A beautiful gift book packed with pictures from over twenty productions from the year 2018-19 at The Royal Ballet - a richly illustrated companion to The Royal Ballet company.

Dame Beryl's life is defined by her love of dance. Both as a ballerina and an Artistic Director she helped make British ballet the powerhouse it is today. Knowing and working with virtually everyone in dance, she reveals fascinating insights into the people, characters and institutions that made up world dance in the 20th century. Grey began her dancing career with the Sadler's Wells Ballet in 1943 at the unprecedented early age of 14. Her natural virtuosity saw her quickly promoted, dancing her first Giselle at 17, and Princess Aurora at 19. Dame Beryl was the first English ballerina to dance at the Bolshoi and the Kirov, as well as the Peking Ballet. Asked to become Artistic Director of what is now English National Ballet, her love of dance allowed her to navigate the tricky passage from ballerina to leader of a dance company. This autobiography proves a fascinating and personal insight into and extraordinary woman, her life and career.

Beginning Ballet and the accompanying web resource introduce students to the study of ballet as a performing art and provide instructional support in learning foundational ballet technique. Part of Human Kinetics' Interactive Dance Series, Beginning Ballet is for students enrolled in a beginning ballet class at the college, university, or high school level. The book features more than 80 photos and concise descriptions covering basic foot and arm positions, barre exercises, and centre combinations. Beginning Ballet introduces students to the structure of a ballet class, including expectations, etiquette, and attire. Students also learn how to prepare for class, maintain proper nutrition and hydration, and avoid injury. This text outlines the unique history of ballet from its beginnings in the Renaissance to the 21st century and discusses the styles, aesthetics, artists, and significant works that have shaped ballet as a performing art. In addition, the accompanying web resource presents more than 70 instructional video clips and 50 photos to help students learn and practice beginning ballet. The web resource also includes an interactive quiz, audio clips of ballet terms with pronunciation in French, and assignments. The quiz covers vocabulary of beginning ballet, definitions, and translation to and from the French language. (The web resource is included with all new print books and some ebooks. For ebook formats that don't provide access, the web resource is available separately.) Ballet class provides the foundation for learning the dance form, and Beginning Ballet supports that learning through visual, verbal, and interactive instructional tools. Beginning Ballet text and web resource help bring the grace, artistry, and mental and physical benefits of ballet to students. Beginning Ballet is a part of Human Kinetics' Interactive Dance Series. The series includes resources for modern dance, ballet, and tap dance that support introductory dance technique courses taught through dance, physical education, and fine arts departments. Each student-friendly text includes a web resource offering video clips of dance instruction, assignments, and activities. The Interactive Dance Series offers students a guide to learning, performing, and viewing dance.

Yolande Duvernay was born in poverty in Paris in 1812. Under the control of a formidable stage mother, she became a celebrated ballerina - the favourite dancer of Princess Victoria - renowned for her beauty, grace, and provocative style on stage. Sold for sexual assignations from puberty, she gave birth to two children and became the mistress of a succession of men. When she became the mistress of Stephens Lyne Stephens, son and heir of the richest commoner in England, her mother was rewarded with over a million pounds in today's money. There was a massive scandal a few years later when she manipulated Stephens into marriage, and when he died, he left her a life interest in his entire fortune. With an annual income worth more than six million pounds today, she became the wealthiest woman in England - even richer, it was said, than Queen Victoria. While her husband's will was placed in the infamous Court of Chancery and lawyers began to pore over every word, Yolande seduced the British military attache in Paris. With an eye on her fortune, General Claremont took charge of her financial affairs, and soon he and his wife were sharing her wealthy lifestyle in a barely disguised menage-a-trois. Jenifer Roberts unearths this fascinating story of sex, scandal and money, and proves that truth really can be stranger than fiction.

Appalachian Spring, with music by Aaron Copland and choreography by Martha Graham, counts among the best known American contributions to the global concert hall and stage. In the years since its premiere-as a dance work at the Library of Congress in 1944-it has become one of Copland's most widely performed scores, and the Martha Graham Dance Company still treats it as a signature work. Over the decades, the dance and the music have taken on a range of meanings that have transformed a wartime production into a seemingly timeless expression of American identity, both musically and visually. In this Oxford Keynotes volume, distinguished musicologist Annegret Fauser follows the work from its inception in the midst of World War II to its intersections with contemporary American culture, whether in the form of choreographic reinterpretations or musical ones, as by John Williams, in 2009, for the inauguration of President Barack Obama. A concise and lively introduction to the history of the work, its realization on stage, and its transformations over time, this volume combines deep archival research and cultural interpretations to recount the creation of Appalachian Spring as a collaboration between three creative giants of twentieth-century American art: Graham, Copland, and Isamu Noguchi. Building on past and current scholarship, Fauser critiques the myths that remain associated with the work and its history, including Copland's famous disclaimer that Appalachian Spring had nothing to do with the eponymous Southern mountain region. This simultaneous endeavor in both dance and music studies presents an incisive exploration this work, situating it in various contexts of collaborative and individual creation.

The Struggle of the Magicians. Choreographed and staged by Georg Gurdjieff for the first time more than a century ago, this ballet became a magnet attracting thousands of spiritually disillusioned men and women to performances in Europe and the U.S. after WW I, then it simply vanished from sight after WW II. Its reappearance in print commemorates the birthday of Mr. Gurdjieff 131 years ago (Jan 13, 1872)

Title: The Sleeping Beauty Composer: Pyotr Ilyich Tchaikovsky Original Publisher: Muzgiz Act II & Act III of Tchaikovsky's complete ballet, The Sleeping Beauty, Op. 66. Performer's Reprints are produced in conjunction with the International Music Score Library Project. These are out of print or historical editions, which we clean, straighten, touch up, and digitally reprint. Due to the age of original documents, you may find occasional blemishes, damage, or skewing of print. While we do extensive cleaning and editing to improve the image quality, some items are not able to be repaired. A portion of each book sold is donated to small performing arts organizations to create jobs for performers and to encourage audience growth.

Bachelor Thesis from the year 2011 in the subject Theater Studies, Dance, grade: 1st, University Of Wales Institute, Cardiff, course: BA (Hons) Dance, language: English, abstract: This study investigates, through a detailed movement analysis of several choreographic works, whether Hofesh Shechter has created a new technique within contemporary dance today. The analysis utilises elements from both Adshead's (1988) model for movement analysis and Stinson's (2006) model for choreography: however adapting elements to consider the form and provide an evaluation through an external observation. In conclusion this study has revealed that irrespective of era; 'Art cannot be divorced from life - it is of life's essence. The central subject matter of all art is emotional value not fact. The art which expresses emotional values in movement is dance. So to dance one must study and explore and know movement' H'Doubler (1998, pxxix)

Vaslav Nijinsky was unique as a dancer, interpretive artist, and choreographic pioneer. His breathtaking performances with the Ballet Russe from 1909 to 1913 took Western Europe by storm. His avant-garde choreography for The Afternoon of the Faune and The Rite of Spring provoked riots when performed and are now regarded as the foundation of modern dance. Through his liaison with the great impresario Diaghilev, he worked with the artistic elite of the time. During the fabulous Diaghilev years he lived in an atmosphere of perpetual hysteria, glamor, and intrigue. Then, in 1913, he married a Hungarian aristocrat, Romola de Pulszky, and was abruptly dismissed from the Ballet Russe. Five years later, he was declared insane. The fabulous career as the greatest dancer who ever lived was over. Drawing on countless people who knew and worked with Nijinsky, Richard Buckle has written the definitive biography of the legendary dancer.

The internationally acclaimed new book that takes you behind the scenes to reveal how ballet really happens: In a scuffed-up studio, a veteran dancer transmits the magic of an eighty-year-old ballet to a performer barely past drinking age. In a converted barn, an indomitable teacher creates ballerinas as she has for more than half a century. In a monastic mirrored room, dancers from as near as New Jersey and as far as Mongolia learn works as old as the nineteenth century and as new as this morning. Snowflakes "zooms in on an intimate view of one full season in the life of one of America's top ballet companies and schools: Seattle's Pacific Northwest Ballet. But it also tracks the Land of Ballet to venues as celebrated as New York and Monte Carlo and as seemingly ordinary as Bellingham, Washington and small-town Pennsylvania. Never before has a book taken readers backstage for such a wide-ranging view of the ballet world from the wildly diverse perspectives of dancers, choreographers, stagers, teachers, conductors, musicians, rehearsal pianists, lighting directors, costumers, stage managers, scenic artists, marketers, fundraisers, students, and even pointe shoe fitters--often in their own remarkably candid words. The book follows characters as colorful as they are talented. Versatile dancers from around the globe team up with novice choreographers and those as renowned as Susan Stroman, Christopher Wheeldon, and Twyla Tharp to create art on deadline. At the book's center is Peter Boal, a former New York City Ballet star in his third year as PNB's artistic director, as he manages conflicting constituencies with charm, tact, rationality and diplomacy. Readers look over Boal's shoulder as he makes tough decisions about programming, casting, scheduling and budgeting that eventually lead the calm, low-key leader to declare that in his job, "You have to be willing to be hated." "Snowflakes" shows how ballet is made, funded, and sold. It escorts you front and center to the kick zone of studio rehearsals. It takes you to the costume shop where elegant tutus and gowns are created from scratch. It brings you backstage to see sets and lighting come alive while stagehands get lovingly snarky and obscene on their headsets. It sits you down in meetings where budgets get slashed and dreams get funded--and axed. It shows you the inner workings of "Nutcracker, " from kids' charming auditions to no-nonsense marketing meetings, from snow bags in the flies to dancing snowflakes who curse salty flurries that land on their tongues. It follows the tempestuous assembly of a version of "Romeo and Juliet" that runs afoul of so much pressure, disease, injury, and blood that the dancers begin to call it cursed. "Snowflakes" uncovers the astounding way ballets, with no common form of written preservation, are handed down from generation to generation through the prodigious memories of brilliant athletes who also happen to be artists. It visits cattle-call auditions and rigorous classes, tells the stories of dancers whose parents sacrificed for them and dancers whose parents refused to. It meets the resolute woman who created a dance school more than fifty years ago in a Carlisle, Pennsylvania barn and grew it into one of America's most reliable ballerina factories. It shows ballet's appeal to kids from low-income neighborhoods and board members who live in mansions. Shattering longstanding die-for-your-art cliches, this book uncovers the real drama in the daily lives of fiercely dedicated artists in slippers and pointe shoes-and the musicians, stagehands, costumers, donors and administrators who support them. "Where Snowflakes Dance and Swear: Inside the Land of Ballet" brings readers the exciting truth of how ballet actually happens.

Serge Oukrainsky was born in 1885, in Odessa, Russia. He trained in Paris with Ivan Clustine and first appeared as a mime at the Theatre du Chatelet in 1911. He danced with Pavlova's company from 1913 to 1915 as both soloist and one of Pavlova's partners, and occasional costume designer. After leaving the company he moved to Chicago, where he formed the Pavley-Oukrainsky Ballet with his partner Andreas Pavley, and from 1917 was also principal dancer, choreographer and director of the Chicago Opera Ballet until 1927, at the same time establishing with Andreas Pavley the Pavley-Oukrainsky School of Ballet. Oukrainsky moved to California in 1927, where he served as ballet master to the San Francisco and Los Angeles operas until 1931. After Pavley's mysterious death in 1931 he formed the Serge Oukrainsky Ballet, and began to teach in Hollywood in 1934. He died in 1972. His book tells the story of his early life and initial training and of his dancing career and sometimes difficult relationship with Pavlova.

First published in 1944, this classic book remains the definitive work on the masterpiece of the Romantic Ballet, Giselle. The book is in two parts, the first dealing with the original 1841 production, the second with technical and critical aspects of the ballet. Part I charts the evolution of the Romantic Ballet, and then gives a detailed description of the original production of Giselle, including a synopsis and accounts of the settings, costumes and creators of the original roles. Part II describes the stage action - the steps, gestures and the meanings they express - and analyses the interpretation of the roles. The book concludes with a survey of dancers who won fame for their performances as Giselle and as Albrecht.

"Piano Adagios 1" is the companion songbook for Fariborz Lachini's CD of the same name. Lachini's compositional style is sometimes categorized as neo-romantic although he prefers to call it light classical. His music has a unique powerful emotional content that speaks to the listener without the words. Requiem for a Love Butterfly in Snow Unafraid Blossom New Beginnings Enigmatic Heart Crossing Unwritten Letter Sad Ballerina Flying Dream Dinner by Candlelight Blue Orchids Only Sound Remains Emerging from theClouds Across theWaves

ISMN: 979-0-706060-05-7 Corresponding MP3s: http: //www.amazon.com/Piano-Adagios-1/dp/B0043WK4VQ Single Sheet Music or complete eBook, compatible with Kindle/iPad/other eBook readers, in PDF format is available from artist's official website for download using your same amazon.com account: http: //www.lachini.com