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Journal articles on the topic 'Classical ballet technique'

Author: Grafiati

Published: 11 December 2022

Last updated: 31 July 2025

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1

Navetnaya, Anna P. "The Traditional and the Innovative in the Dramaturgy and Composition of Béla Bartók’s Ballets." Observatory of Culture 17, no. 6 (2021): 626–37. http://dx.doi.org/10.25281/2072-3156-2020-17-6-626-637.

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This article investigates the development of the 20th century ballet genre on the example of the Hungarian composer Béla Bartók (1881—1945). The study aims to reveal the features of B. Bartók’s ballets in the context of trends in Western European art of the 20th century and to show the composer’s innovative techniques. The article identifies specific musical formative means that reflect the genre definition of “pantomime”, and emphasizes his innovation. The early 20th century ballet art is an extremely bright phenomenon associated with the active search for new ways of developing the genre, wh

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Polishchuk, G. K. "CLASSICAL DANCE LESSONS: THE TECHNIQUE OF JUMPING IN CLASSICAL DANCE. QUESTIONS OF METHODOLOGY AND PRACTICE." ARTS ACADEMY 8, no. 4 (2023): 20–44. http://dx.doi.org/10.56032/2523-4684.2023.4.8.20.

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Galina Konstantinovna Polishchuk – a teacher of classical dance, is known by our teachers and students as the author of the book "The History of Karaganda Ballet". As a teacher of classical dance, she once received training from representatives of the Moscow and Leningrad schools in the GITIS internship assistant (Prof. R. Struchkova, E. The Pearl) There she also got acquainted with the methodology of European schools from trainees from the Danish and English Royal Ballet, which provided a huge material for independent pedagogical work and the development of her practical techniques for differ

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KUYUMCU, Melina. "A GUIDE FOR THE PIANIST IN CLASSICAL BALLET ACCOMPANIMENT." SOCIAL SCIENCE DEVELOPMENT JOURNAL 8, no. 36 (2023): 203–9. http://dx.doi.org/10.31567/ssd.851.

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Accompanying a classical ballet technique class contains different elements and difficulties for a pianist when compared to accompanying instruments and voice. The score is specific when accompanying instrument or voice whereas the pianist is mostly free to choose the music suitable for the movments in a ballet class. Due to this exact problem the ballet instructor and the accompanist have problems from time to time. In this case the pianist’s experience plays a big role for the class course. The professional ballet pianist has mastered the essential elements for the class, therefore the probl

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Eliot, Karen. "Turning Movement into Words: The Technique Writings of Tamara Karsavina and Agrippina Vaganova." Dance Research 40, no. 2 (2022): 158–82. http://dx.doi.org/10.3366/drs.2022.0367.

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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 Bal

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Ten, Tatyana. "FEATURES AND FUNCTIONS OF JUMPING TECHNIQUE IN CLASSICAL DANCE." ARTS ACADEMY 3, no. 3 (2022): 27–35. http://dx.doi.org/10.56032/2523-4684.2022.3.3.27.

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The article discusses the features of the «Allegro» section in a classical dance lesson. The main purpose of this article is to consider the concept of «Allegro» as one of the main sections of a classical dance lesson, to determine the meaning and role of jumps in classical dance and ballet performances.

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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.

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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 attenti

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Pizzol, Vanessa, Mateus Henrique De Oliveira, Kizzy Fernandes Antualpa, and Eliana Toledo. "BALLET IN RHYTHMIC GYMNASTICS: CONSIDERATIONS ABOUT TECHNIQUE AND INSTRUMENTATION FOR THE SPORT." Science of Gymnastics Journal 14, no. 3 (2022): 349–67. http://dx.doi.org/10.52165/sgj.14.3.349-367.

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In its historical trajectory, rhythmic gymnastics (RG) has been influenced by Swedish Gymnastics, Dance and Theatrical Arts, being today a sport characterized by a strong artistic and aesthetic appeal. Thus, starting out as field study research, this manuscript aims to bring data, but mainly reflections about the way in which classical ballet classes have been conceived and used in the training of high-performance rhythmic gymnasts. This is field research, with qualitative and quantitative approach (quanti- quali). The sample consisted of nine participants (coaches and / or ballet instructors)

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Elron, Sari. "Rina Nikova and the Yemenite Group: Between East and West, North and South." Congress on Research in Dance Conference Proceedings 39, S1 (2007): 63–68. http://dx.doi.org/10.1017/s2049125500000121.

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Rina Nikova, a Jewish dancer, ballet master, and choreographer, was born in Russia around 1898 and died in Israel in 1974. Nikova established her Yemenite Singing Ballet in 1932. She trained her dancers—young Jewish emigrates from Yemen—with classical ballet technique augmented with various local and migrating influences. She gathered firsthand information on folk dances, music, and costumes by visiting Arab towns and villages and communities of Oriental Jews. Nikova combined those influences into an original creation that was to become a cornerstone of nation-building in Israel.

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Eliot, Karen. "‘Where Burns the Artist's Soul’: Tamara Karsavina's Writings on Artistry and Expression." Dance Research 42, no. 1 (2024): 78–97. http://dx.doi.org/10.3366/drs.2024.0418.

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The ballerina Tamara Karsavina experienced vast shifts from romantic and post-romantic 1 performance styles to twentieth-century modernism. In the first section of this essay, I give an overview of these shifts; then, I explore Karsavina's writings for insights into her views on performance and artistry. In her writing, she develops her artistic credo and expresses the conviction that to contribute to a living art form, ballet dancers must deepen their expressivity while expanding technique and their practice of classical mime. For her, the future of ballet can be found in the traditions of th

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Spier, Steven. "Inside the Knot that Two Bodies Make." Dance Research Journal 39, no. 1 (2007): 49–59. http://dx.doi.org/10.1017/s0149767700000061.

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The film From a Classical Position (1997) is a fully collaborative work between a notable dancer and performer and a notable choreographer, being danced, directed, and edited by Dana Caspersen and William Forsythe of the late Ballett Frankfurt. By looking closely at the film, its origins, and its process of creation, we gain an understanding of Caspersen and Forsythe's way of collaborating and their interest in working with other media and formats. Uncompromising if not difficult for a general dance audience, it is also somewhat didactic and offers insights into some of the Ballett Frankfurt's

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Deckert, Jennifer L., Sarah M. Barry, and Thomas M. Welsh. "Analysis of Pelvic Alignment in University Ballet Majors." Journal of Dance Medicine & Science 11, no. 4 (2007): 110–17. http://dx.doi.org/10.1177/1089313x0701100402.

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Classical ballet technique emphasizes proper alignment of the pelvis to optimize dancer performance. A series of three experiments was conducted in a major university ballet program to determine: 1. the average degree of pelvic tilt for freshman ballet majors, 2. the degree of pelvic tilt acceptable to university ballet teachers, and 3. whether an individual tutoring intervention could improve pelvic alignment in dancers who displayed a high degree of anterior pelvic tilt. Experiment 1 showed that anterior pelvic tilt for 17 freshman ballet majors averaged 13.4°. Experiment 2 revealed a mean a

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Poggini, Luana, Stefania Losasso, Manuela Cerreto, and Lucia Cesari. "Jump Ability in Novice Ballet Dancers before and after Training." Journal of Dance Medicine & Science 1, no. 2 (1997): 46–50. http://dx.doi.org/10.1177/1089313x9700100203.

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To investigate the jump ability in a group of young dancers, 61 adolescent classical ballet students were analyzed using a force-plate instrument. Each student was evaluated for the rising of the gravity center and the flight time while performing two types of jumps: one from a static position, the other with a preliminary counter-movement. By the comparison of our data with the results of the same test in other athletes, we tried to identify the most specific characteristics of classical ballet training that can have an influence on the height of the vertical jump. The correlation between the

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Chapaev, Grigory I., and Maria N. Chistyakova. "Ballet and Drama: the Peculiarities of Expressive Scenographic Means in the Post-Classical Theater." ICONI, no. 3 (2021): 29–36. http://dx.doi.org/10.33779/2658-4824.2021.3.029-036.

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A characteristic feature of the theater of the Post-Classical Era, which has lasted from the early 20th century up to the present time, is the interpenetration of elements pertaining to different art forms in the course of a ceaseless search for forms and means of impact on the audience. The interaction between ballet and drama theater leads to the result that one of the genres is enriched by the scenographic solutions of the other. From a broad spectrum of examples, it is possible to highlight a number of techniques characteristic for both the dramatic and the ballet stage. In the present wor

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T.V., Portnova. "TRANSFORMATION OF THE FANTASTIC PLOT IN THE GENRE STRUCTURES OF DANCE ART FROM THE RENAISSANCE TO ROMANTICISM." “Educational bulletin “Consciousness” 24, no. 10 (2022): 4–19. http://dx.doi.org/10.26787/nydha-2686-6846-2022-24-10-4-19.

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The author refers to the Renaissance era – mainly to the Italian region, which is associated with the development of theatrical dance. In Europe, it appeared a little later and French courtyards, mostly became a source of exquisite stylization and baroque beauty of this kind of art. It is noted that such rulers of Italian city-states as L. Medici, M. Sforza, the Este and Gonzaga dynasties began to pay more and more attention to magnificent spectacles. Using approaches and methods of system analysis, the article analyzes the main features of the development of dance from the Renaissance to the

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Zhang, Tianjiao. "To the origins of creation of Beijing Ballet School. Olga Aleksandrovna Ilyina." Человек и культура, no. 5 (May 2020): 25–35. http://dx.doi.org/10.25136/2409-8744.2020.5.33738.

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The subject of this research is the first stage of creation of Beijing Ballet School, while the object is the pedagogue of the Moscow State Academy of Choreography O. A. Ilyina. The author underlines her contribution to the creation of the first professional system of education in China. The role of Soviet ballet masters and pedagogues, who carefully examines the peculiarities of Chinese teaching technique is highlighted. The Russian system of choreographic education with its accumulated valuable theoretical and pedagogical experience laid the foundation for establishment of the system of prep

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McCormack, Moira, Howard Bird, Akbar de Medici, Fares Haddad, and Jane Simmonds. "The Physical Attributes Most Required in Professional Ballet: A Delphi Study." Sports Medicine International Open 03, no. 01 (2018): E1—E5. http://dx.doi.org/10.1055/a-0798-3570.

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Abstract Background It is commonly accepted that dancers are undoubtedly athletes, with ballet perhaps the most demanding dance form. No previous study has sought to define the physical attributes most desired for classical ballet by professional companies and vocational schools. These are likely to include both aesthetic features and attributes that reduce the risk of injury as well as enhance performance. Method An initial survey question using the modified Delphi technique was sent using Opinio Survey Software to a selected international expert panel. This was drawn both from those involved

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Mannacio, E., M. Ripani, A. Ciccarelli, L. Poggini, G. Condello, and A. Tessitore. "ANALYSIS OF CHANGEMENT DE PIED, ECHAPPÉ AND SISSONNE FERMÉ JUMPS IN FEMALE BALLET DANCERS." Kinesiologia Slovenica 25, no. 1 (2019): 45–52. http://dx.doi.org/10.52165/kinsi.25.1.45-52.

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In classical ballet, jumping should stand more on technique and elegance rather than maximal height. This study aimed to investigate dancers’ ability to perform stable jumps with classical ballet technique. Twenty-two female dancers [divided in two groups: Expert: n=12; Novice, n=10] were recruited to perform three vertical jump protocols: 1) Changement de Pied (CHA), composed by 5 consecutive jumps; 2) Echappé (ECH), composed by two consecutive ‘Echappé’ jumps; and 3) Sissonne Fermé (SF) jumps. Through an Optojump Next system were measured: a) Height (H) of jumps; b) Jumping Point Gap (JPG) a

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Braguinskaïa, Natalia. "« Les traditions et les préceptes de Petipa ne sont point oubliés… ». L’oeuvre de Marius Petipa dans la réception d’Igor Stravinsky." Slavica Occitania 43, no. 1 (2016): 313–25. https://doi.org/10.3406/slaoc.2016.1092.

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“The Traditions and Precepts of Petipa have not been forgotten.” The Work of Marius Petipa in the Reception of Igor Stravinsky How, we might wonder, did Igor Stravinsky assimilate the world of ballet, its traditions and interpretative methods ? This is a key question for any study of the music of a composer who produced some of the twentieth century’s major ballet scores. It is generally thought that it was Mikhail Fokine, choreographer of The Firebird and a pupil of Marius Petipa, who first introduced Stravinsky to the world of dance. This paper refocuses our attention on Petipa himself. Inde

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Xiaoya, Long. "Features of Modern Professional Ballet Education (the Case of Different Schools)." Professional Education: Methodology, Theory and Technologies, no. 11 (June 25, 2020): 114–33. http://dx.doi.org/10.31470/2415-3729-2020-11-114-133.

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In every country, the school of classical dance, as the foundation for the training of ballet dancers, has its own specific features. The late twentieth century, in most countries an independent path for the development of ballet art and the structuring of professional ballet education have been determined. Nowadays European ballet schools have almost the same structure of choreographic education, and in the countries that have undergone totalitarian regimes and economic and political isolation, other ballet system are mostly used. A separate branch in the overall system of ballet education is

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Shalygina, Olga V. "Dostoevsky – Not a Defeated Idol in Akim Volynsky’s." Dostoevsky Journal 23, no. 1 (2022): 7–23. http://dx.doi.org/10.1163/23752122-02301002.

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Abstract In Dostoevsky’s artistic quest, Volynsky saw general paths of development of culture and literature. In his last book on dance, Kniga likovanii: Azbuka klassicheskogo tantsa (1925)[The Book of Exaltations: The Alphabet of Classical Dance], Volynsky espouses a new ‘motor aesthetics’, in which the language and rules of ballet, as well as the connection of classical ballet with other arts is set out, whereby the technique of the emergence of the human spirit is reflected in the movements of the human body. The Book of Exaltations is proof that Dostoevsky never became a ‘defeated idol’ fo

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Hamilton, Linda H., William G. Hamilton, Michelle P. Warren, Katy Keller, and Marika Molnar. "Factors Contributing to the Attrition Rate in Elite Ballet Students." Journal of Dance Medicine & Science 1, no. 4 (1997): 131–38. http://dx.doi.org/10.1177/1089313x9700100402.

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Forty elite female dance students (mean age: 14.92 years) were followed at the School of American Ballet to distinguish the physical and mental factors associated with dropping out of the profession. The dancers were evaluated for injury patterns, eating behavior (EAT-26; food diary), personality (OSIQ-R), menstrual functioning, pubertal development (Tanner stages), and orthopaedic parameters. During the four-year period of this study 55% of the sample stopped dancing. Those in this 55% had a higher rate of injuries and eating problems. Furthermore, deficits on an orthopaedic screening exam ac

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Hopper, Luke S., Andries L. Weidemann, and Janet Karin. "The inherent movement variability underlying classical ballet technique and the expertise of a dancer." Research in Dance Education 19, no. 3 (2018): 229–39. http://dx.doi.org/10.1080/14647893.2017.1420156.

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Khokhlova, Daria. "Choreographic interpretation of the images of Hippolyta and Theseus in the ballet by J. Neumeier's "A Midsummer Night's Dream"." Культура и искусство, no. 6 (June 2022): 1–10. http://dx.doi.org/10.7256/2454-0625.2022.6.38010.

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In this paper, the author continues to study and comprehend the author's interpretation of J. Neumeier images of the main characters of the ballet "A Midsummer Night's Dream". A meaningful interpretation of the choreographic embodiment of Hippolyta and Theseus, one of the two hypostases of the main characters of the ballet, is carried out in order to identify their features in the context of the performance and the choreographer's creativity. Based on the methods of ballet studies analysis approved by historians and ballet theorists Dobrovolskaya, Krasovskaya, Surits, the author used comparati

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Pogrebnyak, M. "AESTHETIC FEATURES OF THE DUET FORM AND SOME WAYS OF TRANSFORMING ACADEMIC SUPPORT IN CONTEMPORARY BALLET OF THE ХХth AND EARLY ХХІst CENTURIES (ON THE EXAMPLES OF THE WORKS OF K. HOLEIZOVSKY, F. LOPUHOV, L. YAKOBSON, W. FORSYTHE)". Sciences of Europe, № 115 (24 квітня 2023): 6–9. https://doi.org/10.5281/zenodo.7857896.

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Relevance of research. At the beginning of the XX century since the emergence of the need to reform academic ballet and, as a consequences, the emergence of new directions of contemporary theatrical dance, there are changes in the aesthetics of the duet form. The author's modern dance theatre abandons the traditional classical form pas de deux in duet dance, and priority is the form of dance – dialogue with non-standard plastic solutions and virtuoso acrobatic support, starting with the first experiments of K. Holeizovsky, F. Lopukhov, L. Yakobson in 1920–1940s, and continuing

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Polianska, Ir M. "The image of Solveig in the ballet “Peer Gynt” on H. Ibsen’s dramatic poem (staged by the Kharkiv National Academic Opera and Ballet Theatre)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (2020): 197–211. http://dx.doi.org/10.34064/khnum1-57.12.

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Introduction. The given article is devoted to study of the Ukrainian ballet continuing to produce new ways of implementation of the ideas and artistic images in the beginning of the XXI century. The production of the ballet “Peer Gynt” on the music by E. Grieg, done by People’s artist of Ukraine V. Pisarev for the troupe of Donetsk ‘A. Solovianenko’ Academic State Theatre of Opera and Ballet is a remarkable example of this process. The production’s premiere was on, 1997, May 17, in the framework of the international theatre project “Ukraine – Norway”. Twenty years later, in 2017, the new varia

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Paladiichuk, А., and N. Tsyhanovska. "Progressing ballet technique (PBT) as a method of a modern dancer development." Culture of Ukraine, no. 84 (June 20, 2024): 78–86. http://dx.doi.org/10.31516/2410-5325.084.08.

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The methodology is based on an art history approach with the use of general scientific methods of observation, analysis, synthesis and generalization. The PBT system is becoming not only a technical tool, but also an artistic phenomenon that unites different cultural and artistic traditions. This global view emphasizes the importance of PBT for the development of choreography as an art form and facilitates the international exchange of artistic experience. The integration of PBT into Ukrainian dance education enriches the training of young dancers and facilitates the exchange of ideas between

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Portnova, Tatyana V. "Peculiarities of E. Dega's creative method in the interpretation of the theme “Paris opera ballet”." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 45 (2022): 157–71. http://dx.doi.org/10.17223/22220836/45/15.

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The article considers methodological approaches to the interpretation of the dance subject on the example of the famous French artist E. Degas (1834-1917) in the context of understanding the school of the Paris Opera Ballet, which is the center of French cultural life and brings new forms of dialogue in the morphological sphere of interaction of related arts. The unflagging interest of researchers to the problems of the works of E. Degas throughout the history of his study, both at the level of a single country, and in the context of world artistic culture determines the undoubted relevance of

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Никифорова, Е. А. "The Ballet “Little Zaches Сalled Cinnabar” by N. N. Karetnikov in the Context of European Cultural Tradition". Научный вестник Московской консерватории, № 3(42) (2 жовтня 2020): 148–81. http://dx.doi.org/10.26176/mosconsv.2020.42.3.007.

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Балет «Крошка Цахес, по прозванию Циннобер» Н. Н. Каретникова в контексте европейской культурной традиции В статье подробно рассматриваются содержание и партитура балета Н. Каретникова «Крошка Цахес, по прозванию Циннобер». На основе нотных материалов— изданного клавира и двух авторских рукописей партитуры, а также эпистолярного наследия композитора, раскрываются особенности содержания балета, отразившего в себе мотивы старинной карнавальной традиции. В концепции музыки балета были претворены особенности художественного мышления, сформировавшегося под влиянием неклассического направления запад

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Aguiar, Letícia Lopes, Vanessa Assunção Dos Santos Araújo, and Laiana Sepúlveda De Andrade Mesquita. "Effects of mulligan concept in classical ballet dancers with pain in the lower limbs." Manual Therapy, Posturology & Rehabilitation Journal 18 (November 9, 2020): 1–6. http://dx.doi.org/10.17784/mtprehabjournal.2020.18.797.

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Introduction: The Mulligan concept is a manual therapy technique that addresses the restoration of arthrocinematic processes and inadequate osteocinematic movements, resulting in reduced muscle tension, postural failure and pain relief. Objectives: To analyze the effectiveness of the Mulligan concept in reducing lower limb pain processes in classical dancers. Methods: Longitudinal study, approved by the Ethics and Research Committee of the Universidade Estadual do Piauí, according to the decision of No. 2064503, composed by 4 classical dancers. An evaluation of the pain level was performed usi

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Zhirova, Violetta Vladimirovna. "Evolution of the forms of sources on classical dance technique in the methodological literature of the second half of the 15th – first half of the 20th centuries." PHILHARMONICA. International Music Journal, no. 1 (January 2024): 42–54. http://dx.doi.org/10.7256/2453-613x.2024.1.69863.

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The article is devoted to the study of the evolution of the forms of literary works on classical dance technique of the second half of the 15th – first half of the 20th century, among which are educational and methodological manuals, dance notations, theoretical, historical and critical works, and classical dance curriculums. The creation of the first theoretical works on the art of choreography determines the upper temporal boundary of the chronological framework of the research. The development of the first classical dance curriculums determines the lower chronological limit. Until now, curr

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Coldiron, Margaret. "The conundrum of transmitting embodied knowledge for intercultural performance: A case study." Indian Theatre Journal 2, no. 1-2 (2018): 5–18. http://dx.doi.org/10.1386/itj.2.1-2.5_1.

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How is ‘embodied knowledge’ transmitted? Certainly, in most Asian traditional performance practice, it is dinned into the body of the disciple through daily repetition. Unlike many western performance techniques, for example classical ballet, the discipline and transformation of the body in Asian performance forms is not managed through abstracted exercises, but rather by learning whole roles. In Bali, the student imbibes technique through regular practice until tarian masuk – literally until the dance enters the body. As a beneficiary of this pedagogical method, I know what it feels like, and

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Savchenko, Нanna. "Multifigure Technique in Igor Stravinsky’s Orchestral Composing of the Neoclassical Period (on the example of the ballet “Apollon Musagète”)." Aspects of Historical Musicology 19, no. 19 (2020): 189–205. http://dx.doi.org/10.34064/khnum2-19.11.

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Background. The issue of time in Igor Stravinsky’s works attracts the attention of researchers constantly. The time is studied through revealing the meter and rhythm specifics of the works (the concept of irregular-accent rhythm (a term of V. Kholopova). In our opinion, in the study of the temporal and spatial parameter another reversal is possible – in the aspect of orchestration as a means of material and sound objectification of a composer’s conception in time and space. Taking into account the evolution of I. Stravinsky’s composer thinking, this approach allows us to demonstrate those chan

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Hanna, Savchenko. "І. Stravinsky’s orchestral writing of Neo-Classical and serial (late) periods: comparative analysis". Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 60, № 60 (2021): 36–56. http://dx.doi.org/10.34064/khnum1-60.02.

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Statement of the problem. Neo-Classical and serial (late) periods of I. Stravinsky’s creativity are marked by the shifts in his musical language, which found their reflection in his orchestral writing. “Universals” of style and genre (term of Savenko (2001: 105–163) retain their relevancy. Constant principles of orchestral writing (multi-figure composition, combinatorics and plastique) are used in different combinations. Analysis of recent research and publications. While there are numerous studies devoted to I. Stravinsky’s Neo-Classical and serial (late) periods, no works have composer’s orc

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Šimůnková, Iveta, and Viléma Novotná. "Sportovní příprava moderních gymnastek v předškolním a mladším školním věku." Studia sportiva 5, no. 2 (2011): 133–40. http://dx.doi.org/10.5817/sts2011-2-15.

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The systematic and adequate physical preparation is an important basis for achieving physical literacy in sport branch rhythmic gymnastics. The further preparation at the top level can not successfully continue without the mastery of basic movements and sports skills with a specific technique of difficulties with and without hand apparatuses. In the area of the cultivation we choose fundamental movement patterns: training locomotors and non-locomotors skills, music and movement education, classical dance technique (ballet training), development of flexibility, which is a limiting factor in rhy

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Queiroz, João, and Pedro Atã. "Intersemiotic Translation, Cognitive Artefact, and Creativity." Adaptation 12, no. 3 (2019): 298–314. http://dx.doi.org/10.1093/adaptation/apz001.

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Abstract Intersemiotic translation (IT) can be described as a cognitive artefact designed as a predictive, generative, and metasemiotic tool that distributes artistic creativity. Cognitive artefacts have a huge variety of forms and are manipulated in many different ways and domains. As a projective augmented intelligence technique, IT works as a predictive tool, anticipating new, and surprising patterns of semiotic events and processes, keeping under control the emergence of new patterns. At the same time, it works as a generative model, providing new, unexpected, surprising data in the target

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Miyamoto, Wataru, Shinji Imade, Ken Innami, Hirotaka Kawano, and Masato Takao. "Acute Achilles Tendon Rupture Treated by Double Side-Locking Loop Suture Technique With Early Rehabilitation." Foot & Ankle International 38, no. 2 (2016): 167–73. http://dx.doi.org/10.1177/1071100716673589.

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Background: Although early accelerated rehabilitation is recommended for the treatment of acute Achilles tendon rupture, most traditional rehabilitation techniques require some type of brace. Methods: We retrospectively analyzed 44 feet of 44 patients (25 male and 19 female) with a mean age of 31.8 years who had an acute Achilles tendon rupture related to athletic activity. Patients had been treated by a double side-locking loop suture (SLLS) technique using double antislip knots between stumps and had undergone early accelerated rehabilitation, including active and passive range of motion exe

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Nochlin, Linda. "The Ballets Russes and the Parisian Avant-Garde." Experiment 17, no. 1 (2011): 214–30. http://dx.doi.org/10.1163/221173011x611914.

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Abstract “The Ballets Russes and the Parisian Avant-Garde” deals with the complex relationship between Diaghalev and the members of the Parisian avant-garde he commissioned to design sets and costumes for his productions after World War I. Despite their previous aesthetic radicalism, such artists as Gris and Derain were obliged to rein in their vanguard originality and produce work of surprising conservatism, at the urging of the impresario. Matisse attempted greater originality, but in an unsuccessful ballet. The only really avant-garde production sponsored by Diaghalev after the war was Para

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Anjos, Kátia Silva Souza dos, Marília Velardi, and Régia Cristina Oliveira. "O corpo da cena no balé clássico: entre técnicas, expressividade e imitações prestigiosas." Revista Principia - Divulgação Científica e Tecnológica do IFPB 1, no. 48 (2020): 201. http://dx.doi.org/10.18265/1517-03062015v1n48p201-209.

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<p class="western" align="justify">Considered as one of the possibilities of performing arts, the classical ballet can be understood as a way in which stories depend on characters who, without the use of words, enact stories which are typical of the traditional repertoire. This text aims to discuss issues related to the body of the scene, the scenic body of the artist in classical ballet. In order to do so, we conducted a qualitative investigation and used the observation of ballet shows and ten semistructured interviews with Brazilian professional dancers as investigation techniques. Th

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Pidlypska, Alina. "Ballet Criticism of Aleksei Gvozdev." Bulletin of KNUKiM. Series in Arts, no. 42 (July 14, 2020): 198–204. https://doi.org/10.31866/2410-1176.42.2020.207654.

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The purpose of this article is to define the main aspects of A. Gvozdev’s work as a critic of ballet theatre in the 1920s in the USSR, highlighting the external influences on this work. Research Methodology. In the course of the research, a set of scientific methods was applied: analysis of literature and sources; comparison of basic approaches to dance by G. Fuchs and A. Gvozdev; historical method – to study the emergence and evolution of the conceptual views on the ballet theatre development in the critical works of A. Gvozdev. Scientific Novelty. The publications of A. Gvozdev a

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Nürnberger, Marianne. "Vajira ‐ The First Professional Female Dancer of the Sinhalese Style." Sri Lanka Journal of the Humanities 40 (July 9, 2015): 99–132. https://doi.org/10.5281/zenodo.200332.

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This article analyzes the historical role of Vajira, the first professional female dancer of the “classical” Sinhalese style – the Kandyan dance. The focus is on how her life’s work in training and presenting women on theatre stage in dances choreographed by her has largely influenced the modern culture of Sri Lanka. Vajira’s extraordinary career is described, and her most important ballets, tours, and awards are named. The article describes in some detail some of her numerous contributions to modern dance training and highlights her role as teacher in the development of children’s dance train

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Liu, Yuanyuan, and Mohd Kipli Abdul Rahman. "Sinicization of Ballet: Guangzhou Ballet company's ballet drama The Banner." Environment-Behaviour Proceedings Journal 10, no. 31 (2025): 441–46. https://doi.org/10.21834/e-bpj.v10i31.6428.

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This paper investigates the Sinicization of ballet, focusing on Guangzhou Ballet's production of The Banner. The work exemplifies cultural fusion, blending classical Western ballet techniques with Chinese storytelling, revolutionary themes, and Lingnan cultural elements. This study examines how The Banner achieves cultural authenticity and artistry by employing qualitative interviews with the creative team, and audiences. It contributes to understanding how global art forms adapt and evolve within localized contexts, enriching the dialogue on cultural hybridity and cross-cultural artistic adap

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Angioi, Manuela, Karis Hodgson, and Katrine Okholm Kryger. "An Updated Systematic Review of Turnout Position Assessment Protocols Used in Dance Medicine and Science Research." Journal of Dance Medicine & Science 25, no. 1 (2021): 55–71. http://dx.doi.org/10.12678/1089-313x.031521h.

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Turnout, or external rotation of the lower limbs, is an integral part of classical ballet technique. Contributions of lower limb structures to turnout can be separated into HER (hip external rotation) and NHCTO (non-hip contributions to turnout). This study aimed to review systematically methods used to measure turnout in dance medicine and science research, thereby updating the literature since the Champion and Chatfield review of 2008. CINAHL, EMBASE, PubMed, and Web of Science were searched in January 2018 by two independent reviewers. Peer-reviewed studies measuring turnout in dance were i

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Aukhadiyev, Ilzat, Daulet Dosbatyrov, and Heili Einasto. "Modern creative methods of ballet staging and their reflection in the Kazakh ballet Zhusan." Creativity Studies 18, no. 1 (2025): 208–22. https://doi.org/10.3846/cs.2025.20429.

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The manuscript explores the evolution of ballet staging, focusing on the integration of modern dance and classical ballet. It traces this trend to the second half of the 20th century, highlighting the impact of modern dance’s flexibility on classical ballet’s rigidity, leading to a postmodern era in ballet theater. The study acknowledges significant Western European, American, and Russian researchers in ballet. It discusses how the fusion of classical ballet and modern dance has enriched choreography and led to innovative staging techniques. The manuscript examines the transformation in the de

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Farinha, Gabriela Heloiza Lima, and Tiago Felipe de Oliveira Alves. "The mathematics on classical ballet: connections between the beautiful and the exact." OBSERVATÓRIO DE LA ECONOMÍA LATINOAMERICANA 22, no. 2 (2024): e3115. http://dx.doi.org/10.55905/oelv22n2-032.

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The article addresses the intrinsic relationship between classical ballet and mathematics, exploring the presence of geometric elements and symmetry in the techniques and movements of this form of dance. The research aims to explore the potential use of the golden ratio and mathematical modelling to analyze patterns, proportions, and understand the underlying physical principles of the dancers' leaps and turns. This qualitative and applied research, based on bibliographical analysis and a case study, provides a profound insight into the interaction between art and science, demonstrating how ma

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ІРИНА, ТКАЧЕНКО. "ОРГАНІЗАЦІЙНО-ЗМІСТОВІ АСПЕКТИ ПІДГОТОВКИ ФАХІВЦІВ ХОРЕОГРАФІЇ У ВИЩИХ НАВЧАЛЬНИХ ЗАКЛАДАХ НІМЕЧЧИН". Педагогічні науки., № 69 (30 травня 2018): 105–13. https://doi.org/10.5281/zenodo.1256245.

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The article reflects the organizational and content aspects of the training of choreography specialists in German higher educational institutions, which was the purpose of this publication. On the basis of descriptive and analytical methods of scientific research, in particular, theoretical analysis bachelor's («Dance», «Pedagogy of dance», «Stage dance», «Modern dance», «Eurythmie») are concretized and Master («Dance», «Pedagogy of Dance «Choreography and Performance», &

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Gorwa, Joanna, Jarosław Kabaciński, Michał Murawa, Wiktoria Śpikowska-Pawelec, and Anna Fryzowicz. "Is the Symmetry of Classical Ballet Positions Perfect?" Medical Problems of Performing Artists 38, no. 4 (2023): 200–206. http://dx.doi.org/10.21091/mppa.2023.4024.

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OBJECTIVE: It is expected that in classical ballet dancers would be able to execute all the techniques symmetrically from the right as well as from the left side of the body. This study aimed to evaluate the symmetry of kinematic parameters of hip joints, knee joints, and foot progression angle of the left and right lower extremities (LE) in five classical ballet positions, as well as the symmetry of active and passive turnout and range of passive hip external rotation. METHODS: The experimental testing involved 12 female pre-professional ballet dancers. Three measurements of range of motion,

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Bihus, Olha. "The Phenomenon of Richard Alston's Modern Choreography." Bulletin of KNUKiM. Series in Arts, no. 49 (December 15, 2023): 115–20. https://doi.org/10.31866/2410-1176.49.2023.293295.

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<strong>The aim of the article</strong> is to reveal peculiarities of the author’s style of Richard Alston’s modern dance, and to find out his contribution to the development of modern choreography. <strong>Results.</strong> Based on the analysis carried out, it is proved that there is an increasing interest in the choreographer’s creative activity, which represents the transformation of the British dance artistic aesthetics since the sixties of the 20th century. The choreographer’s favorite motifs are found to highlight two incredibly eloquent characteristics

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Vargas-Cetina, Gabriela. "India and the Translocal Modern Dance Scene, 1890s–1950s." Review of International American Studies 13, no. 2 (2020): 39–59. http://dx.doi.org/10.31261/rias.9805.

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At the end of the nineteenth century and during the first half of the twentieth, lead dancers from different countries became famous and toured internationally. These dancers—and the companies they created—transformed various dance forms into performances fit for the larger world of art music, ballet, and opera circuits. They adapted ballet to the variety-show formats and its audiences. Drawing on shared philosophical ideas—such as those manifest in the works of the Transcendentalists or in the writings of Nietzsche and Wagner—and from movement techniques, such as ballet codes, the Delsarte me

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Vargas-Cetina, Gabriela. "India and the Translocal Modern Dance Scene, 1890s–1950s." Review of International American Studies 13, no. 2 (2020): 39–59. http://dx.doi.org/10.31261/rias.9805.

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At the end of the nineteenth century and during the first half of the twentieth, lead dancers from different countries became famous and toured internationally. These dancers—and the companies they created—transformed various dance forms into performances fit for the larger world of art music, ballet, and opera circuits. They adapted ballet to the variety-show formats and its audiences. Drawing on shared philosophical ideas—such as those manifest in the works of the Transcendentalists or in the writings of Nietzsche and Wagner—and from movement techniques, such as ballet codes, the Delsarte me

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Usanova, Natalia S., and Vadim Y. Nikitin. "On the Issue of Preserving the Traditions of Russian Dance in the Scenic Forms of Choreographic Art." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 73 (2024): 273–82. http://dx.doi.org/10.37816/2073-9567-2024-73-273-282.

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The paper examines the issue of preserving the traditions of Russian folk dance in choreographic art. It addresses the directions of choreographic art, in which Russian dance is used in various interpretations: characteristic dance, ballet, folk-stage dance, folk-modern and post-folk. Basing on historical aspects, the authors reveal the sequence of development of the emergence of various types of dances in Russia. The study analyzes Russian ballet in detail focusing on the period of the “Soviet” and then the Russian ballet, when many choreographers turned to the Russian theme, not always using

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