ocho escenas, un prólogo y un epílogo. Coreografía: Marius Petipa, Música: Léon Minkus. Libreto: Marius Petipa, basado en la obra de Miguel de Cervantes. Escenografía y vestuario: Pavel lsakov, lvan Shanguine y Fedor Shenyan. Primera presentación: 14/2616 diciembre 1869, Teatro Bolshoi, Moscú. Bailarines principales: Anna Sobeshchanskaya (Kitri), Sergei Sikolov (Basil), Dmitri Kuznetsov (Gamache), Wilhelm Vanner (Don Quijote), Vasily Geltser (Sancho Panza), Polina Karpakova (Dulcinea), Léon Espinosa (Harlequin). El libreto del ballet se basó en un episodio de la segunda parte de la novela de Cervantes relacionado con una pareja de jóvenes enamorados, Quiteria y Basilio. La historia de su noviazgo es el tema central del ballet y se enmarcaba por una serie de escenas relacionadas con los personajes principales de la novela, Don Quijote y Sancho Panza. -
Petipa Exotique
Petipa Exotique Presenter: Doug Fullington, Dance Historian Violinists: Michael Jinsoo Lim, Concertmaster Brittany Boulding, Associate Concertmaster Dancers: Lesley Rausch Seth Orza Leta Biasucci Amanda Clark Angelica Generosa Liora Neuville Carli Samuelson Kyle Davis Our presentation is a program of dances by legendary French ballet master Marius Petipa (1818-1910), whose stories are set in what for 19th-century European audiences would have been exotic locales. Revived from century-old dance notation, excerpts from Petipa’s famed La Bayadère (India) and Le Roi Candaule (Lydia), as well as his staging of the swashbuckler Le Corsaire (Turkey), will be presented by PNB dancers accompanied by two violinists from the PNB Orchestra in the traditional rehearsal medium of 19th-century St. Petersburg. Doug Fullington has reconstructed the late 19th- and early 20th-century versions of these dances recorded in St. Petersburg using the Stepanov choreographic notation system. The notations are now housed at the Harvard Theatre Collection, as are the violin rehearsal scores (répétiteurs), which he has also edited. Petipa Exotique will be presented on the Guggenheim Museum’s Works & Process series on February 23 and 24 in three sold-out performances. Acknowledgements Choreographic notations and violin répétiteurs courtesy of Harvard Theatre Collection, Susan Pyzynski, acting curator. Rehearsal music in late-19th century Russia Ballets in late-19th century St. Petersburg were rehearsed to the accompaniment of two violins, performing an arrangement (called a répétiteur) of the full score. The melody was played by the first violin and the accompaniment by the second. Here is a page from the répétiteur of Tchaikovsky’s Swan Lake—the familiar swan theme: Le Corsaire Original Music: Adolphe Adam Original Choreography: Joseph Mazilier; subsequent additional and revised choreography by Marius Petipa Original Production Premiere: January 23, 1856; Paris Opéra Russian Premiere: January 24, 1858; Imperial Ballet (St. -
The Brown-Forman Nutcracker Virtual Performance Resource Guide
www.louisvilleballet.org ©2020 Louisville Ballet The Snow Must Go On! Welcome to Louisville Ballet's virtual presentation of The Brown Forman Nutcracker! Thank you for valuing the importance of arts education and finding the resources and time to incorporate dance into your curriculum. While we are not able to gather together in the theater this season, we are thrilled to share our joy of dance with you through our digital stage. Our goal is to help educators and families across the Commonwealth of Kentucky and the Greater Louisville Area create a holistic education for children and youth through high quality arts programming. Captured by our friends at WDRB Louisville during 2019, the film includes both Acts 1 & 2 of The Brown- Forman Nutcracker, following Marie's Journey from the Holiday Party to the Land of Sweets. Each Act is approximately 45 minutes long and viewing can be broken up over multiple days if needed for young audiences. This Resource Guide is intended for use both before and after viewing the performance. Much of the information included will help prepare your students for the film and follow-up activities will extend the learning across your curriculum, enabling students to reflect on the experience. The content includes: historical information, discussion prompts, activities, fun-facts about The Brown-Forman Nutcracker and an in-depth look into the world of ballet. Please explore all the information and refer to the Table of Contents to locate items of particular interest for you and your students. You will have unlimited access to this Resource Guide and a receive an email regarding how to access the film, which has a limited viewing window from December 10 - 15, 2020. -
State Ballet of Georgia Notes.Indd
Cal Performances Presents Program A Th ursday, February , to Sunday, February , Th ursday, February , , pm Zellerbach Hall Zellerbach Hall State Ballet of Georgia State Ballet of Georgia Nina Ananiashvili, Artistic Director Nina Ananiashvili, Artistic Director Berkeley Symphony Orchestra PROGRAM Chaconne Corps de ballet in Chaconne Choreography George Balanchine © Th e George Balanchine Trust Lasha Khozashvili and Lali Kandelaki in Chaconne Music Ballet music from the opera Orfeo ed Euridice with (Vienna and Paris ) by Christoph Berkeley Symphony Orchestra Willibald Gluck Conductor Robert Cole Staging Bart Cook, Maria Calegari Cal Performances and David Eden Productions, Ltd. are very grateful to the Georgian Government for supporting this tour. Costumes Natia Sirbiladze Lighting Amiran Ananeli Support for the State Ballet of Georgia’s tour is provided by the Trust for Mutual Understanding. State Ballet of Georgia Premiere Tbilisi, November , Cal Performances’ – season is sponsored by Wells Fargo Bank. 4 CAL PERFORMANCES CAL PERFORMANCES 5 Program A Program A Dancers Bizet Variations Anna Muradeli, Vasil Akhmeteli (American Premiere) Rusudan Kvitsiani, Ekaterine Chubinidze, Otar Khelashvili Choreography Alexei Ratmansky Music Chromatic Variations by Georges Bizet Tsisia Cholokashvili, David Khozashvili Costumes Mikhail Makharadze Lighting Amiran Ananeli Mariam Aleksidze, Teona Akhobadze, Lana Kiknadze, Nino Gogsadze, Nino Makhashvili Piano John Parr Ana Turazashvili, Nino Sanadze, Irakli Bakhtadze, David Ananeli Dancers Nina Ananiashvili