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Journal articles on the topic "Male dance on the ballet scene"
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Fiskvik, Anne Margrete. "Tracing the Achievements of Augusta Johannesén, 1880–1895." Nordic Journal of Dance 5, no. 2 (2014): 4–21. http://dx.doi.org/10.2478/njd-2014-0007.
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Abstract Dancer, choreographer and teacher Augusta Johannesén was an important figure in several capacities for Nordic theatrical dance. She danced, taught and choreographed in Sweden, Finland as well as in Russia. Between 1860-1878 she was a member of the so-called Johannensénske Balletselskab, which toured extensively in the Nordic countries. The Johannesénske family settled in the Norwegian capital Kristiania in 1880, and Augusta Johannesén slowly established herself as a professional dance artist at the most important theatres in Kristiania. Over the years she became a dancer, choreographer and teacher of great significance, and her contribution to the development of Norwegian theatre dance cannot be overestimated. She was active as dancer well into the 1910’s and “arranger of dance” up until she died in 1926. As a ballet teacher, she trained hundreds of dancers, including several of those who later went on to play a role in the Norwegian dance- and theatre scene. In many ways, Augusta Johannesén is representative of a versatile dancer that can be found on many European stages, the versatile ballet dancer that was also typical of the Nordic dance scene around the “fin de siècle”. She typically also struggled with stereotypical notion of the “ballerina”. This article focuses on only a part of her career, her first fifteen years in Norway. Between 1880 and 1895 she established herself in Kristiania, dancing at the Christiania Theater and later at the Eldorado. The article also forefront an especially important event in Norwegian Nordic dance history instigated by Johannesén: The establishment of a “Ny Norsk Ballet” (“New Norwegian Ballet”) at the Eldorado theatre in Kristiania in 1892. This is probably the very first attempt at creating a professional ballet company in Norway, and Augusta Johannesén’s contribution is only one of many ways she made a difference to professional theatre dance in Norway.
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Gorshunova, Olena. "Masters of Men's Dance on Ukrainian Ballet Scene in Domestic Academic Achievements." Dance Studies 2, no. 1 (2019): 39–48. https://doi.org/10.31866/2616-7646.2.1.2019.172183.
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The purpose of the article is to identify problematic situations in the works of Ukrainian scientists regarding the creation of a choreographic image by male performers on the Ukrainian ballet scene. Methodology. The main research methods are comparative (to analyze various interpretative strategies for the development of male dance in domestic ballet), historical (to create typological characteristics of this phenomenon in different historical periods), art criticism (dancological) to identify the causes of the evolution of specific performance techniques. Scientific novelty. For the first time, studies by Ukrainian researchers in relation to the performance principles of male dance have been analyzed, their own approach to this problem in the historical and artistic and practical aspects has been proposed. Conclusions. Ukrainian ballet scholars studies of the past decades usually boil down to metaphorical descriptiveness, reloading with general characteristics without taking into account the specific features of the performance of the same academic pas by various artists. Therefore, it is almost impossible to distinguish any performing techniques from ballet dancers of different schools and generations. The efforts of scientists in the study of male dance were focused on such issues as purely acting means of expressiveness, the interaction of the choreographer and performer as an interpreter of his design, as well as matching the style of performing the traditions of a particular school (mainly Vaganov and its Kyiv branch). At the same time, the features of the interpretation of male roles in different historical periods (from the beginning of the choreodrama to post-neoclassicism) remained almost undisclosed.
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Meglin, Joellen A. "Victory Garden: Ruth Page's Danced Poems in the Time of World War II." Dance Research 30, no. 1 (2012): 22–56. http://dx.doi.org/10.3366/drs.2012.0033.
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During the years 1943–1946, the Chicago choreographer and ballet director Ruth Page created a compact, innovative vehicle for touring, a concert she called Dances with Words and Music. The programme consisted of solo dances accompanied by the poems of Dorothy Parker, Ogden Nash, e. e. cummings, Federico García Lorca, Langston Hughes, Hilaire Belloc, Edna St. Vincent Millay, and others. Page performed her danced poems, speaking the words herself and dialoguing with them in dance, in New York and Chicago, and at Jacob's Pillow. She also toured extensively to smaller cities scattered throughout the Midwest and South, sponsored by colleges and universities, as well as civic associations, independent producers, women's clubs, and USOs. I argue that Page's marriage of poetry and dance was not just a stopgap measure designed to keep her choreographic footing during the lean years when male dancers were enlisted. It was a deliberate strategy to position herself as a front-runner on the American scene – an architect of the American ballet with a sensitive ‘vernacular ear,’ a worldview, and, crucially, a perspective sympathetic to the psyches of young women and children.
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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 method, and, later on, Eurythmics (in fashion at the time), these lead dancers created new dance formats, choreographies, and styles, from which many of today’s classical, folk, and ballet schools emerged. In this essay, I look at how Rabindranath Tagore, Isadora Duncan, Anna Pavlova, Ruth St. Denis and Ted Shawn, Uday Shankar, Leila Roy Sokhey and Rumini Devi Arundale contributed to this translocal dance scene. Indian dance and spirituality, as well as famous Indian dancers, were an integral part of what at the time was known as the international modern dance scene. This transnational scene eventually coalesced into several separate schools, including what today is known as classical and modern Indian dance styles.
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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 method, and, later on, Eurythmics (in fashion at the time), these lead dancers created new dance formats, choreographies, and styles, from which many of today’s classical, folk, and ballet schools emerged. In this essay, I look at how Rabindranath Tagore, Isadora Duncan, Anna Pavlova, Ruth St. Denis and Ted Shawn, Uday Shankar, Leila Roy Sokhey and Rumini Devi Arundale contributed to this translocal dance scene. Indian dance and spirituality, as well as famous Indian dancers, were an integral part of what at the time was known as the international modern dance scene. This transnational scene eventually coalesced into several separate schools, including what today is known as classical and modern Indian dance styles.
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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.
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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.
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Churpita, Tetiana. ""The Great Waltz" Ballet in the Production of Mykola Trehubov." Dance Studies 2, no. 2 (2019): 168–76. https://doi.org/10.31866/2616-7646.2.2.2019.188817.
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The purpose of the article is to analyze the scenic path of the romantic ballet "The Great Waltz" directed by Mykola Trehubov. Methodology. The historical, historiographic and analytical approaches are applied. Scientific novelty. The article, for the first time, made a detailed analysis of the sсеnic life of "The Great Waltz" performance staged by M. Trehubov in various ballet theatres of the USSR. Conclusions. In 1957, the famous choreographer M. Trehubov, together with the conductor of Lviv Opera, S. Arbit, staged The Great Waltz ballet to the music of J. Strauss, which plot was based on real moments in the biography of the Viennese composer. M. Trehubov originally unveiled the topic: all the dances, staging scenes were organically connected with the theme of the performance and better characterized the characters. Observers praised the diverse choreographic language of the ballet, consisting of duets, trios, individual variations, and mass dances. Critics noted the subtlety of M. Trehubov’s taste, his excellent ability to build choreographic dialogues and convey complex human feelings in the language of dance. The performance was distinguished by a strict logical relationship between the characters, which were embodied on the stage by the leading dancers of the ballet theatres. High-quality musical and artistic design aroused the warm approval of the audience and contributed to maintaining the pace of development of the action. Observers attributed mass dances to the shortcomings of the performance. The choreographer was also advised to modify the third act of the performance. The significant popularity of the work is evidenced by its repeated productions on various stages of the USSR (Odessa, Donetsk, Dushanbe, etc.). Creatively active Ukrainian groups continue to experiment with Strauss music today. Despite the materials found, the productions of "The Great Waltz" ballet outside Ukraine and its updating in the repertoire of the Lviv Opera House (1981) are of scientific interest.
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Latifić, Amra. "The Legend of Ohrid: Reception of balletization of the dance tradition." New Sound, no. 58-2 (2021): 173–89. http://dx.doi.org/10.5937/newso2158173l.
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The paper discusses the interpretations of the choreographic aspects of different versions of the performance of the ballet The Ohrid Legend by Stevan Hristić. In the choreographies of this ballet, ballet vocabulary is combined with folklore motifs, using the principle of balletization of folklore. This choreographic approach has produced a pluralism of opinions on the ballet critical scene-from the modernization of folklore elements to views that the work still belongs to the traditional ballet choreographic structure. Pluralism of opinion provides an opportunity to open new approaches in the interpretation of the choreography itself. In this paper, an anthropological approach is treated, based on the intersection of different styles of play.
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Đurinović, Maja. "Who is singing out there." Kultura, no. 182-183 (2024): 157–63. https://doi.org/10.5937/kultura2483157d.
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This work begins with the fantastic success (twenty years of duration and over 200 performances) of the Serbian National Theatre ballet Who is Singing Out There (2004), which was based on Dušan Kovačević's script for Slobodan Šijan's film of the same title, with music by Vojislav Voki Kostić and choreography and direction by Staša Zurovac. Its intention is to point out the specific language and style of Staša Zurovac's displaced dance grotesque, which he discovered and shaped with a group of fellow enthusiasts, his colleagues from the Zagreb Ballet, and his wife, a ballet soloist Olja Jovanović, during a relatively short but above all strong author's momentum on the Croatian dance theatre scene. Zurovac began developing his own personal style in dance theatre in 2002 with a miniature The Gods Are Angry and then with his first full-length work called Cirkus Primit if Ballet, continuing to work in Split, Rijeka and Ljubljana, and peaking in Belgrade with a bold dance staging of the cult film Who is Singing Out There.
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Pritchard, Jane. "Archives of the Dance (24): The Alhambra Moul Collection at the Victoria and Albert Museum." Dance Research 32, no. 2 (2014): 233–57. http://dx.doi.org/10.3366/drs.2014.0108.
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This article in the ‘Archives of the Dance’ series looks at one specific collection held in the Theatre & Performance Collections of the Victoria and Albert Museum, London. At first glance, the Alfred Moul Collection (THM/75) appears a small collection filling only half a dozen archive boxes plus some photographs and press cuttings books. Nevertheless its content is very revealing about the management of the Alhambra Palace of Variety, Leicester Square, during the years 1901–1914, and the ballets created there. It is not exclusively a dance archive but places the work of the theatre's ballet company in the context of variety theatre and the full range of turns presented there. The collection focuses on the final decade of the fifty years from 1864 in which the Alhambra dominated the ballet-scene in London. This final period was a time of decline and competition for the ballet company. The collection reveals the management's awareness of competition and the consequent need to embrace a wide range of genres; the word ballet was used to cover all forms of theatre dance and, as the collection reveals, the wide search for new dance stars for productions; it enhances our knowledge of dance and dancers from France, Russia, America and Denmark as well as our knowledge of dance in Britain immediately before the full impact of the Russian ballet was felt.
Dissertations / Theses on the topic "Male dance on the ballet scene"
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Urista, Dawn. "Giselle's Mad Scene: A Demonstration and Comparison of 21st Century and 19th Century Paris Opéra Stagings." Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/11502.
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ix, 47 p. : ill. A DVD of the April 2, 2011 performance is archived in the Department of Dance at the University of Oregon. Please call 541-346-3386 for information.<br>This project entailed restaging Act 1's Mad Scene from the ballet <italic>Giselle</italic> to compare, contrast and analyze the character of Giselle within Henri Justamant's 1860's choreographic notation for the Paris Opéra Ballet and Sorella Englund's version at the Royal Danish Ballet Summer 2010 workshop. Using my journal from the workshop with Ms. Englund, I coached the cast using similar prompts and exercises she had given. To restage the Justamant ballet, we utilized his newly discovered choreographic notebook in conjunction with Joan Lawson's <italic>Mime.</italic> Preparations for the rehearsals, including translations, obtaining recordings of the original score, and the developments and revelations that emerged from the cast's exploration of the characters, are addressed and assessed. This research provides insight into the original nature of this Romantic ballet and reflects upon oral coaching versus restaging from a script, use and disuse of music, and interpretations and archetypes discussed in the review of literature.<br>Committee in charge: Shannon Mockli, Chairperson;
Marian Smith, Member;
Jenifer Craig, Member;
Walter Kennedy, Member
Books on the topic "Male dance on the ballet scene"
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author, Murga Castro Idoia, ed. Escenografía en el exilio republicano de 1939: Teatro y danza. Renacimiento, 2015.
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Lee, Hall, and Copyright Paperback Collection (Library of Congress), eds. Billy Elliot: A novel. Scholastic, 2001.
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Gifts, Rhyeland Rhyeland. Real Men Dance Ballet: Male Ballet Dancer Student Planner, 2020-2021 Academic School Year Calendar Organizer, Large Weekly Agenda. Independently Published, 2020.
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Van Assche, Annelies, Dunja Njaradi, Igor Koruga, and Milica Ivić, eds. (Post)Socialist Dance. Bloomsbury Publishing Plc, 2024. http://dx.doi.org/10.5040/9781350408180.
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This book sets out to search for the Second World — the (post)socialist context — in dance studies and examines the way it appears and reappears in today’s globalized world. It traces hidden and invisibilized legacies over the span of one century, probing questions that can make viewers, artists, and scholars uncomfortable regarding dance histories, memories, circulations and production modes in and around the (post)socialist world. Our understanding of ‘dance’ is broad and inclusive. The contributions delve into a variety of dance practices (folk, traditional, ballet, modern, contemporary), modes of dance production (institutionalization processes, festival-making and market logics), and dance circulations (between centres and peripheries, between different genres and styles). The main focus is Eastern Europe (including Russia) but the book also addresses Cuba and China. The hope is for theoretical developments engendered by this focus on the Second World to be useful when applied to regions outside the book’s scope. Its chapters span a range of lesser-known historical examples from the arts of Yugoslav regions (Magazinovic, Davico andThe Legend of Ohrid) to Cuban postrevolutionary artists (Burdsall) and Mongolian Wulmanuqi troupes. The book’s historical examples make the reader aware, too, of the (post)socialist bodies’ influence in today’s dance, including in contemporary dance scenes. The (post)socialist context promises to be a prosperous laboratory to explore uncomfortable questions of legitimacy. Whose choreographic work is staged as a ‘quality’ dance production? Which dance practices are worthy of scholarly study? Which practices are ‘valuable enough’ for decent archiving and institutionalization? What are the limits of dance studies’ understanding of what dance is (and what it should be)? In view of reclaiming the Second World through dance, this book thus probes questions that should be asked today but arenot easyto answer. We set out to explore questions that dance practitioners, facilitators, critics, and researchers, including ourselves, are oftennot at ease witheither. In raising and discussing these, we intend to restore the role and meaning of dance and to offer necessary utopias for those living in a world torn by multiple crises. Through seeking to answer these questions, the cracks of dance history begin to be sealed, and neglected dance practices are written back into history, provided with the academic recognition that they deserve.
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Clark, Mary Lou, and Clement Crisp. Dancer: Men in Dance. British Broadcasting Corporation, 1986.
Find full textBook chapters on the topic "Male dance on the ballet scene"
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Meglin, Joellen A. "White She-Devil in an Otherwise Black Cast." In Ruth Page. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780190205164.003.0005.
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Page’s first large-scale ballet, La Guiablesse, is most famous for its casting of a twenty-three-year-old Katherine Dunham. Produced for the 1933 Chicago World’s Fair, A Century of Progress, the ballet featured Page as the She-Devil, opposite an otherwise all-black cast. Later, Page asked Dunham to assume the title role and to restage the ballet for the Chicago Grand Opera; then, the mentor turned the performance rights to the ballet over to her mentee. La Guiablesse was quite a feat of intercultural communication: a Martinique folk tale recorded by Lafcadio Hearn, an immigrant European American folklorist; envisioned as a ballet scenario by Page, a globe-trotting Midwestern choreographer; given life as a ballet score by William Grant Still, an African American composer with classical and jazz roots; and made into choreography in a process that blurred authorship between white choreographer and black performer and her troupe. This chapter “re-choreographs” the ballet through an intertextual reading of the original folktale, the music score and recording, the ballet scenario, the choreographer’s notebook, and Chicago reviews and press coverage, considering the subtext of the ballet within the frame of what each of the collaborators brought to the project. Page’s previous excursions into world dance, Hearn’s cross-cultural studies of folklore, Still’s trajectory as a composer who strove to fuse musical classicism with African American idioms of the blues and jazz, and Dunham’s education and early successes figure into the picture, as do the contexts of the Harlem Renaissance and the Chicago jazz scene of the period.
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Polasek, Katherine, and Emily Roper. "Friendship Formation among Professional Male Dancers." In Dance and Gender. University Press of Florida, 2017. http://dx.doi.org/10.5744/florida/9780813062662.003.0007.
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The purpose of this study was to examine the formation of friendships among 12 current professional male ballet and modern dancers. In-depth semi-structured interviews regarding the nature and quality of their friendships with men and women in their respective dance companies were conducted. Four emergent themes are discussed: (a) relational challenges early in life; (b) sexuality and friendship formation; (c) culture of dance; and (d) competition among male dancers. The findings provide insight into the ways in which male ballet and modern dancers connect and/or disconnect with both male and female dancers and how gender and sexuality influences social interactions and relationships.
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Belling, Gareth. "Engendered." In Dance and Gender. University Press of Florida, 2017. http://dx.doi.org/10.5744/florida/9780813062662.003.0004.
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Regendered movement refers to a process where choreographic material is created or adapted with the intention that it may be performed by either male or female dancers with little or no change to the original steps. This practice-led research project investigated the choreographer’s creative process for regendering contemporary ballet choreography and the dancers’ experiences of the rehearsal process and performance, and audience perception of meaning in the ballets. The research project sought to investigate the “in-born” and “natural” gender binaries of classical ballet by applying gender theory (Butler 1990, 2004; Polhemus 1993; Wulff 2008) and feminist critique of classical ballet (Daly 1987; Copeland 1993; Anderson 1997; Banes 1998). A mixed method, studio-based action research methodology was employed. Recent critical debate on gender in dance (Macaulay 2010, 2013; Jennings 2013, 2014), existing contemporary ballet, and its impact on the creative process of the choreographer are discussed.
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Jones, Carlos R. A. "Jazz Dance Technique, Aesthetics, and Racial Supremacy." In Rooted Jazz Dance. University Press of Florida, 2022. http://dx.doi.org/10.5744/florida/9780813069111.003.0008.
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In this chapter, Carlos Jones takes an in-depth look at the definition and interpretation of “technique” in a dance context. He points out that typically, the elements within jazz dance that are called “technique” are related to ballet or other styles outside the African American origins of jazz. This happened in the early and mid-twentieth century, when White male artists extracted certain aspects of jazz, created codified systems infused with European dance forms, and repackaged it as their own style. However, it is a mistake to conflate technique with Eurocentric, balletic movements, since jazz dance has its own technique. Jones explains that although American dancers are often taught that ballet is the foundation for all other dance forms, or that ballet improves other dance forms, this simply is not true, and in fact is a racist idea. Since jazz has African roots, it cannot also have ballet roots. Jones presents an in-depth discussion of two jazz-specific techniques: get-down, and call-and-response, and ends with a call to stop defining jazz by the “other.”
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Fullington, Doug, and Marian Smith. "Le Corsaire in St. Petersburg." In Five Ballets from Paris and St. Petersburg. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780190944506.003.0008.
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Abstract This chapter discusses how Le Corsaire found a permanent home on the Russian stage following its 1858 St. Petersburg premiere. However, the swashbuckler that eventually sailed into the twentieth century bore only partial resemblance to Joseph Mazilier and Adolphe Adam’s 1856 Paris original. What had largely been a pantomime ballet, showcasing the acting talents of its original stars, became heavily populated with dances interpolated over decades, many composed by Cesare Pugni. The replacement of narrative-driven dances and the eventual omission of the ballet’s fourth scene contributed to a loss of dramatic coherence in what had once been Saint-Georges’s well-crafted albeit far-flung narrative. Following a performance history, a description of source material leads to detailed account of the choreography, mime, and action of the St. Petersburg Le Corsaire based on choreographic notations, made primarily by Nikolai Sergeyev in the Stepanov system during the first years of the twentieth century, and an Imperial-era répétiteur.
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Rabinowitz, Stanley J. "Post-Revolutionary Writings on Ballet (1922–1924)." In And Then Came Dance. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190943363.003.0008.
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Continuing to view what was most likely the greatest number of preeminent ballerinas ever to have been assembled on a single stage within so brief a period of time, Volynsky recreates the vivid and increasingly vulnerable world of Petersburg/Petrograd/Leningrad’s storied Maryinsky Theater. In gripping language and with his characteristically admirable visual acuity and impressive mastery of dance vocabulary, Volynsky makes us feel as if we were ourselves spectators at these dance performances. With his male gaze always at work, Volynsky emblemizes the prophet who possesses lofty opinions about the past, present, and future of ballet in Russia, and with no less zeal as he fights any attempt to defeminize dance culture or marginalize the great art of classical dance.
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Aloff, Mindy. "Touring." In Dance Anecdotes. Oxford University PressNew York, NY, 2006. http://dx.doi.org/10.1093/oso/9780195054118.003.0015.
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Abstract A Hands-On Schéhérazade The Diaghilev ballerina Lydia Sokolova told the dance historian Richard Buckle of a one-night stand by the Ballets Russes in Spain when the town insisted on seeing the famous Schéhérazade, even though the company hadn’t brought the production on that tour. So, troupers that they were, the dancers found themselves performing Michel Fokine’s Middle Eastern harem fantasy in the set for his Carnaval and in a conglomeration of costumes from his Les Sylphides (Romantic tutus), Daphnis and Chlöe (chitons), and Cléopâtre (sheer, pleated skirts). Speaking of Schéhérazade’s climactic scene, when the potentate catches his unfaithful wife and concubines cavorting with slaves and orders his guards to slay them all, Sokolova recalled: “Nobody knew who anybody was, or who to make for There were no swords, so they had to strangle us. My dear, we put everything into it. We never had such an ovation, before or since.”
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Aloff, Mindy. "Sets and Stagecraft." In Dance Anecdotes. Oxford University PressNew York, NY, 2006. http://dx.doi.org/10.1093/oso/9780195054118.003.0025.
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Abstract An Idyll and a Storm Legend has it that the most spectacular, beautiful, and refined theatrical effects ever produced for the ballet were devised in nineteenth-century Russia, at the czar’s various theaters (notably the Maryinsky in St. Petersburg) and estates, where hundreds of men drawn from various branches of Russia’s armed forces would be commandeered to help achieve the spectacle. Whether the effects are, indeed, supreme in dance history—the scenic designs for some seventeenth-century court ballets in Continental Europe were also elaborate and refined—they are certainly in the running. The following stories are told by the ballerina Tamara Karsavina (1885– 1978) in her memoir, Theatre Street. The first describes her participation, as a student at the Imperial Theater School, in an outdoor performance-ceremony at Peterhof, a summer palace. The second describes the scene of a great storm and shipwreck in the ballet Le Corsaire, in which Karsavina danced the lead of Medora as a member of the Maryinsky company. Many of the earlier Maryinsky spectacles were designed by Andrei Roller (1805–91); Karsavina does not specify who was responsible for these.
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Domínguez Gutiérrez, M. Carmen. "El ballet Don Lindo de Almería: un Lohengrín andaluz surca los cielos mexicanos." In Diaspore. Fondazione Università Ca’ Foscari, 2022. http://dx.doi.org/10.30687/978-88-6969-596-4/009.
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José Bergamín wrote in 1926 a ballet libretto, Don Lindo de Almería, for which Rodolfo Halffter wrote the music on 1935. The ballet premiered in Mexico in 1940 with the scenography of Anna Sokolow. The three artists collaborated on two other occasions, and the success achieved meant for Rodolfo Halffter the complete entry into the Mexican music scene. For Mexican dance, that experience was the origin of the current National Dance Company. However, little attention has been given to José Bergamín texts, which represent an important highlight of literary identity for the republican exile in Mexico.
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Oliver, Wendy, and Doug Risner. "An Introduction to Dance and Gender." In Dance and Gender. University Press of Florida, 2017. http://dx.doi.org/10.5744/florida/9780813062662.003.0001.
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Chapter 1 introduces the relationship between dance and gender, inquiring into the ways dance is gendered in Western society today and the significance of these findings. An extensive review of literature covers feminist perspectives, social construction of gender, gender equity, men in dance, queer theory and GLBT studies, plus gender roles in modern dance, ballet, social, religious, popular and recreational dance. Two of the most-discussed issues within the literature since the mid-1990s are the presentation of women’s bodies onstage, and how male dancers disrupt traditional ideas of masculinity. Dance outside the gender binary is also considered. Gender roles onstage, in class, in rehearsal, in company leadership, in postsecondary dance departments, and in choreographer funding are sites of inquiry within this book of empirical research studies and essays.
Conference papers on the topic "Male dance on the ballet scene"
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Gimunová, Marta, Tomáš Vodička, Kristián Jánsky, et al. "The effect of classical ballet, Slovakian folklore dance and sport dance on static postural control in female and male dancers." In 12th International Conference on Kinanthropology. Masaryk University Press, 2020. http://dx.doi.org/10.5817/cz.muni.p210-9631-2020-4.
Full textAbstract:
Purpose: Classical ballet, Slovakian folklore dance, and sport dance training differ in their way how to master the art of dance; however, postural control is essential for the correct exe-cution of complex movements used in all types of dance. The aim of this study was to analyse the differences in static postural control between classical ballet dancers, Slovakian folklore dancers and sport dancers and to analyse the effect of body mass, body height and toe grip strength on postural control. Methods: 68 dancers, between 17 to 28 years of age, participated in this study: 21 dancers from Slovakian folklore dance group VSLPT Poľana Brno (12 females, 9 males), 22 dancers from Brno Dance conservatory (16 females, 6 males) and 25 sport dancers competing at Brno Dance Open 2019 (12 females, 13 males). All participants were asked to stand upright, barefooted, arms along the body, both feet on the Emed-at platform (Novel GmbH, Germany) for 10 seconds with their eyes open to obtain the length of COP line (cm), average velocity of COP (cm/s), the elliptic area (mm2) and numerical eccentricity of the ellipse. The toe grip strength was measured for each foot when sitting using toe grip dynamometer (Takei Scien-tific Instruments, Niigata, Japan). To analyse the effect of dance style, to grip strength, body mass, body height, and gender on postural control variables, Kruskal Wallis test, and Spear-man Rank Order Correlation were used. Results: Abetter postural stability measured by the length and average velocity of COP was observed in sport dancers, compared to classical ballet and Slovakian folklore dancers. Sport dancers are used to a greater load on the forefoot and to a special foot roll-of pattern when dancing, which may lead together with a constantly changing environment during competi-tions to their enhanced postural stability. Despite the differences in dance training and dance footwear of female and male dancers (high-heel shoes in sport and Slovakian folklore female dancers, pointe shoes in female ballet dancers), no statistically significant difference in pos-tural variables between genders was observed. Similarly, in analysed dancers, no effect of age, body mass, and body weight on postural control were observed. The toe grip strength was not observed to affect the postural variables in this study. The greatest toe grip strength was observed in female ballet dancers, despite their younger age. Ballet dance training in-cludes repetitive exercises focused on foot and toes such as battement tendu or demi-pointe and en pointe positions probably resulting in the greater strength of the toes. Conclusion: In this study, better postural stability measured by the length and average ve-locity of COP was observed in sport dancers, compared to classical ballet and Slovakian folklore dancers. In analysed dancers, no effect of body mass, body weight, gender, and toe grip strength on postural control variables was observed. Future studies focused on postural stability changes in non-dancers after a sport dance, classical ballet and Slovakian folklore dance training program would provide additional knowledge about the process how each type of dance enhance the balance and other coordinative skills.