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Information about DanceW

Published on November 23, 2007

Author: Laurie


Ballet and Modern Dance:  Ballet and Modern Dance Italian Beginnings:  Italian Beginnings Italian Beginnings:  Gugliemo Ebreo (William the Jew), teacher of dance to the nobility, wrote a study of dance that includes first examples of choreography. Dance moved from court feasts to ballrooms to the theatres. Intermezzos: dances performed between acts of classical drama or operas Balletti: originally used to refer to dance in ballrooms, came to be used to refer to dance in theatres. Italian Beginnings Le Balet Comique De La Reine Performance commissioned by Catherine de Medici at the Valois Court of Henri III:  Le Balet Comique De La Reine Performance commissioned by Catherine de Medici at the Valois Court of Henri III Le Balet Comique De La Reine:  Le Balet Comique De La Reine 1581: First ballet -- Le Balet Comique de la Reine aka Circe composed by Balthazar Beaujoyeulx Court entertainment for wedding festivities at the French Valois Court Three geometrical dance entries carefully woven into the plot of the production First conscious effort to blend verse, music, dance, scenic elements and costume into a unified and coherent theatrical statement. Ballet de Cours: Court Ballet at Versailles:  Ballet de Cours: Court Ballet at Versailles Ballet de Cours: Court Ballet at Versailles:  Ballet de Cours: Court Ballet at Versailles Ballet as Western civilization knows it is an invention of artists associated with the French court of the Sun King, Louis XIV The king's own dancing master and perhaps the first great French dancer, Pierre Beauchamps, was head of the Dance Academy. Court composer Jean-Baptiste Lully oversaw all productions. The ballet de cour dancers traced inventive patterns on the stage as one component of an elaborate stage presentation. The codification of technique helped to create the later dance vocabulary and the self-contained ballet. Romantic Ballet:  Romantic Ballet Romantic Ballet:  Romantic Ballet A trend toward a greater degree of self-expression began early in the 18th century. Marie Camargo introduced new steps to the vocabulary and raised her skirt several inches to show off her technique. Emphasis on en pointe dancing. 19th century ballerinas, Marie Taglioni, Carlotta Grisi, Fanny Cerrito ,Lucile Grahn and Fanny Elssler symbolize the essence of Romantic ballet, a style that stresses above all else an ethereal and floating lightness. Title roles were created in such works as La Sylphide and Giselle that exploited their airiness and “other-worldliness” Ballet d’Action: Story Ballet:  Ballet d’Action: Story Ballet Ballet d’Action: Story Ballet:  Ballet d’Action: Story Ballet Ballet tells a self-contained story. French choreographers in the vanguard: Pierre Rameau codified the five absolute positions of the feet and encouraged a livelier, less earthbound style of dancing Jean-Georges Noverre, the father of the ballet d'action, urged a full range of facial and bodily gestures be used to express emotion. Milanese Carlo Blasis’ Code of Terpsichore, a manual of instruction became the standard ballet handbook throughout Europe Russian Ballet:  Russian Ballet Russian Ballet:  Russian Ballet Marius Petipa came from Italy to St. Petersburg in 1847. As ballet master of the Imperial Maryinsky (now the Kirov) Ballet, Petipa created the core of the Russian repertoire with such works as Don Quixote, Swan Lake, The Nutcracker, and Sleeping Beauty. Important composers such as Tschiakovsky collaborated with Petipa. Rigorous training for dancers from a young age ensured brilliant technique. Diaghilev’s Ballets Russe:  Diaghilev’s Ballets Russe Anna Pavlova Nijinsky Diaghilev’s Ballets Russe:  Diaghilev’s Ballets Russe Preeminent Ballet Company of first three decades of 20th C. Led by Serge Diaghelev, the companty toured Europe and N.and S. America Choreographers included Fokine, Massine, Nijinsky and Balanchine Dancers included Pavlova, Nijinsky and Karasavina Scenic designers included Leon Bakst and Pablo Picasso Composers included Stravinsky, Debussy, and Satie When company disbanded after Diaghelev’s death in 1929, many artists moved to America Diaghilev’s Ballets Russe:  Diaghilev’s Ballets Russe Diaghilev’s Ballets Russe New York City Ballet:  New York City Ballet After the Ballets Russes disbanded, Balanchine was asked by Lincoln Kirstein to form a ballet company in America. In 1933 the School of American Ballet accepted its first students. A succession of companies evolved to become the New York City Ballet in 1948. Balanchine created a body of works unequaled in stylistic range and emotional variety -- Collaborated with Stravinsky and moved ballet to a purer, abstract expression NYCB stars include Suzanne Farrell, Jacques d'Amboise, Edward Villella, and Peter Martins. New York City Ballet and George Balanchine:  New York City Ballet and George Balanchine George Balanchine New York City Ballet Modern Dance:  Modern Dance Isadora Duncan:  Isadora Duncan First to raise the status of interpretive dance to that of creative art Rejected ballet as unsuited to the American character Performed barefoot and without tights, preferring a filmy, loose-fitting tunic Sought models and inspiration from ancient Greek arts, nature, social dances and American athleticism Although she founded schools in Europe and America, her improvisational style proved difficult to replicate Isadora Duncan:  Isadora Duncan Isadora Duncan 1878-1927 Isadora Duncan Foundation for Contemporary Dance Denishawn: Ruth St. Denis and Ted Shawn:  Denishawn: Ruth St. Denis and Ted Shawn Denishawn: Ruth St. Denis and Ted Shawn:  Denishawn: Ruth St. Denis and Ted Shawn Denishawn School of Dancing and Related Arts, dance school and company founded in 1915 by Ruth St. Denis and her husband, Ted Shawn; Fostered such performers as Martha Graham, Doris Humphry, and Charles Weidman St. Denis turned to Oriental dances for ideas about dance as spiritual art; later cofounded of Authentic School of Oriental Dancing, called Natya, in New York City Shawn pioneered the role of male dancer, draining male dancers and creating dances based on Native American and Western folklore. Founder of Jacob’s Pillow Festival Martha Graham:  Martha Graham “Martha Graham was to modern dance what Pablo Picasso was to modern art.” In a career spanning 70 years, Martha Graham created 180 dance works using a variety of motifs including: Fusion of abstract gestures to psychological symbols (Primitive Mysteries) American mythic heritage (Appalachian Spring) Classical tragedy (Medea, Clytemnestra) Technique includes: emphasis on the center of the body, not its extremities; angular stances; explosive, stylized gestures, spare and abstract stage settings Trained or influenced every important modern dancer--José Limón, Paul Taylor, Merce Cunningham, and Twyla Tharp --and made America the center of modern dance. Martha Graham:  Martha Graham Martha Graham Time’s 100 Most Influential Artists of the 20th C: Martha Graham Katherine Dunham:  Katherine Dunham Anthropologist (PhD U of Chicago), dancer, choreographer and educator Ethnic dance research in the Caribbean led her to found in 1940 the first all-black concert dance troupe, Les Ballets Negre, to perform 'Tropics and le Jazz Hot' Choreography combined black island dances with ballet and theatrical effects. 1945 the Dunham School of Dance was opened in New York City. Choreographed opera (Aida, Treemonisha), Broadway (Cabin in the Sky), and film (Stormy Weather) 1965-67 Senegal’s Cultural Minister Ran inner-city school in East St. Louis teaching performing arts to gang members Katherine Dunham:  Katherine Dunham The Kennedy Center Honors: Katherine Dunham Katherine Dunham Centers for Arts and Humanities FUSION:  FUSION American Ballet Theatre:  American Ballet Theatre The Ballet Theatre presented its first performance on Jan. 11, 1940. Struck a balance between tradition and experimentation. Led for 40 years by Lucia Chase and Oliver Smith, ABT commissioned works by such leading choreographers as Anthony Tudor, Agnes DeMille and Jerome Robbins. Celebrated performers have included Alicia Alonso, Rudolph Nureyev, Natalia Makarova, Antony Tudor, and Mikhail Baryshnikov, its artistic director from 1980 to 1989. American Ballet Theatre:  American Ballet Theatre American Ballet Theatre Dance Theatre of Harlem:  Dance Theatre of Harlem Arthur Mitchell, the first black dancer to perform with the New York City Ballet, founded the Dance Theatre of Harlem in 1971 Began with 30 children in a church basement--two months later, 400 children were attending classes The interracial company won a new audience for ballet and opened opportunities for young black dancers Repertory expanded to encompass classical, modern, and ethnically oriented works "Dancing Through Barriers" is designed to make children worldwide aware of dance. Dance Theatre of Harlem:  Dance Theatre of Harlem Dance Theatre of Harlem Alvin Ailey:  Alvin Ailey Born in Texas in 1931, Ailey spent his formative years going to Sunday School --see Revelations Trained with Lester Horton, Katherine Dunham and Martha Grahman, Stella Adler among others 1958, Ailey founded his own company, the Alvin Ailey American Dance Theater, company dedicated to enriching the American modern dance heritage and preserving black cultural expression. First American dance company invited to the Soviet Union. 1969, Ailey founded the Alvin Ailey American Dance Center now training 3500 students a year Alvin Ailey:  Alvin Ailey Alvin Ailey Dance Theatre

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