An irresistible inside look at one of the world's great dance companies, Winter Season is also a sensitive, intimate, and almost painfully honest account of the emotional and intellectual development of a young woman dedicated to one of the most demanding of all the arts. Bentley's association with the New York City Ballet began when she was accepted by the affiliated School of American Ballet at the age of eleven. Seven years later, she became a member of the company. In the fall of 1980, as the winter season opened, she found herself facing an emotional crisis: her dancing was not going well. At 22 she felt that her life had lost direction. To try to make something of her experience, on paper if not on stage, she began to keep a journal, describing her day-to-day activities and looking back on her past. The result is perhaps the closest that most of us will ever come to knowing what it feels like to be a dancer, on stage and off. It also offers memorable glimpses of some notable members of the City ballet, with, at the center, the man whose vision they all served--George Balanchine.

"Pas de Deux" has been widely regarded as the foremost existing textbook on the art of partnering. First published in 1969 in Russian by one of the world's most respected experts on partnering, the original book was created for the Vaganova Ballet Academy in St. Petersburg, the school that produced Pavlova and Nijinsky. This expanded edition contains new text, sketches, and photographs that describe 32 new poses and lifts, along with new information about strengthening exercises and balance points. It is adaptable to instruction based on the Royal Academy of Dancing and the Cecchetti methods, making it invaluable for teachers and dancers of all three major methodologies. Beginning with simple exercises for young dancers, the comprehensive text guides students, teachers, and choreographers safely to complex lifts and tosses. The instruction is useful to all forms of dance, including ballet, jazz, modern dance, ballroom dancing, and ice dancing.

From Christiane Vaussard in Paris, to David Howard in New York City and Larisa Sklyanskaya in San Francisco, Gretchen Warren profiles ten world-renowned master ballet teachers to capture their philosophies, training methods and the classroom presence that makes their instruction magical. Based on extensive interviews and classroom observation, each profile is an entertaining and enlightening mix of personal anecdotes and details about teaching techniques, class content and organisation. Warren also includes a section of signature exercises drawn from each teacher. Because of the master teacher's diversity of styles and methods, as well as their occasional disputes with traditional wisdom, the book offers a brisk stimulant for reflecting on the values of developing and holding true to one's own style and beliefs. Warren combines her years of experience as a dancer and master ballet teacher and her engaging writing style to create a living history of 20th-century classical ballet training. Like their legions of students, readers should appreciate not only these teachers' philosophies, their endless curiosity and their devotion to ballet, but also what distinguishes them. As Warren observes, ""A great teacher, like a great chef, is a master at presentation, at making something - even something as painstakingly difficult as the study of classical ballet - so palatable that students swallow without hesitation. And do so joyfully!"".

In the history of twentieth-century ballet, no company has had so profound and far-reaching an influence as the Ballets Russes. Under the direction of impresario extraordinaire Serge Diaghilev (1872-1929), the Ballets Russes radically transformed the nature of ballet--its subject matter, movement idiom, choreographic style, stage space, music, scenic design, costume, even the dancer's physical appearance. From 1909 to 1929, it nurtured some of the greatest choreographers in dance history--Fokine, Nijinsky, Massine, and Balanchine--and created such classics as "Les Sylphides, Firebird, Petrouchka, L'Apres-midi d'un Faune, Les Noces," and "Apollo." Diaghilev brought together some of the leading artists of his time, including composers Stravinsky, Debussy, and Prokofiev; artists Picasso, Braque, and Matisse, and poets Hoffmansthal and Cocteau. "Diaghilev's Ballets Russes" is the most authoritative history of the company ever written and the first to examine it as a totality--its art, enterprise, and audience. Combining social and cultural history with illuminating discussions of dance, drama, music, art, economics, and public reception, Lynn Garafola paints an extraordinary portrait of the company that shaped ballet into what it is today.

"Every commercial ballet teacher should have a copy. . . . offers solid self-evaluation to every teacher--it separates 'the mice and the Nutcracker' "--Richard J. Sias, dancer, choreographer, and associate professor of ballet, Florida State University "The contribution to the dance world is immense. . . . should be read by all teachers of dance as well as students in preparatory schools and colleges. . . . Mr. White challenges us to reexamine what we have accepted as excellence in the past and to push beyond that to find what is possible."--Patricia Walker, founder and director, Children's Ballet Theatre of New Hampshire "A service of great importance for any artist wishing to pursue a career in dance. . . . applicable to both experienced and inexperienced dancers and teachers. It gives guidelines to the art of teaching ballet where none existed before."--Charles Flachs, principal dancer, Nashville Ballet From his experience of 40 years in ballet as a student, performer, ballet master, and dedicated teacher, John White offers this work of inspiration and step-by-step instruction on the art and craft of teaching classical dance. Stressing excellence in both the creative and the practical aspects of teaching, White discusses what it means to be a "master teacher"--someone with both a deep love for dance and an appreciation for the grandeur of the human spirit. Good art is usually uncomplicated, he says. Illustrating with 97 photographs, he presents a method of study that includes such aspects of teaching as constructive warm-up exercises, when to begin pointe shoes, the beneficial aspects of pain, and appropriate music for the classroom, as well as elements of the basic lesson. He discusses how to recognize talent and to refine and develop it. He offers guidelines for establishing and organizing a well-run studio. And he presents his personal insights into the art of classical ballet pedagogy--shaped in particular by his study with ballet masters from the Kirov and Bolshoi ballet companies and by concepts from the famous Vaganova Choreographic School in St. Petersburg. The book also confronts the controversial issue of the widespread mediocrity that is notorious in dance schools. Poor training often brings about the loss of talented students and the premature forced retirement of professional artists from unnecessary injuries. By contrast, White says, good teaching can be an exhilarating challenge and a profound joy. John White is codirector of the Pennsylvania Academy of Ballet, located in a Philadelphia suburb, which he opened with his wife in 1974. He has been a soloist and the ballet master of the Ballet Nacional de Cuba and the head instructor and interim ballet master of the Pennsylvania Ballet Company. Since 1980 he has conducted seminars for dance teacers, training more than 400 teachers during this time. In addition, he was a contributing editor and writer for Ballet Dancer Magazine.

Long out of print, the three beautiful volumes contained here offer the modern reader a rare opportunity to see Vaslav Nijinsky, Anna Pavlova, and Isadora Duncan through the eyes of their contemporaries and admirers, and to share the excitement they were causing at the height of their careers. Originally published in conjunction with the Ballet Society, founded by George Balanchine and Lincoln Kirstein, the books present essays, reviews, memoirs, photographs, and sketches, many of which are had to find elsewhere. These books are companions to the art of Nijinsky, Pavlova, and Duncan, providing insights that are essential for a complete picture of the dancers' achievements. Nijinsky: The six appreciations collected here illuminate Nijinsky's genius and character, and thirty pages of photographs portray his every move and gesture with singular fidelity. This book features Edwin Denby's famous essay, "Notes on Nijinsky Photographs," as well as an intimate account by Robert Edmond Jones of his collaboration with Nijinsky on "Til Eulenspiegel," the dancer's last work before the onset of madness. Pavlova: This volume captures the intangible personal qualities that made Anna Pavlova one of the most charismatic ballerinas of all time. An autobiographical sketch, "Pages of My Life," reveals her intense striving for perfection. Following this are excerpts from Carl Van Vechten's critique on Pavlova's performance at the Met,the first major study of the Russian dance in the United States. Finally, the brilliant commentary by poet Marianne Moore that accompanies photographs of Pavlova aids the reader to reconstruct the unique nature of Pavlova's style and technique. Isadora Duncan: The career of Isadora Duncan remains, fifty years after her death, one of the indestructible legends of the theatre. She is a beacon to women everywhere, to all American dancers, and especially to those who dance solo. Included here are the comments of Carl Van Vechten on the occasion of Isadora Duncan's first Carnegie Hall concert. John Martin analyzes her style and contribution to dancing. A poem by Gordon Braig and a memoir by Allan Ross Macdougall, who worked with Duncan, bring the incandescent Isadora to stunning life.

London during the Blitz was a time of hardship, heroism and hope. For Gillian Lynne - a budding ballerina - it was also a time of great change as she was evacuated from war-torn London to a crumbling mansion, where dance classes took place in the faded ballroom. Life was hard, but her talent and dedication shone through and an astonishing journey ensued, which saw Gillian dancing a triumphant debut in Swan Lake, performing in the West End with doodlebugs falling and touring a devastated Europe entertaining the troops. A Dancer in Wartime paints a vivid and moving picture of what life was really like during the hard years of the Blitz and brings to life a lost world.

A beautiful gift book packed with pictures from over twenty productions from the year 2017-18 at The Royal Ballet - a richly illustrated companion to The Royal Ballet company.

This addition to the Royal Ballet Yearbook series includes extra editorial features and exclusive behind-the-scenes content - in addition to the usual selection of beautiful ballet images. This lavish book opens with a Welcome note by Royal Ballet Director Kevin O'Hare, followed by the company's news and promotions. There follows numerous superb photographs of the 2017-18 Season, which included a tribute to choreographer Kenneth MacMillan, marking the 25th anniversary of his death. As well as featuring well-known starts such as Natalia Osipova, Lauren Cuthbertson and Steven McRae, it also includes images of newer members and visiting companies such as Alvin Ailey Dance Theater. Finally the Yearbook offers lively and informative articles, including an article on the company's history by Sarah Crompton. The addition of rehearsal shots and headshots of the entire company make this is a richly illustrated companion to The Royal Ballet, its history, repertory, dancers and staff.

The Royal Ballet Yearbook series is back, with extra editorial features and exclusive behind-the-scenes content - in addition to the usual selection of beautiful ballet images. Featuring lavish photographs of last Season's performances, a special preview of the new Season and lively and informative articles, The Royal Ballet 2016/17 is a richly illustrated companion to The Royal Ballet, its history, repertory, dancers and staff.

Insights and guidelines for teaching the best students "Not since Noverre and Fokine has a master teacher sought to clarify the present state of ballet. The goals John White sets for each level of training, the psychological philosophies he sets forth for teachers, the emphasis on a positive approach to teaching and forming relationships with students and parents can be read over and over again throughout a teacher's career."--Charles Flachs, Massachusetts Academy of Ballet "It has been an inestimable privilege to have worked with John White for more than ten years. This book, along with his first, provides an outstanding opportunity for generations of teachers to learn from him as well. Bravo "--Michele MacDonald, St. Louis Center of Creative Arts Staying true to the Russian Academy of Ballet (St. Petersburg) pedagogy he has taught for forty years, "Advanced Principles in Teaching Classical Ballet" is a continuation of the work John White began in his first book. Designed for teachers, company directors, and advanced dancers, the book explores the importance of disciplined dancing, choreography, acting, conditioning, and performance. White's writing style is as straightforward as he is unyielding in his insistence on excellence. White also confronts serious issues dealing with the future of classical ballet and what is needed to maintain its rightful place as an important theater art. He argues that theatergoers with high expectations deserve nothing less than masterful choreography performed by superior dancers. Decidedly not a primer, "Advanced Principles in Teaching Classical Ballet" is a must-read for anyone serious about teaching and performing ballet. John White, former soloist and ballet master of the Ballet Nacional de Cuba and interim ballet master of the Pennsylvania Ballet Company, is codirector of the Pennsylvania Academy of Ballet.

Written with the full backing and expertise of the renowed Royal Academy of Dancing and following new international examination syllabus, this is a completely new edition of the bestselling BALLET CLASS. From the basic positions of the feet to exercises for the mostadvanced grades. STEP-by-STEP BALLET CLASS is an essential companion for everyone who is learning ballet. It gives a comprehensive selection of exercises taken from each of the examination grades, beginning with Pre-Primary and working up to Grade Five, the most advanced. Clear step-by-step illustrations and explanatory text take the dancer through each exercise in turn and there are checklists of important points to remember. Topics such as how to find a good ballet school, dressing for dance and taking an examination are also included. This important new book will ensure that dancers of all ages get the most out of their ballet tuition, both in and out of the classroom.

The Ballets Russes was perhaps the most iconic, yet at the same time mysterious, ballet company of the twentieth century. Inspired by the unique vision of their founder Sergei Diaghilev, the company gained a large international following. In the mid-twentieth century - during the tumultuous years of World War II and the Cold War - the Ballets Russes companies kept the spirit and traditions of Russian ballet alive in the West, touring extensively in America, Europe and Australia. This important new book uncovers previously-unseen interviews and provides insights into the lives of the great figures of the age - from the dancers Anna Pavlova and Alicia Markova to the choreographers Leonide Massine, George Balanchine and Anton Dolin. The dancers' own words reveal what life was really like for the stars of the Ballets Russes and provide fascinating new insights into one of the most vibrant and creative groups of artists of the modern age.

History is fiction and personal identity nothing more than historical illusion: Eleanora Antinova is the renowned US contemporary artist Eleanor Antin - Eleanor Antin is Eleanora Antinova, a black American ballerina. Shifting the boundaries between art and life this book publishes the exciting memoirs of Antinova found by Eleanor Antin. The ballerina Eleanora Antinova could be called an artist of oblivion. Years ago, the contemporary artist and femininist Eleanor Antin, found an unpublished manuscript of the ballerina's memoirs: the stories of her early modernist forgotten ballets, her romantic entanglements and her friends at the glamorous Ballet Russe with its great maestro, Serge Diaghilev. Generations later Eleanor Antin lived for three weeks in New York as Antinova. Her journal of that time brings back the now forgotten ballerina. For the first time this publication brings together the journal and the memoirs of Antin and Antinova accompanied by a selection of photographs from the performances of the artists..

This volume reproduces the piano score of the ballet La Source, a joint composition by Ludwig Minkus and Leo Delibes.After the success of Nemea (1864), the Paris Opera ordered a new grand ballet from the famous choreographer Arthur Saint-Leon to a libretto based on a Persian legend by Charles Nuitter. Saint-Leon involved his musical collaborator in St Petersburg, Ludwig Minkus, in the project, securing for him a hand in the composition of the first and fourth scenes of the of this new work, La Source, a fantastic ballet in three acts. The composition of the other two scenes (the second and third) were entrusted to the young, unknown Leo Delibes, thirty at the time, who had drawn favourable attention to himself in the preparation of the ballet music for the premiere of Meyerbeer's posthumous L'Africaine in 1865. The first performance of La Source was on 12 November 1866 at the Theatre Imperial de l'Opera, with the principal dancers Guglielmina Salvioni (Naila), Eugenie Fiocre (Nouredda) and Louis Merante (Djemil). The ballet as a whole was very successful, with 73 performances until 1876. Saint-Leon immediately began planning another work with Nuitter and Delibes-Coppelia-one which would crown the young French's composer's success with triumph. This was premiered on 25 May 1870, the last of Saint-Leon's work, and the last great success of the French Romantic ballet at the Salle Le Peletier before the crisis of the Franco-Prussian War, and the end of the Second Empire.As regards the music of La Source, Delibes's contribution to the score, his first essay at ballet music, was noted for its vigour and many delightful melodies. In Jouvin's opinion, his music was "vivacious and especially lively," and contrasted effectively with the plaintive melodies of Minkus. "The style of the two composers," observed the critic of La France Musicale (18 November 1866), "is essentially different and easily recognizable at a first hearing. M. Minkus's music has a vague, indolent, and melancholic character, full of grace and languor. That of M. Delibes, fresher and more rhythmic, is much more complicated in orchestration, and sometimes a little more ordinary. I should add that this difference in style is perfectly justified by the: contrasting character of the two parts of the ballet."

Cesare Pugni was born in Genoa on 31 May 1802, and studied in Milan from 1815 to 1822, with Antonio Rollo and Bonifazio Asioli. He became a cymbalist in the theatre orchestra, and on the death of Vincenzo Lavigna, was appointed musical director. He later moved to Paris where he became director of the Paganini Institute and met the great choreographers of the time. He started an artistic collaboration that was to prove one of the most productive in the history of ballet-working closely with Jules Perrot (1810-1892), first in Paris, then in London. Here Pugni presented some of the most renowned ballets of the 19th century, such as Esmeralda (1844) and the Pas de Quatre (1845), which still find their place in some modern repertories. He also worked with Arthur Saint-Leon (1821-1870), Paolo Taglioni (1808-1884), Marius Petipa (1818-1910), and some of the greatest dancers of the century. Pugni followed Perrot to Russia and became official composer of the Imperial theatres in St Petersburg where he composed new ballets, notably Doch' Faraona (Pharaoh's Daughter) (1862) and Koniok Gorbunok (The Little Humpbacked Horse) (1862). His most famous collaboration, with Marius Petipa, dominated these years, lasting until the composer's death on 26 January 1870. Pugni is remarkable for his enormous output of some 300 ballets (either original compositions or in arrangements). Arthur Saint-Leon, famous for Coppelia with Leo Delibes (1870), created The Little Humpbacked Horse to the music of Cesare Pugni for the Imperial Ballet (today the Maryinsky Ballet). The story of Koniok Gorbunok is based on the popular fairy-tale by Petr Yershov (1834), and tells of the spectacular deeds of Ivanushka with the help of the magical Little Humpbacked Horse. The scenario is notable for its humour as well as its fantasy. The ballet is of particular interest as being the first to be based on themes from Russian folklore, a particular interest of Saint-Leon, who chose the subject and the source, and devised the scenario himself. The first performance was on 13 December 1864 at the Imperial Bolshoi Kamenny Theatre in St. Petersburg. The Emperor Alexander II attended the premiere, a great and enduring success. Marius Petipa revived the ballet in 1895 as The Tsar-Maiden for the dancer Pierina Legnani. The work lived on for many years in the repertory of the Imperial Ballet (given in St Petersburg over 200 times), a success continued in Soviet times at the Kirov Ballet, and also the Bolshoi Theatre in Moscow in a version by Alexander Gorsky (1901). Alexander Radunsky choreographed his own version of this ballet to a score by Rodion Shchedrin for the Bolshoi Ballet in 1960, a version of which was filmed with Maya Plisetskaya as the Tsar-Maiden and Vladimir Vasiliev as Ivanushka. In 2009 Alexei Ratmansky choreographed a new version for the Maryinsky Ballet, also using Shchedrin's score. A reconstruction of Saint-Leon's original was filmed in 1989 for Russian television with graduates from the Vaganova Academy of Russian Ballet in the lead roles. The film included narrated sections and illustrations from a popular 1964 Russian edition of Yershov's book.