Marius Petipa, Étoilement D'une Œuvre
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
The Dublin Gate Theatre Archive, 1928 - 1979
Charles Deering McCormick Library of Special Collections Northwestern University Libraries Dublin Gate Theatre Archive The Dublin Gate Theatre Archive, 1928 - 1979 History: The Dublin Gate Theatre was founded by Hilton Edwards (1903-1982) and Micheál MacLiammóir (1899-1978), two Englishmen who had met touring in Ireland with Anew McMaster's acting company. Edwards was a singer and established Shakespearian actor, and MacLiammóir, actually born Alfred Michael Willmore, had been a noted child actor, then a graphic artist, student of Gaelic, and enthusiast of Celtic culture. Taking their company’s name from Peter Godfrey’s Gate Theatre Studio in London, the young actors' goal was to produce and re-interpret world drama in Dublin, classic and contemporary, providing a new kind of theatre in addition to the established Abbey and its purely Irish plays. Beginning in 1928 in the Peacock Theatre for two seasons, and then in the theatre of the eighteenth century Rotunda Buildings, the two founders, with Edwards as actor, producer and lighting expert, and MacLiammóir as star, costume and scenery designer, along with their supporting board of directors, gave Dublin, and other cities when touring, a long and eclectic list of plays. The Dublin Gate Theatre produced, with their imaginative and innovative style, over 400 different works from Sophocles, Shakespeare, Congreve, Chekhov, Ibsen, O’Neill, Wilde, Shaw, Yeats and many others. They also introduced plays from younger Irish playwrights such as Denis Johnston, Mary Manning, Maura Laverty, Brian Friel, Fr. Desmond Forristal and Micheál MacLiammóir himself. Until his death early in 1978, the year of the Gate’s 50th Anniversary, MacLiammóir wrote, as well as acted and designed for the Gate, plays, revues and three one-man shows, and translated and adapted those of other authors. -
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. -
Ballets Russes Press
A ZEITGEIST FILMS RELEASE THEY CAME. THEY DANCED. OUR WORLD WAS NEVER THE SAME. BALLETS RUSSES a film by Dayna Goldfine and Dan Geller Unearthing a treasure trove of archival footage, filmmakers Dan Geller and Dayna Goldfine have fashioned a dazzlingly entrancing ode to the rev- olutionary twentieth-century dance troupe known as the Ballets Russes. What began as a group of Russian refugees who never danced in Russia became not one but two rival dance troupes who fought the infamous “ballet battles” that consumed London society before World War II. BALLETS RUSSES maps the company’s Diaghilev-era beginnings in turn- of-the-century Paris—when artists such as Nijinsky, Balanchine, Picasso, Miró, Matisse, and Stravinsky united in an unparalleled collaboration—to its halcyon days of the 1930s and ’40s, when the Ballets Russes toured America, astonishing audiences schooled in vaudeville with artistry never before seen, to its demise in the 1950s and ’60s when rising costs, rock- eting egos, outside competition, and internal mismanagement ultimately brought this revered company to its knees. Directed with consummate invention and infused with juicy anecdotal interviews from many of the company’s glamorous stars, BALLETS RUSSES treats modern audiences to a rare glimpse of the singularly remarkable merger of Russian, American, European, and Latin American dancers, choreographers, composers, and designers that transformed the face of ballet for generations to come. — Sundance Film Festival 2005 FILMMAKERS’ STATEMENT AND PRODUCTION NOTES In January 2000, our Co-Producers, Robert Hawk and Douglas Blair Turnbaugh, came to us with the idea of filming what they described as a once-in-a-lifetime event. -
2. Ipostases of the Choreographic Dialogue 1
DOI: 10.2478/RAE-2019-0018 Review of Artistic Education no. 17 2019 171-182 2. IPOSTASES OF THE CHOREOGRAPHIC DIALOGUE 153 Cristina Todi Abstract: The analysis of the aesthetic face of dance brings to our forefront the fascination for the movement on many artists who experienced the movement and, above all, explored the possibilities of kinetic art or movement movement. In its most elevated form, dance contains not only this element but also the infinite richness of human personality. It is the perfect synthesis of the abstract and the human, of mind and intellect with emotion, discipline with spontaneity, spirituality with erotic attraction to which dance aspires; and in dance as a form of communication, it is the most vivid presentation of this fusion act that is the ideal show. Key words: Arts, ballet, dance, dialogue, aesthetic 1. Introduction The Evolution of the Syncretic Dialogue between Choreography, Theatre, Music, Literature and Visual Arts We shall initiate an approach of the discourse regarding the historical evolution of choregraphic dialogue, even from the age when this artistic genre started to assume clear contours, rather from the 17th century. Without excluding the importance of the previous periods in history, the 17th and the 18th centuries are considered to be the starting points of dance for amusement. This was often dedicated to ceremonies or entertainment. In approaching these moments, the increased attention towards the aesthetic expression and the manner in which beauty was intensified, sometimes even at the expense of the real, is notable. Moreover, the technicality under which theatrical ballet was formulated in its demonstrative forms, full of technical charge, although arid in ideas or expression that reach the sensitive cords of the viewer. -
A Thousand Encores: the Ballets Russes in Australia
PUBLICITY MATERIAL A Thousand Encores: The Ballets Russes in Australia CONTACT PRODUCTION COMPANY flaming star films 7/32 George Street East Melbourne 3002 Tel: +61 3 9419 8097 Mob: +61 (0)417 107 516 Email: [email protected] EXECUTIVE PRODUCER Sharyn Prentice WRITER / DIRECTOR Mandy Chang PRODUCERS Marianne Latham / Lavinia Riachi EDITOR Karin Steininger Ballets Russes dancer Anna Volkova as the Golden Cockerel in Fokine's Le Coq d'Or A Thousand Encores: The Ballets Russes in Australia SHORT SYNOPSIS A Thousand Encores is the story of how the greatest ballet company of the 20th Century - the celebrated Ballets Russes, came to Australia and awoke a nation, transforming the cultural landscape of conservative 30’s Australia, leaving a rich legacy that lasts to this day. EXTENDED SYNOPSIS A Thousand Encores tells the surprising and little known story of how, over 70 years ago, an extraordinary company of dancers made a deep impact on our cultural heritage. In 1936, the celebrated Ballets Russes de Monte Carlo stepped off a boat into the bright Australian sunlight. With exotic sets and costumes designed by cutting edge-artists and avant-garde music by great composers like Stravinsky, the Ballets Russes inspired a nation and transformed our cultural landscape. Over five years from 1936 to 1940 they came to Australia three times, winning the hearts and minds of Australian audiences, inspiring a generation of our greatest artists - Grace Cossington Smith, Jeffrey Smart and Sidney Nolan - and ultimately sowing the seeds for Australian ballet today. The story is bought alive using a rich archival resource. Australia has the biggest collection of Ballets Russes footage in the world and an impressive photographic record - the most famous pictures taken by a young Max Dupain. -
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. -
Reviving Ballet in the Nineteenth Century: Music, Narrative, and Dance in Delibes's Coppélia by Arthur E. Lafex Submitted To
Reviving Ballet in the Nineteenth Century: Music, Narrative, and Dance in Delibes’s Coppélia By Copyright 2013 Arthur E. Lafex Submitted to the graduate degree program in Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Master of Music. ________________________________ Chairperson Alicia Levin ________________________________ Paul R. Laird ________________________________ David Alan Street Date Defended: April 15, 2013 The Thesis Committee for Author (Arthur E. Lafex) certifies that this is the approved version of the following thesis: Reviving Ballet in the Nineteenth Century: Music, Narrative, and Dance in Delibes’s Coppélia ________________________________ Chairperson Alicia Levin Date approved: April 15, 2013 ii Abstract Léo Delibes (1836-1891) wrote ballet scores that have inspired composers and have entertained generations of ballet lovers. His scores have been cited for their tunefulness, appropriateness for their narrative, and for their danceability. However, Delibes remains an obscure figure in music history, outside the musical canon of the nineteenth century. Likewise, his ballet music, whose harmonic resources are conventional and whose forms are variants of basic structures, has not received much scholarly and theoretical attention. This thesis addresses Delibes’s music by examining his ballet score for Coppélia, its support of narrative and also its support of dance. Chapter 1 begins with a historical view of ballet and ballet music up to the time of Delibes. Following a biographical sketch of the composer, a review of aspects of the score for Giselle by his mentor, Adolphe Adam (1803-1856) establishes a background upon which Delibes’s ballets can be considered. -
Le Ballet Romantique
Emmanuel Thiry Histoire de la danse 9 Art chorégraphique et langages : -Art chorégraphique et dramaturgie -Art chorégraphique et scénographie XIXe, LE ROMANTISME Le courant romantique naît en Allemagne dans le domaine littéraire avec Goethe et Schiller durant la deuxième moitié du XVIIIe siècle, et notamment entre 1766 et 1773, période de crise romantique appelée Sturm und Drang (orage et passion) qui va marquer aussi la musique de Haydn et Mozart. Le romantisme s’étend ensuite dans toute l’Europe et tous les arts. En France, la révolution marque une rupture dans la tradition artistique qui engendre une forme de romantisme avec de nouvelles valeurs, la liberté et l’égalité. De plus, le monde est en pleine mutation avec la révolution industrielle. Les machines remplacent progressivement le travail manuel. 1. L ’ art romantique est marqué par: Une réaction contre le XVIIIe siècle, siècle des lumières, des capacités intellectuelles et des connaissances acquises. La sensibilité prend le pas sur la raison. L’expression des sentiments s’impose au détriment de la simple beauté formelle ( Turner, Géricault Le radeau de la méduse). Une indépendance des artistes à l’égard des conventions admises, avec parfois une critique du pouvoir en place ( Goya la famille de Charles IV , Delacroix la liberté guidant le peuple) Le culte de l’individu, l’individu devient matière de l’art avec Chateaubriant (cf aussi Berlioz: Symphonie fantastique). Delacroix: « le sujet, c’est toi-même ». Schubert dans la belle meunière ou le Voyage d'hiver. Les sources d’inspiration qui ne vont plus vers l’Antiquité grecque ou romaine mais vers le dépaysement, la littérature étrangère, le fantastique, les visions oniriques ( Goya le sabbat des sorcières, Blake Dieu comme un architecte, Ballets du XIXe). -
Eva Evdokimova (Western Germany), Atilio Labis
i THE CUBAN BALLET: ITS RATIONALE, AESTHETICS AND ARTISTIC IDENTITY AS FORMULATED BY ALICIA ALONSO A Dissertation Submitted to the Temple University Graduate Board in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY by Lester Tomé January, 2011 Examining Committee Members: Joellen Meglin, Advisory Chair, Dance Karen Bond, Dance Michael Klein, Music Theory Heather Levi, External Member, Anthropology ii © Copyright 2011 by Lester Tomé All Rights Reserved iii ABSTRACT In the 1940s, Alicia Alonso became the first Latin American dancer to achieve international prominence in the field of ballet, until then dominated by Europeans. Promoted by Alonso, ballet took firm roots in Cuba in the following decades, particularly after the Cuban Revolution (1959). This dissertation integrates the methods of historical research, postcolonial critique and discourse analysis to explore the performative and discursive strategies through which Alonso defined her artistic identity and the collective identity of the Cuban ballet. The present study also examines the historical context of the development of ballet in Cuba, Alonso’s rationale for the practice of ballet on the Island, and the relationship between the Cuban ballet and the European ballet. Alonso defended the legitimacy of Cuban dancers to practice ballet and, in specific, perform European classics such as Giselle and Swan Lake. She opposed the notion that ballet was the exclusive patrimony of Europeans. She also insisted that the cultivation of this dance form on the Island was not an act of cultural colonialism. In her view, the development of ballet in Cuba consisted, instead, of an exploration of a distinctive Cuban voice within this dance form, a reformulation of a European legacy from a postcolonial perspective. -
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. -
Cesare Pugni: KONIOK GORBUNOK, ILI TSAR-DEVITSA Le Petit Cheval Bossu, Ou La Tsar-Demoiselle the Little Humpbacked Horse, Or the Tsar-Maiden
Cesare Pugni: KONIOK GORBUNOK, ILI TSAR-DEVITSA Le Petit Cheval bossu, ou La Tsar-Demoiselle The Little Humpbacked Horse, or The Tsar-Maiden Cesare Pugni: KONIOK GORBUNOK, ILI TSAR-DEVITSA Le Petit Cheval bossu, ou La Tsar-Demoiselle The Little Humpbacked Horse, or The Tsar-Maiden A Magical Ballet in 4 Acts and 7 Scenes Scenario and Choreography by Arthur Saint-Léon after Petr Pavlovich Yershov Music by Cesare Pugni Edited and Introduced by Robert Ignatius Letellier Cesare Pugni: KONIOK GORBUNOK, ILI TSAR-DEVITSA Le Petit Cheval bossu, ou La Tsar-Demoiselle The Little Humpbacked Horse, or The Tsar-Maiden Edited and Introduced by Robert Ignatius Letellier This book first published 2012 Cambridge Scholars Publishing 12 Back Chapman Street, Newcastle upon Tyne, NE6 2XX, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2012 by Robert Ignatius Letellier and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-3568-4, ISBN (13): 978-1-4438-3568-8 Cesare Pugni in St Petersburg. A photograph from 1868 TABLE OF CONTENTS Introduction................................................................................................................. ix No. 1 Introduction.........................................................................................................2 -
Flávio Sampaio
2 Flávio Sampaio Paracuru 2013 3 Copyright, 2013, Flávio Sampaio Título original – Balé Passo a Passo Contatos do autor: [email protected] Rua Raimundo Moreira Lima 72 – Centro 62680-000 - Paracuru-Ce Produção Editorial - Flávio Sampaio Projeto da Capa - Alexandro Santiago Traduções - Meg Lia Lima Revisão - Daniele Oliveira 4 Aos Meninos e Meninas de Paracuru que não sabiam como era a dança, mas a quiseram dançar 5 Agradecimentos Á Heloisa Sampaio pelo título desse livro Thaís Gonçalves pela leitura e pelos conselhos 6 Á Jane Blauth Querida mestra Toinha Xavier Uma amizade iluminada Dennis Gray A memória de um grande artista Tatiana Leskova Muitas coisas preciosasvocêmeensinou Cássia Navas Cujo trabalho pela dança admiro a duas décadas David Linhares E seu empenho em trazer mais visibilidade a dança cearense Dalal Achcar Proporcionou a muitos bailarinos brasileiros a oportunidade de aprender 7 Agradecimentos Á José do ValeFeitosa e Tereza Feitosa pelas conversas inspiradoras Helder Gurgel pelas palavras amigas em momentos precisos 8 “Não há coisa tão necessária aos homens quanto à dança. Todos os desastres da espécie humana e as desgraças fatais de que está cheia a história, as torpezas dos políticos, os erros dos grandes capitães, tudo isso vem da falta de habilidade na dança”. Molière 9 Á Paracuru, berço e referência de tantos dos valores que carrego pela vida, omeu amor incontestável 10 INTRODUÇÃO O trabalho do bailarino não é somente o trabalho atlético, exige a cada dia outros conhecimentos do campo do saber para resolver dificuldades sempre maiores. É um trabalho que se inicia quando ele ainda é muito jovem e que, exatamente por causa do treinamento longo e rigoroso, provoca com frequência o sacrifício de uma formação intelectual pessoal.