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Books > Arts & Architecture > Performing arts > Dance > Ballet
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.
The Everyday Dancer is a new and honest account of the business of
dancing from a writer with first hand experience of the profession.
Structured around the daily schedule, The Everyday Dancer goes
behind the velvet curtain, the gilt and the glamour to uncover the
everyday realities of a career in dance. Starting out with the
obligatory daily 'class', the book progresses through the
repetition of rehearsals, the excitement of creating new work, the
nervous tension of the half hour call, the pressures of performance
and the anti-climax of curtain down. Through this vivid portrait of
a dancer's every day, Deborah Bull reveals the arc of a dancer's
life: from the seven-year-old's very first ballet class, through
training, to company life, up through the ranks from corps de
ballet to principal and then, not thirty years after it all began,
to retirement and the inevitable sense of loss that comes with
saying goodbye to your childhood dreams.
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.
Peter Wright has been a dancer, choreographer, teacher, producer
and director in the theatre as well as in television for over 70
years. _x000D_ In Wrights & Wrongs, Peter offers his often
surprising views of today's dance world, lessons learned - and yet
to learn - from a lifetime's experience of ballet, commercial
theatre and television.
From renowned photographers Ken Browar and Deborah Ory, the
husband-and-wife team behind The Art of Movement, comes this book
for fans of dance and fashion alike; it features today s greatest
dancers wearing couture creations from today s most celebrated
designers, and takes the relationship between fashion and dance as
its subject. Leaping, spinning, lifting, and gliding, the
astonishing dancers featured in these pages use the movement of
their bodies to reflect and magnify the craft and artistry inherent
in the clothes they re wearing. Whether a hot-off-the-runway
couture gown from Oscar de la Renta or a Halston-designed costume
pulled from the archives of the Martha Graham Dance Company, the
dancers in these pages including Tiler Peck, Misty Copeland, Angelo
Greco, Devon Teuscher, Charlotte Landreau, Daniil Simkin, and
Calvin Royal III elevate the clothes they are wearing. Taking the
viewer on a transcendent journey from the quotidian world of pointe
shoes and barre class to a world of impossible beauty and glamour.
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.
Mastering the pas de deux-or "step of two"-requires more than just
physical proficiency; it demands genuine commitment between
dancers. Respect, patience, and etiquette matter just as much as
technique. The best partners communicate effectively through
breath, eye contact, and musical cues. In Experiencing the Art of
Pas de Deux, professional dance couple Jennifer Kronenberg and
Carlos Miguel Guerra demystify the physical, emotional, and
artistic intricacies behind the art of two dancing as one.
Experienced principal dancers and ballet instructors, Kronenberg
and Guerra disclose key components of partnering work often
overlooked in classes, such as how to build and maintain the
connections necessary for a trusting relationship and thus a
successful team. Their combined explanations illuminate
choreographic work from both a male and female perspective and
detail the responsibilities of each partner. With step-by-step
instructions for proper posture, lifts, jumps, turns, and even
dance conditioning, each chapter's lesson includes personal
anecdotes, offering a more intimate look at how partners can
support one another during practices and performances.
Additionally, QR code-accessible videos provide brief
demonstrations that more fully illustrate newer and complex
movements. Offering expert technical pointers and honing in on the
secrets to forming successful interpersonal bonds, Kronenberg and
Guerra's firsthand look at this "art form within an art form" will
allow dancers in every genre to discover the inner workings of the
finest and most memorable partnerships.
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)
On Technique provides a fascinating look into the careers and
teaching philosophies of eighteen of the world's most respected
ballet masters, principals, and artistic directors. Author Dean
Speer sat down with prominent ballet pedagogues and asked each a
standard set of questions, including 'What do we mean when we say
someone has beautiful technique?' and 'How did you become a
dancer?'. Featuring such artists as Peter Boal (artistic director
of the Pacific Northwest Ballet) and Bene Arnold (first ballet
mistress of the San Francisco Ballet), this volume offers
fascinating insights into the nature of both performance and
artistic instruction. Speer's approach reveals sometimes surprising
convergences among these world-class talents, despite their varying
pedagogical backgrounds and divisions.
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)
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.
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