To see the other types of publications on this topic, follow the link: Ballet history.
Journal articles on the topic 'Ballet history'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Ballet history.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Răvdan, Geta-Violeta. "The beauty of choreographic genius – Oleg Danovski, proponent of the national ballet repertoire." Theatrical Colloquia 11, no. 2 (November 26, 2021): 82–101. http://dx.doi.org/10.2478/tco-2021-0022.
Full textAbstract:
Abstract A prominent figure in national ballet, Oleg Danovski is one of the personalities of 20th century ballet. He gave the world a vast repertoire consisting of classical, neoclassical, modern ballets, Romanian ballets, and divertimentos for operas. Despite his success with classical ballet staging that would make him famous abroad, the choreographer also turned his attention to folklore, by addressing specific local themes. Thus, through this desire to study and stylize the folk dance, he brought an important contribution to the Romanian cultivated dance, from which the image of the Romanian character dance would stem. He was devoted to the idea of Romanian ballet theater and he advocated for original music for ballet, a national repertoire and the development of the Romanian ballet school. His Romanian creations are precious pages of the history of Romanian ballet that should not be forgotten, and that have enormously contributed to the enrichment of the original choreographic repertoire.
2
Robinson, Harlow. "The Caucasian Connection: National Identity in the Ballets of Aram Khachaturian." Nationalities Papers 35, no. 3 (July 2007): 429–38. http://dx.doi.org/10.1080/00905990701368670.
Full textAbstract:
The ballets of Aram Khachaturian (1903-1978) occupy a special place in the history of Soviet ballet and of Soviet music. Considered along with Dmitri Shostakovich and Sergei Prokofiev as one of the leaders of Soviet music, Khachaturian devoted many years to the creation of ballet, although in the end he produced only three ballet scores: Schast'e [Happiness], completed in 1939; Gayane, completed in 1942; and Spartak [Spartacus], completed in 1954. Of these three, Gayane and Spartacus (both repeatedly revised) were notably successful, both immediately acclaimed as important new achievements in the development of an identifiably Soviet ballet style. Taken on tour abroad by the Bolshoi Ballet in a revised version, Spartacus also became one of the most internationally successful ballets written by a Soviet composer, although it never came close to equaling the international recognition eventually achieved by Prokofiev's Soviet ballets Romeo and Juliet or Cinderella. Gayane was not widely staged outside the USSR, but some of the music from the ballet, arranged into three orchestral suites by the composer, became very popular internationally—particularly the “Sabre Dance,” which became the single most recognized piece of Khachaturian, recycled repeatedly in Hollywood film scores.
3
Grutsynova, A. P. "FRENCH BALLET AT THE END OF THE XIXTH CENTURY (JAVOTTE, 1896)." Arts education and science 1, no. 1 (2020): 86–94. http://dx.doi.org/10.36871/hon.202001011.
Full textAbstract:
The article is devoted to the Camille Saint-Saëns ballet Javotte. This ballet is considered in the context of the development of the French choreographic theater of the late XIXth century. The author briefly reviews the history of the productions of Javotte in different cities (Lyon, Royan, Paris) and specifies the information about the authors of the choreography in each version. Based on critical responses related to performances at the turn of the century, it is proved that the tradition of playing male roles by travesty dancers was not common even at that time. The performance of the role of Jean in the ballet Javotte by male dancer confirms this thesis (Lyon, 1896 — Jean Soyer de Tondeur; Paris, 1909 — Léo Staats). It is concluded that the plot of the ballet continues the tradition of the comic ballet, while musically (along with many scores of other French ballets) it starts a series of ballets of the XXth century, striving for miniaturization and unity of musical development. The article uses a rare graphic material that visualizes the production of Javotte.
4
Kokaev, Alan T. "“Khetag” ballet and the formation of the Ossetian tradition of ballet art." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА, no. 4 (2022): 133–50. http://dx.doi.org/10.35852/2588-0144-2022-4-133-150.
Full textAbstract:
The first Ossetian ballet Khetag by D. S. Khakhanov was staged by the teacher and soloist of the Bolshoi Theatre, A. G. Zakalinsky in 1979. Careful analysis enabled the author to evaluate the nature of the synthetic approach that helped to combine the principles of national music and classical dance technique. The reconstruction of the first production of Khetag is based on interviews with participants of the first performance, which was present for only two seasons (1979/1980 and 1980/1981), and reveals the main characteristics of the Ossetian ballet theatre. This theater pays special attention to the role and significance of national dance, which determines the regional specificity of choreographic and musical components. New facts and detailshave made it possible to reconstruct the history of the first professional Ossetian ballet Khetag in the context of heroic-romantic ballets withthe national theme,which is based on the folklore of the North Caucasian region and reflects the national culture. The history of the Khetag ballet is closely linked to the history of the North Ossetia musical theatre’s ballet troupe. The education of national dancers in North Ossetia, Kabardino-Balkaria and Dagestan is placed in a joined historical and cultural context. This allowsone to make the conclusion that in the Caucasian region, national choreographic art dominates the ballet theatre’s stage because it manifests the most important features of national mentality and cultural identity.
5
Steichen, James. "The American Ballet's Caravan." Dance Research Journal 47, no. 1 (April 2015): 69–94. http://dx.doi.org/10.1017/s0149767715000066.
Full textAbstract:
This article chronicles the formation and first season of the dance company Ballet Caravan (1936–1940) with a special focus on the role of Lincoln Kirstein in the troupe's founding. This account of the Caravan's early history draws upon an array of primary sources to offer new perspectives on the company's relationship to modern dance circles and its parent organizations (the American Ballet and School of American Ballet, co-founded by Kirstein and George Balanchine in 1934). It traces Ballet Caravan's touring activities during 1936 (including its debut at Bennington College) and details ballets created for the company by Lew Christensen, Eugene Loring, and William Dollar, as well as previously unknown early choreographic work by Erick Hawkins. This account reveals that Ballet Caravan was initially conceived of neither as a dancer-driven initiative nor a deliberate attempt by Kirstein to pursue an American artistic agenda (as it has been previously understood by scholars), but rather was a practical response to institutional crises in the larger Balanchine–Kirstein ballet enterprise. The American Ballet and Ballet Caravan thus reveal themselves in 1936 as more contiguous than distinct, sharing personnel and aesthetic values, as well as the involvement of Balanchine himself.
6
G.K., Zhumaseitova, Mosienko D.M., Povalyashko G.N., and Saitova G.Y. "Kazakh ballet in the retrospective of the search for national identity." Keruen 75, no. 2 (June 10, 2022): 259–71. http://dx.doi.org/10.53871/2078-8134.2022.2-22.
Full textAbstract:
Abstract. Scientific understanding of the process of formation and development of the national ballet genre is relevant for the study of modern choreographic art. In the era of globalization, it is important to take steps to preserve the individuality of the national culture and support its iconic phenomena. The study of Kazakh ballet will reveal the peculiarities of the formation of choreographic art in the interaction of national tradition and classical ballet. The Ballet Theater of Kazakhstan of the twentieth century, although formed on the basis of the Russian ballet school, but it managed to preserve its national identity. Kazakhstan ballet has gone through difficult periods of development. The analysis of this phenomenon on the example of its history of formation will provide answers to many questions of the development of national choreographic art. Cultural-historical, comparative, biographical methods were used in the work on the study.Folk dance in Kazakhstan, due to the development of nomadic culture, has not preserved the established traditions and ancient samples of dance culture. This is seen as one of the reasons for the lack of a world-class national production in the repertoire of ballet theaters. Characterizing the main features of the development of the genre, it is concluded that the Kazakh ballet does not yet have a long history on stage: the success of the premieres is further replaced by the loss of the performance from the repertoire. To date, an exemplary ballet performance, unconditionally recognized as national, has not been created.Creative processes in the national ballet theater are active, starting from the first experiments of combining the movements of Kazakh games and rituals with classical dance to the creation of choreographic miniatures and ballets. Interest in ballet has not faded to this day, which confirms the appearance of new premieres.
7
Bührle, Iris Julia. "Three Hamlet ballets from World War II to the Ukrainian crisis." Cahiers Élisabéthains: A Journal of English Renaissance Studies 102, no. 1 (March 31, 2020): 69–86. http://dx.doi.org/10.1177/0184767820913797.
Full textAbstract:
Breaking with a tradition of action-filled ballets with a heroic protagonist, a number of 20th- and 21st-century choreographies of Hamlet have probed the psychological and political themes of William Shakespeare’s tragedy. Inspired by theatre and film productions, choreographers have also used the medium’s visual language to comment on Shakespeare’s text and open up its interpretive potentialities. This article analyses three adaptations: Robert Helpmann’s 1942 version for the Sadler’s Wells Ballet, Kenneth MacMillan’s 1988 Sea of Troubles for six former Royal Ballet dancers, and Radu Poklitaru and Declan Donnellan’s iconoclastic 2015 Hamlet for Moscow’s Bolshoi Ballet.
8
Vagero, Anton, and Nina V. Pilipenko. "The Imposter by Jurgis Karnavicius: A Ballet-Fantasy on a Historical Plot." Contemporary Musicology 8, no. 1 (2024): 104–28. http://dx.doi.org/10.56620/2587-9731-2024-1-104-128.
Full textAbstract:
One of the first Lithuanian composers to work in the genre of ballet was Jurgis Karnavičius (1884–1941). In 1928 he introduced a choreographic scene based on his tone poem The Lithuanian Rhapsody, that engaged interest in the genre of ballet among Lithuanian composers. Afterwords Karnavičius composed four full-length ballets that were offered to a variety of European theatres. Unfortunately, due to the events of World War II, there had not been any production of the ballet organized. Fortunately, the musical material of the ballet was preserved, including The Imposter (1940). The libretto written by Elena Pavlovna France is based on historical events in Russian history of the first decade of the 17th century — the beginning of the Time of Troubles. The main characters of the ballet are the future tsar-imposter False Dmitry I and Marina Mniszech, whose fates are tied to both Russian, Polish and Lithuanian history. The ballet was influenced by the works of great Russian composers, such as Boris Godunov by Modest Mussorgsky and A Life for the Tsar by Mikhail Glinka, most specifically, their “Polish acts.” At the same time, The Imposter added new plot motives that allow us to see the uprising of False Dmitry from a different perspective. Karnavičius’ ballet continues to be preserved in the Lithuanian Archive of Literature and Music up to the present day. The hope remains that these materials shall not only be published, but also performed.
9
Amgalanova, Mariya Viktorovna, and Xian Yang. "HISTORY OF THE CHINESE BALLET ORIGIN." Вестник Восточно-Сибирского государственного института культуры 176 (December 28, 2023): 80–88. http://dx.doi.org/10.31443/2541-8874-2023-4-28-80-88.
Full textAbstract:
The history of the Chinese ballet has been more than 70 years. The So-viet ballet masters and artists who introduced the normative (performing) and scientific component of classical dance into the Chinese ballet educational sys-tem occupy a significant place in its formation and development. This allowed not only to maintain the rigor of classical ballet, but also to demonstrate the possibilities of representing traditions and specific features of the Chinese cul-ture.
10
Chisholm, Sheila, and Temple Hauptfleisch. "Dances in the park: The pre-history of the Maynardville Open Air Theatre." Shakespeare in Southern Africa 34, no. 1 (January 3, 2022): 23–34. http://dx.doi.org/10.4314/sisa.v34i1.3.
Full textAbstract:
There is a popular belief that Cape Town’s Maynardville Theatre was founded in 1955, and first used in 1956, as the brainchild of the two professional actresses Cecilia Sonnenberg and René Ahrenson. While this is true of the Shakespeare-in-the-Park productions over the years, the use of Maynardville as a performance venue dates back to 1950 and the efforts of Margaret Molteno, the Athlone Committee for Nursery School Education and the University of Cape Town Ballet Company. This article traces the evolution of the popular theatre venue from the first production of a triple bill (comprising Les Sylphides, St Valentine’s Night and Les Diversions) in a makeshift theatre in the Maynardville Park grounds in 1950, to the introduction of Shakespeare in 1956, and ultimately the outdoor theatre of today with its annual Shakespeare and ballet productions. The Shakespearean history is already well-documented, so this article focuses more specifically on the somewhat forgotten role played by ballet productions in that history. The article includes a short history of the original property and the creation of the public park, as well as a full list of the ballets and plays performed at Maynardville since 1950.
11
Gaub, Albrecht. "Walter Kaufmann and the Winnipeg Ballet: A Fruitful Collaboration Soon Forgotten." Les Cahiers de la Société québécoise de recherche en musique 14, no. 2 (March 13, 2014): 89–99. http://dx.doi.org/10.7202/1023743ar.
Full textAbstract:
The early years of the Royal Winnipeg Ballet (RWB), the era of its founding director Gweneth Lloyd (1901–1993), remain a “dark age” because in 1954, all possessions of the company perished in a fire. Earlier attempts at writing the history of this institution, such as Max Wyman’s book The Royal Winnipeg Ballet: The First Forty Years (Toronto, Doubleday, 1978) and Jeff McKay and Patti Ross Milne’s documentary film 40 Years of One Night Stands (2008), suffer from a general neglect of the music used by the company. The RWB mounted several ballets to original music, typically by Canadian composers. Walter Kaufmann (1907–1984), a German-Jewish composer exiled after 1934, living in Canada from 1947, and appointed conductor of the Winnipeg Symphony Orchestra in 1948, received commissions for Visages, an abstract ballet for the company’s tenth anniversary in January 1949, and The Rose and the Ring, a “children’s Xmas ballet” (RWB), first performed in December of the same year. Creation, aesthetics, and reception of these ballets are evaluated on the basis of Kaufmann’s surviving autograph scores at Indiana University in Bloomington and of contemporaneous documents, especially press reviews and, in the case of Visages, a documentary film by the National Film Board of Canada, Ballet Festival (1949). Visages was immediately hailed as a major artistic achievement and remained a staple of the RWB’s repertory until the 1954 fire. The RWB showcased Visages at the Canadian Ballet Festivals in Toronto (1949) and Montréal (1950), drawing praise from renowned critic Anatole Chujoy, and regularly presented it on its tours, including one to Washington, D.C. (1954). Referring to Anna Blewchamp’s reconstruction to Lloyd’s ballet The Wise Virgins, which was also lost in the 1954 fire, chances for a revival of Visages are assessed.
12
Максимова, Александра Евгеньевна. "“Count Castelli” by Ivan Walberch: Ballet to the Combined Music." Музыкальная академия, no. 3(771) (September 30, 2020): 96–103. http://dx.doi.org/10.34690/88.
Full textAbstract:
В статье представлен балет первого русского хореографа И. Вальберха «Граф Кастелли» на музыку нескольких авторов: С. Давыдова, В. Мартин-и-Солера, Дж. Сарти. Поставлена проблема специфики балетов на сборную музыку. Освещена история создания и исполнения сочинения, изучено оригинальное либретто балета. Рассмотрена редкая рукопись - комплект оркестровых голосов, воссоздан композиционный план балета. Установлено авторство Сарти и Мартин-и-Солера в двух номерах балета, определены цитированные фрагменты. The article presents I. Walberch’s ballet “Count Castelli” to the music of several authors: J. Sarti, V. Martin-y-Soler, S. Davydov. The problem of peculiarities of ballets for combined music is posed. The history of the creation and production of the composition is covered, the libretto of the composition and the plot of the ballet are found and studied. A rare source, a handwritten set of orchestraL voices, is considered, the compositional plan of the ballet is restored. The authorship of Sarti and Martin-y-Soler in two ballet numbers is established, the initial sources of fragments are determined.
13
Grutsynova, Anna P. "SAINT PETERSBURG BALLET OF THE 1840S: COLLABORATION OF F. TAGLIONI AND A.-CH. ADAM." Arts education and science 4, no. 37 (2023): 70–80. http://dx.doi.org/10.36871/hon.202304070.
Full textAbstract:
The article is devoted to the ballets staged in Saint Petersburg by Filippo Taglioni to the music of Adolphe-Charles Adam for the famous romantic dancer Maria Taglioni (“The Daughter of the Danube” (“La Fille du Danube”), “The Sea Robber” (“L’Ecumeur de mer”). The article analyses the history of the creation of these works. The author addresses the issues of the ballets’ existence on the Saint Petersburg stage in the first half of the XIXth century and traces the further stage history of these ballets. Particular attention is paid to the music of the ballets, which in Saint Petersburg was often performed in an orchestral version by the musician rather than the author. The article notes the existence of ballet music in Saint Petersburg in the XIXth century outside of stage production (in the form of published piano scores of entire claviers and separate ballet dances). Based on the conducted analysis, the author comes to the conclusion that the emergence of the tradition of publishing musical material from ballets was associated with the brief activity in Russia of A.-Ch. Adam. When writing the article, the author used the material from numerous critical articles published in periodicals of the XIXth century.
14
Maximova, Alexandra E. "The Beauties and the Beasts: The Storylines of André Grétry’s Operas in Russian Ballet." Contemporary Musicology 8, no. 2 (2024): 10–27. http://dx.doi.org/10.56620/2587-9731-2024-2-010-027.
Full textAbstract:
In Russia the music of André Ernest Modeste Grétry acquired its fame during the times of Empress Catherine the Great and Emperor Paul. His theatrical works were performed with great success by the artists of the French Court Troupe, the Free Russian Theater, the serfs’ theater of the Sheremetev’s, and the female wards of the Smolny Institute. Rare editions and manuscript copies of Grétry’s copies are preserved in numerous Russian libraries. Most of them contain the ballets (among them, Les marriages samnites [The Samnite Marriages], Le comte d’Albert [Count d’Albert], Panurge dans l’île des lanternes [Panurge on the Island of Lanterns], and Raoul Barbe-bleue [Raoul Bluebeard]). The opera Céphale et Procris ou l’amour conjugal [Cephale and Procris or Conjugal Love] is provided with the subtitle of ballet héroique (heroic ballet), while Zemire et Azor” is dubbed сomédie-ballet, which makes it possible to ascribe these compositions to the genre of opera-ballet. In addition, the storylines of Grétry’s operas served as a basis for the creation of two ballets produced in the imperial theaters in the court of Emperor Alexander I. It is Raoul Barbe-bleue ou le danger de curiosité [Raoul Bluebeard, or the Danger of Curiosity] (1807) staged to the music of Catterino Cavos with the choreography of Ivan Valberkh and Henzi et Tao, ou La belle et la bête [Henzi and Tao or Beauty and the Beast] (1819) produced by Charles Didelot to the music of Fernando Antonolini. The article provides information about the history of the creation and performance of ballets, demonstrates the similarities and the differences between the storylines of original operas and their new versions. The connection between the productions of the ballets in Grétry’s opera Henzi et Tao, ou La belle et la bête and the ballets Kenzi and Tao and Henzi and Tao produced by Didelot on the stages of Europe and Russia at times. For the first time Didelot’s libretto for the “grand Chinese ballet” set to the music of Cesare Bossi (premiered on May 14, 1801 at the “Haymarket” Royal Theater in London) has been translated from English into Russian by the author of the article. The problem of the ballet “doppelgangers” and the revisions of well-known theatrical works is examined in the article.
15
Nikiforova, Larisa, Anastasiia Vasileva, and Mayumi Sakamoto de Miasnikov. "Black Dancers and White Ballet: Case of Cuba." Arts 12, no. 2 (April 15, 2023): 81. http://dx.doi.org/10.3390/arts12020081.
Full textAbstract:
Throughout the XX century, the hard-fought battle of blacks and dark-skinned dancers to perform the classical repertoire on professional stages (including “white ballets”) was a part of the struggle for citizens’ equality. Cuba is a clear example of creating a national ballet school in a country where the fight for social equality was closely connected with overcoming racial segregation. But some researchers have noted that the majority of dancers in the Ballet Nacional de Cuba belong to the Caucasoid phenotype, which means they do not represent the Cuban nation which includes a large variety of phenotypes. We pose the question in what way is the history of Cuban ballet and the artistic experience of its founders connected with the struggle of blacks to have professional dancing careers, and is there actually racial discrimination in Cuban ballet? We demonstrate that the Alonso triumvirate was a good indicator of the problem: Alicia and Fernando as performers, and Alberto Alonso as a choreographer, participated in a cultural movement directed at the rebirth of Cuban identity, they performed African American dances, and they worked together with George Balanchine, who adapted black dance and invited black dancers into his company. However, due to various reasons and circumstances, Alicia Alonso, first for herself and then for the Nacional ballet school and theatre, took a different path, that of entering, on equal footing, the domain of classical ballet, of European art in its essence, in which the white aesthetic is inherent. We would like to demonstrate that the main explanation of the paradox of Cuban ballet became the aesthetic dictatorship of the classics, the dictatorship within “white ballet” which is accepted voluntarily. Classical ballet is an art of subordination to rules and images that are thought of as absolute pinnacles.
16
Kupets, Lyubov A. "“New Ballet Criticism” (1993–2003) About “Soviet” Ballet: Forms of Cultural Recycling." Problemy muzykal'noi nauki / Music Scholarship, no. 4 (December 2023): 22–34. http://dx.doi.org/10.56620/2782-3598.2023.4.022-034.
Full textAbstract:
In post-Soviet Russia ballet criticism, similar to opera criticism, has an almost 30-year-old history, but the period perceived as the brightest and most significant is the first period, spanning the 1990s and the early part of the first decade of the 21st century. For this New Ballet Criticism (as it has been labelled by Vadim Gaevsky), as a part of New Russian Music Criticism (as defined by Olga Manulkina and Pavel Gershenzon), a number of features have become normative: provocative styles and titles, a demythologization of works and of choreographers, the use of comparisons with mass culture in narratives, and ironic subtext. Similar to opera, political discourse has become important in ballet receptions of that time. Reviews of Soviet-era ballet productions (as well as other types of performance) often refer to the main elements of Soviet mass art — Soviet films, as well as symbols of the totalitarian culture, such as sculpture and ideological materials. The styles and headlines exploit numerous Sovietisms that are familiar and recognizable by the audience. Just like in opera reviews, the recent “Soviet” element in ballet receptions is synthesized with Soviet mass culture and fashionable trends in the country via the cult of Western cinema and the influence of domestic and foreign literary, scholarly and epistolary texts. But unlike opera criticism, ballet narratives clearly record the diversity of genres of “Soviet” ballet (ranking Sergei Prokofiev and Dmitri Shostakovich among them); ballets since 1961 have been interpreted as a transformation of the “Soviet” element under the influence of George Balanchine’s choreography; the concept of “Soviet choreography” also implies the unreachable, for example, in the embodiment of heroic moods and the creation of mass scenes. Four forms of cultural recycling in ballet receptions are identified: recycling, recycling à la ballet, double recycling and quasi-recycling.
17
Zhou, Kanhe. "The relationship between Ballet Body and Professional Ballet - the History, System and Future behind Ballet." Journal of Education, Humanities and Social Sciences 21 (November 15, 2023): 248–65. http://dx.doi.org/10.54097/ehss.v21i.14013.
Full textAbstract:
The paper delves into the stringent physical standards set for professional female ballet dancers worldwide, commonly termed as the "ideal ballet body". This concept largely emphasizes the physical appearance of dancers, such as long limbs, small head, and a specific proportion between the leg and upper body lengths. While it's acknowledged that this "ideal" is mostly a fantastical standard, professional ballet institutions in different countries respond variably. Using Russia and China as examples, the paper underscores their focus on recruiting dancers whose physiques align closely with this ideal. In contrast, the American professional ballet system is explored for its broader and more holistic approach to recruitment, beyond the "ideal" physique. The paper then offers an in-depth exploration across three chapters: a comparative look at how countries prioritize the "ideal ballet body"; an analysis of the pros and cons of these systems; and, finally, a discussion on the role and future of China's ballet system based on interviews.
18
Xinheng, Chen. "THE HISTORY OF THE CREATION OF THE BALLET "THE WHITE-HAIRED GIRL"." Arts education and science 1, no. 4 (2021): 85–91. http://dx.doi.org/10.36871/hon.202104011.
Full textAbstract:
The article is devoted to the history of the creation of the ballet "The White-Haired Girl", which was included among the "exemplary productions" during the Chinese Cultural Revolution. The plot of the ballet, based on class contradictions between landowners and peasants, has folklore origins: first it appeared in the novel, then the first national Chinese opera was created, later adapted for cinema and became the basis for the ballet. The ballet "The White-Haired Girl" was commissioned by Chinese leadership. It includes the historical facts of the class struggle and shows the formation of a personality ready to resist exploitation and fight for freedom for all. The ballet's music, composed by Yan Jinxuan, also includes revolutionary folk songs and numbers taken from the opera of the same name. Compared to the opera, the ballet enhances revolutionary features in the characters. The choreography harmoniously combines classical ballet pas with the characteristics of Chinese folk dance and martial arts. The ballet "The White-Haired Girl" is performed with ongoing success since its inception in 1965 to the present day and is rightly considered a "red classic" with a high ideology and artistry.
19
Anderson, Jack. "The Enduring Relevance of Léonide Massine." Experiment 17, no. 1 (2011): 256–63. http://dx.doi.org/10.1163/221173011x611941.
Full textAbstract:
Abstract Once the most celebrated of 20th-century ballet choreographers, Léonide Massine (1895-1979) went out of fashion in the 1950’s for a variety of reasons. Now the time has come for renewed interest in this remarkably versatile choreographer who regarded ballet as an art capable of constant expansion in terms of themes, styles, and movement vocabulary. His ballets include works, both serious and comic, about the history and customs of such places as Spain (Le Tricorne), Venice (The Good-Humoured Ladies), and Paris (Gaîté Parisienne), collaborations with Cubists (e.g. Pablo Picasso) and Surrealists (e.g. Salvador Dalí), and choreographic interpretations, often allegorical, of great pieces of symphonic music. Many of these creations could still enrich company repertories today.
20
Daye, Anne. "The Role of Le Balet Comique in Forging the Stuart Masque: Part 1 The Jacobean Initiative." Dance Research 32, no. 2 (November 2014): 185–207. http://dx.doi.org/10.3366/drs.2014.0106.
Full textAbstract:
The prominence of Le Balet Comique in the narrative of Western theatre dance cannot be denied, as every dance history book implies that this performance of 1581 initiated the ballet de cour, while the image of the fugitive gentlemen is reproduced over and over again to represent the work ( McGowan, 2008 , 169). The performance was certainly innovative, but also a development of previous theatre dance in France and Italy. Barbara Sparti questions the basis of the work's fame and places it in a context of earlier Italian dance theatre (2011, 304–322). The impact of the publication in England has not so far been examined. Amongst its many claims to fame, Le Balet Comique was unique in the latter half of the sixteenth century as a publication that brought together information on the performance, costumes, décor, music and dance of a ballet de cour, as well as the planning and intentions of the organisers. The records of other ballets of the period are scattered between published verses, eyewitness accounts, musical scores, costume designs and financial records, most of which remain hidden and uncollated in archives. 1 The following discussion argues for the use of a single text as a model for new invention in dance theatre. In pursuing this argument, it offers new insights, from a dance perspective, illuminating key works that have principally been discussed as texts rather than as performances. Part 1 deals with the exciting period of innovation under the aegis of the first Stuart king, James VI and I.
21
Panova, E. V. "THE BALLET "THE LITTLE HUMPBACKED HORSE" BY CESARE PUGNI: BORROWINGS AND CITATIONS OF MUSIC MATERIAL." Arts education and science 1, no. 4 (2020): 139–48. http://dx.doi.org/10.36871/hon.202004018.
Full textAbstract:
The article is devoted to one of the central works of creative heritage of the composer Cesare Pugni — the ballet "The Little Humpbacked Horse", which premiered on the stage of the Saint Petersburg Imperial Bolshoi (Stone) Theater in 1864 with choreography by Arthur Saint-Leon. "The Little Humpbacked Horse" was one of the ballets that survived the October Revolution of 1917 and was firmly established in the repertoire of Soviet theaters. For more than one hundred years, this work was very popular with the public, but due to the appearance of the ballet of the same name by R. K. Shchedrin, it was performed much less. This article analyzes the musical text of the ballet by C. Pugni on the basis of the clavier "The Little Humpbacked Horse", published during the author's lifetime, and reveals the features of the composer's approach to writing music for choreographic performance. Particular attention in this work is paid to the composer's method of working with musical material. C. Pugni not only skillfully stylizes and enriches the score with the genre features of Russian folklore, but also weaves quotations from popular works by other authors into the original musical fabric. In the ballet "The Little Humpbacked Horse" the composer uses the leitmotif system. In conclusion, the ballets are briefly characterized, which use Russian folk tales or their literary stylizations as the basis for the libretto. The significance of "The Little Humpbacked Horse" as the first choreographic performance in the history of Russian musical theater is assessed, in which such a plot is interpreted.
22
Serov, Yuri. "BORIS TISHCHENKO. THE TWELVE. CREATION HISTORY AND BASIC COMPOSING PRINCIPLES." Globus 7, no. 2(59) (April 4, 2021): 15–18. http://dx.doi.org/10.52013/2658-5197-59-2-3.
Full textAbstract:
The article is devoted to the history of the creation and music score of the ballet Twelve based on the poem by A. Blok by the outstanding Russian composer of the second half of the twentieth century Boris Ivanovich Tishchenko. The ballet was staged by the famous Soviet choreographer Leonid Jacobson back in 1964 and became, in fact, the first avant-garde ballet in the Soviet Union. Critics noted Tishchenko’s bright modern symphonic music and Jacobson’s free plastics, which “became a breath of clean air in the rarefied atmosphere of classical epigonism”.
23
Lebon, Daniel-Frédéric. "Musical Speech Analogy in Ernő Dohnányi’s Der Schleier der Pierrette." Studia Musicologica 56, no. 1 (March 2015): 71–90. http://dx.doi.org/10.1556/6.2015.56.1.3.
Full textAbstract:
Following a brief survey into the history of the ballet d’action, the article examines the techniques of musique parlante Dohnányi used in his pantomime Der Schleier der Pierrette. The subcategories illustrated with music examples include the direct speech imitation (focusing on the syllabic and rhythmic structure of single words) and the musical analogy of the question-answer complex. The analytical overview is extended to further indirect categories such as the recitative-like structures (built up not merely on speech, but on an already emancipated equivalent, the instrumental recitative) and the leitmotif technique which – although being more distant from speech – can, in some cases, still be seen as part of musique parlante. In an attempt to describe the position of Der Schleier der Pierrette in ballet music history, the author addresses Béla Bartók’s reception of Dohnányi’s pantomime and distinguishes the tradition followed by Dohnányi from the denial of musique parlante characteristic of the works Igor Stravinsky composed for the Ballets Russes.
24
Vernyhor, Dmytro. "The Ukrainian Star of World Ballet." Diplomatic Ukraine, no. XX (2019): 794–98. http://dx.doi.org/10.37837/2707-7683-2019-54.
Full textAbstract:
The article deals with the life and career path of Serge Lifar, a Ukrainian world-class dancer, choreographer, theorist of choreography, historian and reformer of the 20thcentury ballet, Honorary President of the UNESCO International Dance Council. Serge Lifar was a prolific artist, choreographer and director of the Paris Opéra Ballet, one of the most preeminent ballet companies in Western Europe. Attention is drawn to the fact that pedagogical activity constituted a significant part of Lifar’s work. In 1947, he founded the French Academy of Dance, from 1955 he taught his-tory and theory of dance at Sorbonne University, having developed his own system of ballet dancers’ training and authored more than 20 works on ballet. In the same year, he was recognized as the best dancer and choreographer in France and was awarded the ‘Golden Shoe’. In 1957, he became the founder and rector of the Paris University of Dance. The author emphasizes that Lifar’s creative heritage is huge. He choreographed more than 200 ballets and wrote 25 books on dance theory. Serge Lifar trained 11 ballet stars. Serge Lifar’s style, which he called choreographic neoromanticism, determined the ways of development of the European ballet art of the second half of the 20th century. At the age of 65, Lifar showed his talent as a visual artist. His heritage includes more than a hundred original paintings and drawings, the main plot of which is ballet, dance, and movement. In 1972–1975, exhibitions of his works were held in Cannes, Paris, Monte Carlo and Venice. His yet another passion was books. It all began with Serhii Diahiliev’s personal archive, which included a collection of theatrical paintings, scenery and a library. Lifar bought it from the French government for a one year’s salary at the Grand Opera. In the USSR, Lifar’s name was concealed. Only in 1961, did he and his wife visit it for the first time as the Soviet authorities did not allow him to stage any ballet in the USSR. He always felt he was Ukrainian and ardently promoted the history and culture of his people. In honour of the outstanding countryman, the Serge Lifar International Ballet Competition and the festival ‘Serge Lifar de La dance’ have been held since 1994 and 1995, accordingly. Keywords: cultural diplomacy, art of artistic vision of choreography, Serge Lifar International Ballet Competition.
25
Haviland, B. "Apollo's Angels: A History of Ballet." Common Knowledge 20, no. 2 (April 1, 2014): 369–70. http://dx.doi.org/10.1215/0961754x-2423043.
Full text
26
Koff, Susan R. "Apollo's Angels: A History of Ballet." Journal of Dance Education 12, no. 1 (January 2012): 26. http://dx.doi.org/10.1080/15290824.2011.629175.
Full text
27
McParland, Shellie I. "Apollo’s Angels: A History of Ballet." Journal of Sport History 40, no. 1 (April 1, 2013): 178–79. http://dx.doi.org/10.5406/jsporthistory.40.1.178.
Full text
28
Susidko, Irina P., and Veronica S. Kalistratova. "International Conference Ballet in Musical Theatre: History and Present Time. An Interview with the Conference Curator Irina P. Susidko." Contemporary Musicology, no. 4 (2022): 4–16. http://dx.doi.org/10.56620/2587-9731-2022-4-004-016.
Full textAbstract:
November 21-25, 2022, the Gnesin Russian Academy of Music hosted a large-scale conference focusing on ballet. The conference took place as part of the strategic academic leadership program Priority 2030 and was effective in meeting its aims and objectives. One of them concerns the consolidation of academic efforts in the most sought-after research avenues. The conference was organized by the Center for Musical Theater Studies established in the Academy earlier this year. For the first time in history the conference was hosted by a consortium of conservatories and research institutes. Among them are the Gnesin Russian Academy of Music, the Moscow State Academy of Choreography, Zhiganov Kazan State Conservatoire, Vaganova Ballet Academy, Rimsky-Korsakov St. Petersburg State Conservatory, Russian Institute of Art History, and the State Institute for Art Studies. Each of the five universities and two research institutes made their contribution to the conference agenda. In total, the conference brought together 200 speakers from eleven countries, including Russia, Azerbaijan, Belarus, Hungary, Greece, Kazakhstan, Serbia, US, Uzbekistan, Switzerland, and Japan. The conference run across six venues in Moscow, St. Petersburg and Kazan and discussed a range of issues in ballet history and state of the art. The key among them are ballet as a synthetic art form; music–gesture–dance: coordination and dialogue; history of ballet; sources, reconstruction of scores and stage plays; choreographers and composers; ballet music in a composer’s oeuvre; compositional poetics in music and dance; conductor and ballet scores; plots, libretto and their literary sources; theatre design and scenography in ballet; dancing in opera; national schools of choreography: similarities and differences; ethnic choreography; music and ballet training; 20th century choreographic experiments; ballet in culture and society (reception and critique). The issue of Contemporary Musicology you are holding features an interview given to Veronika Kalistratova by the Conference curator Prof. Irina P. Susidko, Doctor of Art Studies, Head of the Center for Musical Theater Studies at the Gnesin Russian Academy of Music.
29
Vedernikova, M. A. "Russian ballet on the pages of the magazine “Zhar-ptitsa” (1921–1926)." Neophilology 10, no. 1 (March 15, 2024): 242–50. http://dx.doi.org/10.20310/2587-6953-2024-10-1-242-250.
Full textAbstract:
INTRODUCTION. Monthly literary and artistic illustrated magazine “Zhar-ptitsa”, published from 1921 to 1925. in Berlin, in 1926 – in Paris, is a successor to the traditions of such magazines of the early twentieth century as “World of Art”, “Golden Fleece”, and is of scientific value as an additional source of information on the study of the theatrical life of the Russian Abroad. The purpose of the study is to conduct a detailed analysis of the magazine’s articles related to the creative activities of representatives of Russian ballet in exile.MATERIALS AND METHODS. The basis is taken from digitized versions of the magazine, posted in the public domain on the website “Presidential Library named after B.N. Yeltsin”. All 14 “Zhar-ptitsa” magazines were analyzed. Both articles related to the activities of representatives of Russian ballet in emigration, as well as various types of illustrations: photographs, drawings, reproductions, etc., were studied in detail.RESULTS AND DISCUSSION. It was revealed that in many issues of the magazine there are no articles devoted to Russian ballet, but there are photographs of ballet dancers in stage costumes and images, drawings related to ballet art, reproductions of sketches for ballet performances, which are also of scientific value in the reconstruction of ballet scenography, the study of this period of history. Four issues of the magazine “Zhar-ptitsa”, no. 1, no. 2, no. 10, no. 11, contain articles dedicated to the art of ballet: the work of M.M. Fokina, A.M. Pavlova, E.P. Eduardova, as well as B.G. Romanov and his choreographic group “Russian Romantic Ballet”.CONCLUSION. Despite the abundance of scientific articles devoted to the periodicals of the first wave of Russian emigration, information related to the history of Russian ballet remains poorly studied. The co nducted research introduces into scientific circulation materials dedicated to Russian ballet, and placed on the pages of the periodical of Russian emigration – “Zhar-ptitsa”. It seems promising to further study the journals of Russian emigration for the analysis of articles related to the history of Russian ballet.
30
Huseynli, Lala. "Evolution of Lyrical Image in Ballets of Azerbaijani Composers." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 4, no. 2 (December 3, 2021): 179–87. http://dx.doi.org/10.31866/2616-7581.4.2.2021.245785.
Full textAbstract:
This article is devoted to the study of the evolution of the lyrical image in the ballets of Azerbaijani composers. The presented article emphasizes that the Azerbaijani ballet on the extension of the history of the Azerbaijani school of composition functioned indefinitely as an important component of the Azerbaijani musical culture. The theme of this article is actualized in the aspect of the historical approach, as each ballet of Azerbaijani composers, on the other hand, reflected the significant features of the artistic, historical and cultural context. On the other hand, the study of the evolution of the lyrical image in the Azerbaijani ballets reflects the dynamics of the development of the Azerbaijani school of composition. Moreover, the figurative system in Azerbaijani ballets represents the slender line of artistic connections of Azerbaijani culture. The purpose of the research is to study the role of the lyrical image in the evolution of the Azerbaijani ballet. The research methodology is based is based on the use of a historical approach to determine the basic definitions of the study. The expediency of the historical method is due to the fact that the development in the space of historical time should be based on certain basic categories that would reflect the school of composition, its national specifics. The scientific novelty of the research is that for the first time the peculiarities of the evolution of the lyrical image in Azerbaijani ballets – from its origin to modern functioning – are analyzed; the nuances of style creation in the Azerbaijani school of composers in the specified aspect are considered, and also certain art processes are systematized. Conclusions. It is proved that the combination of deep lyricism with dramatic emotions is characteristic of the transfer of lyricism in the drama of ballets at all historical stages of development, in different stylistic contexts. Lyrical images in the ballets of Azerbaijani composers have similar features and are due to the specific content of the national worldview.
31
Huiyu, Zhang. "Genre Metamorphoses of Modern Chinese Ballet." Университетский научный журнал, no. 75 (August 25, 2023): 67–72. http://dx.doi.org/10.25807/22225064_2023_75_67.
Full textAbstract:
The article discusses genre metamorphoses of modern Chinese ballet. The author notes that the genre of Chinese ballet has undergone signifi cant changes in its relatively short history. Currently, there is a tendency to rethink classical works of opera and cinema in the choreographic aspect. One of the brightest examples of the new ballet genre was the ballet “Raise the Red Lantern”, which is the focus of this study.
32
Huiyu, Zhang. "Genre Metamorphoses of Modern Chinese Ballet." Университетский научный журнал, no. 75 (August 25, 2023): 67–72. http://dx.doi.org/10.25807/10.25807/22225064_2023_75_67.
Full textAbstract:
The article discusses genre metamorphoses of modern Chinese ballet. The author notes that the genre of Chinese ballet has undergone signifi cant changes in its relatively short history. Currently, there is a tendency to rethink classical works of opera and cinema in the choreographic aspect. One of the brightest examples of the new ballet genre was the ballet “Raise the Red Lantern”, which is the focus of this study.
33
Cohen, Joshua. "Stages in Transition." Journal of Black Studies 43, no. 1 (November 7, 2011): 11–48. http://dx.doi.org/10.1177/0021934711426628.
Full textAbstract:
Les Ballets Africains, the first globally touring African performance company, debuted in the United States as a private Paris-based troupe in 1959 and toured again in 1960 as National Ballet of the newly independent Republic of Guinea. Although rarely considered in scholarship, Les Ballets Africains’ history during these years—encompassing the company’s first U.S. appearances and reflecting the influence of its founder, Fodéba Keita—are significant in relation to 20th-century trajectories of staged African dance, convergences between African and American performing arts practices and liberation struggles, and cultural transformations in Guinea under president Sékou Touré.
34
Marcus, Kenneth H. "Dance Moves." Pacific Historical Review 83, no. 3 (November 2012): 487–527. http://dx.doi.org/10.1525/phr.2014.83.3.487.
Full textAbstract:
This article argues that a group of young African Americans in the 1940s and 1950s used ballet as a means of crossing racial and class barriers of an art form in which few blacks had until then participated. Founded in 1946 by white choreographer Joseph Rickard (1918–1994), the First Negro Classic Ballet was one of the first African American ballet companies in the country's history and the first black ballet company known to last over a decade. With the goal of multiethnic cooperation in the arts, the company created a series of original “dance-dramas,” several with musical scores by resident composer Claudius Wilson, to perform for white and black audiences in venues throughout Southern and Northern California during the postwar era.
35
Maximova, Alexandra E. "On the History of P.Chevalier de Brissol’s Ballet “The Village Heroine” (1800)." Vestnik of Saint Petersburg University. Arts 11, no. 1 (2021): 4–20. http://dx.doi.org/10.21638/spbu15.2021.101.
Full textAbstract:
The article is devoted to the history of the creation and compositional features of P.Chevalier de Brissol’s ballet to the music of G.A. Pari “The Village Heroine”. Information was collected and clarified on the performances of the play, its authors and performers. Discrepancies were revealed in the studies (the date and place of the premiere, the number of acts, the names of choreographers and composers do not match). The creative continuity of the choreographers in working with the plot is noted and documentary information on the resumption of the ballet performed by A. Poireau, I. Walberh and A. Glushkovsky is provided. The libretto compositions were found and studied. In the article, the history of the plot related to the opera of P.Monsigny “Deserter”, the ballet of the same name by J.Doberval and other works are considered. For the first time, little-known handwritten musical sources of the ballet and its musical material are discussed. Textual features were studied, including handwritten litters containing the names of the creators, the dates of the ballet, as well as a rare autograph of the composer and bandmaster I. F. Kerzelli. The place of the composition in the work of Pari is determined and the conclusion is made that the musical score was compiled from the well-known works of different authors. In search of the authors of musical fragments, a complete verification of the score of the opera by P.Monsigny “Deserter” and the musical source “Village Heroine” was conducted. In the course of checking the score, a quote from the opera “Orpheus and Eurydice” by C.W. Gluck was discovered. The advantages of instrumentation and musical drama of ballet, built on thorough development and a system of thematic reprise, are revealed. It is established that Pari wrote music for its sequel — the ballet in three acts “The Consequence of the Village Heroine” (1806?), choreographed by Poireau and Valberkh.
36
Gibson, Mel. "‘… sure to delight every ballet fan’: Consuming ballet culture through girls’ periodical Girl, 1952–60." Film, Fashion & Consumption 12, no. 1 (April 1, 2023): 11–32. http://dx.doi.org/10.1386/ffc_00050_1.
Full textAbstract:
This article focuses on the ways that ballet was presented for girl readers to consume in Girl (Hulton Press, 1952–64). Girl was a weekly publication, part of girls’ periodical culture in Britain, which was thriving in the 1950s and 1960s. The ballet content it contained was one aspect of the growing British cultural engagement with ballet in the mid-twentieth century. This broader engagement included watching films and attending performances. In addition, for younger participants, especially girls, this may have been accompanied by participation in ballet classes and reading ballet fiction and non-fiction. Girl encompasses all these forms of engagement with ballet through key fictional comic strip ‘Belle of the Ballet’, photographs of performances, pin-ups featuring dancers and paintings about ballet, articles and non-fiction companion volumes. Arnold Haskell, significant in changing how ballet was understood in Britain, was also involved with content in Girl. This connection resulted in readers having the opportunity to compete for an annual ballet scholarship and participate in ballet lessons. In exploring ballet in Girl, the article draws together considerations of how ballet practice, costume, other media involving ballet and dancers’ street clothes were portrayed and the ways that class, ballet and girls’ culture were intertwined.
37
Zimring, Rishona. "Ballet, Folk Dance, and the Cultural History of Interwar Modernism: The Ballet Job." Modernist Cultures 9, no. 1 (May 2014): 99–114. http://dx.doi.org/10.3366/mod.2014.0076.
Full textAbstract:
This essay singles out the Camargo Society's 1931 production of Job as an ‘emblematic’ modernist ballet. Whereas Sacre is emblematic of the pre-war crucible of the modernist avant-garde, Job is emblematic of the culturally reparative interwar years. To approach Job as an emblematic and innovative artwork of interwar modernism, we should locate its genealogy both in the radical, liberatory, experimentalist, and primitivist energies of Sacre, and in the accessibility and identificatory experiences of galvanizing forms of popular dance. Additionally, Job was influenced by the revival of traditionalist forms of participatory dance, which answered a newfound need for reassurance, restoration, and coherence. Job is the product of multiple dance influences in an interwar context, some, but not all, conventionally ‘modernist’. Our understanding of their importance to the cultural history of both the avant-garde and interwar modernism is enhanced if we trace them and appreciate Job's innovative and reparative meanings anew.
38
Magerramova, Inara. "Some stylistic features of Fikret Amirov’s ballet “A Thousand and One Nights” I.E. M." OOO "Zhurnal "Voprosy Istorii" 2023, no. 2-1 (February 1, 2023): 212–19. http://dx.doi.org/10.31166/voprosyistorii202302statyi17.
Full textAbstract:
The article is about the famous Azerbaijani composer Fikret Amirov’s ballet “A 'Kiousand and One Nights”. The compositional structure, some features of harmonic and melodic language of the ballet is reviewed in the article. It is noted in the article, that the musical language of the ballet continued the traditions of the previous works.
39
Serov, Y. "ON THE IMPLEMENTATION OF THE A. BLOK’S POETRY IN THE SYMPHONIC SCORE OF B. TISHCHENKO'S BALLET THE TWELVE." ASJ 2, no. 55 (November 30, 2021): 04–08. http://dx.doi.org/10.31618/asj.2707-9864.2021.2.55.135.
Full textAbstract:
The article examines the relationship between music and poetry in the ballet The Twelve by the outstanding Russian symphonist of the second half of the XX century Boris Ivanovich Tishchenko (1939–2010). The performance by the famous choreographer L. Yakobson, staged at the Kirov Theater in Leningrad in 1964, became one of the first avant-garde ballets in the Soviet Union.
The study focuses on the different approaches of the composer and choreographer to the stage performance of A. Blok's poetry, which led to serious creative disagreements and even conflicts during the preparation of the premiere. Tishchenko in his reading relied on Blok's verse, its rhythm, size and complex, sometimes unexpected semantics. The speech beginning in The Twelve is quite tangible, the composer often follows Blok's lines literally. They now and then emerge in the flow of music, controlling it not only in the figurative-semantic and plot plans, but also in the rhythmic-intonation.
The article concludes that Tishchenko's work has led to an impressive artistic result: the ballet score is written in a fresh, original and modern language. Tishchenko's music became the basis of the first avant-garde Soviet ballet performance and, in this context, firmly entered the history of Russian art
40
Kryazheva, I. A. "Sergei Diaghilev in Spain: New Themes, Images, Ballets." Cuadernos Iberoamericanos 11, no. 2 (July 19, 2023): 138–53. http://dx.doi.org/10.46272/2409-3416-2023-11-2-138-153.
Full textAbstract:
Spain was a prominent destination on tours of Sergei Diaghilev's Ballets Russes. Numerous visits to this country, spanning the period from the mid-1910s to the mid-1920s, enriched Diaghilev's artistic horizons with new themes and images that resulted in the ballets: «Las Meninas», «The three-cornered hat», «Cuadro Flamenco». The history of the creation and staging of each ballet possesses its own characteristics; in each case, a unique artistic world is conceived, expressed in a modern language, and distinguished by its many facets and complex symbolism. In order to implement his new ideas, Diaghilev appealed to the leading artists of his time, namely Pablo Picasso, Josep Maria Sert, Leonid Myasin, Manuel de Falla, thanks to whose participation a holistic concept of each work arose, based on the unity of musical, plastic, and decorative ideas. The «Spanish» ballets were created during the transition period from naturalistic theatre, dominated by a coherent plot logic and a psychological representation of the characters, to conventional theatrical methods. The character and role of the artistic image change, acquiring widespread symbolic features. Stylization and conventionality become the main techniques when it comes to erecting a new theatrical model. A new image of the Spanish world is formed, breaking ties with the heritage of the romantic era and resorting to cultural archetypes. The ideas of Diaghilev's ballet fit organically into the mainstream of modernist experiments.
41
Kornilov, A. V. "FORMATION OF THE BALLET TROUPE OF THE STATE OPERA AND BALLET THEATER «ASTANA OPERA»." ARTS ACADEMY 1, no. 1 (March 2022): 5–14. http://dx.doi.org/10.56032/2523-4684.2022.1.1.5.
Full textAbstract:
The scientific article is devoted to the history of the creation of the K. Bayseitova National Opera and Ballet Theater as the creative basis of the future Astana Opera Theater. The author emphasizes the importance of the activities of the NTOB of this period, describes the process of forming a ballet troupe, the repertory policy of the theater. The appearance of the Astana Opera Theater becomes a logically justified continuation of the creative evolution of the national ballet art. The article will be of interest to professional figures and ballet lovers.
42
Mainwaring, Madison. "Ballet, Biopolitics and the Relevance of History." Performance Research 27, no. 1 (January 2, 2022): 139–40. http://dx.doi.org/10.1080/13528165.2022.2092310.
Full text
43
Abad-Carlés, Ana. "Diaghilev's Ballets Russes in Spain and its Legacy." Dance Research 41, no. 1 (May 2023): 79–112. http://dx.doi.org/10.3366/drs.2023.0391.
Full textAbstract:
This article considers the reasons that Spain was not successful in establishing a national ballet company or in developing a choreographic tradition, even though the Ballets Russes spent long periods of time in the country; returned to it on several occasions; had King Alfonso XIII's patronage; and nurtured fruitful artistic collaborations. Contemporary reviews, academic articles and the accounts of company artists are consulted to ascertain whether Diaghilev's legacy was obscured due to the country's subsequent history or whether Spain was simply unable to assimilate Diaghilev's artistic beliefs.
44
Greene, Thomas M. "Labyrinth Dances in the French and English Renaissance." Renaissance Quarterly 54, no. 4-Part2 (2001): 1403–66. http://dx.doi.org/10.2307/1262158.
Full textAbstract:
Some descriptions of ballets performed at the late Valois court in France draw upon accounts of choreographic and equestrian maze-like performances extending back into early antiquity. Common elements include a convoluted complexity in the dancers’ movements, repeated reversals, and a series of patterns variously reformed after regular interruptions. The practice of medieval dances at Easter upon the labyrinth designs of one or more French cathedrals may also have exercised an influence on Renaissance dancing. A sonnet by Ronsard describing a labyrinthine ballet invites at least two metaphysical interpretations. Neoplatonic theories of magic are apparently reflected in the choreography by Balthazar de Beaujoyeulx for his Balet Comique de la Royne. Labyrinth dances in Ben Jonson's masques are associated with Orphic cosmogony. The description of an angelic labyrinth dance in Milton's Paradise Lost leads to historical and theoretical questions concerning the intermittent persistence of the phenomenon.“Here's a maze trod indeed Through forth-rights and meanders!“— The Tempest
45
Reznik, Oksana V., and Olga I. Kukharskaya. "Popularization of the School of Russian Ballet abroad by the Messerer-Plisetsky Dynasty." Izvestia Ural Federal University Journal Series 1. Issues in Education, Science and Culture 30, no. 1 (2024): 113–24. http://dx.doi.org/10.15826/izv1.2024.30.1.010.
Full textAbstract:
The problem of preserving and popularizing ballet is one of the urgent problems of our time. Specific works and personalities primarily determine the significance and popularity of Russian ballet in the history of world choreography, while the history of Russian ballet’s development is determined by the talent and experience of performers, choreographers and teachers. 20th century was marked by a significant number of outstanding performers, among which a special place is taken by representatives of the Messerer — Plisetsky dynasty: Asaf, Shulamith and Mikhail Messerers, Maya, Alexander, Azariy and Anna Plisetsky. While representing and popularizing the Russian ballet school with their performances, staging and teaching activities, they created a special choreographic space that went beyond political boundaries. The study, based on autobiographical materials, considers the contribution to the popularization of Russian ballet by Sulamith Messerer, Maya and Azaria Plisetsky.
46
Erken, Emily Alane. "Narrative Ballet as Multimedial Art: John Neumeier's The Seagull." 19th-Century Music 36, no. 2 (2012): 159–71. http://dx.doi.org/10.1525/ncm.2012.36.2.159.
Full textAbstract:
Abstract This article approaches narrative ballet as a theatrical art created through the intersection of dance, music, and literature. Following the nineteenth century's tendency to separate ‘the Arts,’ scholars, journalists, and often the dancers themselves portray ballet as an art of choreography and virtuoso bodies, while relegating the music, story, and visual designs to supportive if not negligible roles. My article counteracts this trend by approaching ballet as a multimedial art, in which meaning is made at the points where the specific arts intersect. Audience members perceive the ballet as a composite work, in which all three elements are equally present and important. Using this model, musicologists and literary critics can and should engage contemporary narrative ballets as complex and relevant art of our time. John Neumeier's The Seagull (2002) demands this type of analysis, because it is clear that as the author of the choreography, costumes, lighting, and set design, Neumeier considers all media involved—visual, aural, and literary—as equally generative elements of a ballet. His role is more of a multimedia artist than a choreographer. He is also responsible for the adaptation from Chekhov's eponymous play and for application of musical selections borrowed from Tchaikovsky, Scriabin, Shostakovich, and Evelyn Glennie. Indeed, his choice to present a Chekhov play known for its subtle weaving of verbal dialogue to convey character, mood, and themes seems to force the audience member and critic to reconsider her traditional understanding of what ballet can and cannot do. As an example of a multimodal approach to ballet, this article presents five literary and musical devices expanded to describe the varied interplay of the visual, aural, and literary components in The Seagull. Bakhtin's idea of heteroglossia appears on the ballet stage in the assignment of distinct dance styles to each of the four protagonists, a technique that develops each character by imbuing them with the historical and social connotations of their movement style. Neumeier manipulates the irrefutable connection between music and dance through audiovisual irony in two scenes, where the dance conveys one message, but the music belies it, revealing the underlying ironic truth of the characters' situations. All three modalities are employed to shift time into and out of a reflective space, where the sincerest characters are shown to explore their emotional and artistic dilemmas. Like Chekhov, Neumeier employs echo characters—secondary figures who mirror the conflicts of the main protagonists, allow the author(s) to further develop the play's themes. In this ballet, Masha “echoes” Nina's unrequited love, her movements, music, color palette, and her choices by negation. Through overt application of seagull imagery, Neumeier draws dance and music history—namely, Swan Lake and the pathos of the dying swan—into his ballet, The Seagull.
47
Gutsche-Miller, Sarah. "Madame Mariquita, Greek Dance, and French Ballet Modernism." Dance Research Journal 53, no. 3 (December 2021): 46–68. http://dx.doi.org/10.1017/s014976772100036x.
Full textAbstract:
AbstractThis article seeks to correct prevailing narratives of French ballet modernism, which exclude one of its earliest and most significant choreographers, Madame Mariquita. Although long overshadowed by the Diaghilev enterprise and by dancers such as Isadora Duncan, Mariquita's experiments with creating dances that drew on ancient Greek imagery while ballet mistress at the Paris Opéra-Comique in the early 1900s were central to ballet culture in France at a pivotal moment in dance history. This article discusses Mariquita's nascent ballet modernism through her choreography of Greek dances as well as her engagement with early twentieth-century French dance and broader cultural trends.
48
Eliot, Karen. "Turning Movement into Words: The Technique Writings of Tamara Karsavina and Agrippina Vaganova." Dance Research 40, no. 2 (November 2022): 158–82. http://dx.doi.org/10.3366/drs.2022.0367.
Full textAbstract:
The Ballerina Tamara Karsavina’s career as a writer deserves attention and warrants a further assessment of her legacy. She left an impressive body of writing that documents her history and describes ballet’s specific and complex vocabulary of movement. I focus on Karsavina’s writing about ballet technique so as to shed light on her teaching approach and dance values through a contrast with those of her near contemporary in the Imperial Ballet School and Company, the famed pedagogue Agrippina Vaganova. Particular emphasis is given to Vaganova’s Basic Principles of Classical Ballet, Russian Ballet Technique and to Karsavina’s extensive writings in The Dancing Times.
49
Isaacs-Falbel, Rachel. "Who Takes Ballet and Why? A History of Ballet Class for the Casual Dancer." Dance Chronicle 44, no. 1 (January 2, 2021): 85–90. http://dx.doi.org/10.1080/01472526.2021.1875969.
Full text
50
Gendova, Maria Yurievna. "Children’s Ballet Performance – an Achievement of the Soviet Era." Pan-Art 3, no. 1 (January 10, 2023): 11–20. http://dx.doi.org/10.30853/pa20230009.
Full textAbstract:
The aim of the study is to substantiate that children’s ballet in Soviet reality is a special direction of musical theatre that contributed to the upbringing of younger generations in line with the philosophy of goodness, creativity and communal spirit. The paper presents the history of children’s ballet formation in the USSR as one of the directions of musical theatre; describes the contribution of ballet masters to the development of children’s ballet; analyses the content of ballet productions of this period; shows the development of children’s ballet in the USSR in the second half of the XX century and then in the Russian Federation; analyses the current situation related to the development of children’s ballet in Russia. The scientific novelty of the study lies in identifying the prerequisites for the creation of children’s ballet in the USSR as one of the directions of musical theatre, as well as in determining the characteristic genres of ballet productions for children in the Soviet period. As a result, it has been proved that the emergence of such a direction of musical theatre as children’s ballet in the USSR should be considered a key achievement of the era both in the Soviet Union and in the world, its value component is the fostering of justice presented to children in understandable and realistic plot conditions.