Friday, June 25, 2010
The Paris Opera Ballet is one of the world’s great ballet companies. The film follows the rehearsals and performances of seven ballets: Genus by Wayne McGregor, Le Songe de Medée by Angelin Preljocaj, La Maison de Bernarda by Mats Ek, Paquita by Pierre Lacotte, Casse Noisette by Rudolph Nureyev, Orphée and Eurydice by Pina Bausch, and Romeo and Juliette by Sasha Waltz. The film shows the work involved in administering the company and the coordinated and collaborative work of choreographers, ballet masters, dancers, musicians, and costume, set, and lighting designers.
Monday, June 21, 2010
Sunday, June 20, 2010
Cecchetti vs. Vaganova Continuing Ballet History
By Angelika Stegmann
When I started to teach in this country, I quickly realized that the dancers were trained in a different school than I have been trained in. Growing up in the Russian School founded by Agrippina Vaganova I was not familiar with the Cecchetti Method, which is widely spread throughout the U.S. I was curious about the difference of styles and their history.
The difference is quite subtle but enough to throw a student off the path. Arm positions have different numbers; for instance, the fifth position en haute in Cecchetti is the third position in Russian. As long as the name is the only difference, the dancer still knows how to execute this. But when it comes to how to hold the head at every given moment, it becomes trickier and the dancer needs to concentrate.
It makes sense that there are only slight differences in the style considering both schools’ beginnings. Born in Rome, Italy, the dancer and ballet master Enrico Cecchetti (1850 – 1928) came to St. Petersburg to teach at the Imperial School in 1887. He had debuted as a dancer at La Scala in Milan when he was twenty-years-old and had toured Europe as the best dancer known in his time until he settled in St. Petersburg, at least for a while, to mesmerize the audience with his strong leaps, multiple pirouettes, and flashing beats. The Russian audience, which was more accustomed to watching grace, charm, artistry and personality, welcomed the firework of energy Cecchetti and the ballerinas Carlotta Brianza and Pierina Legnani brought to their attention.
Eventually, Cecchetti was engaged as ballet master at a time when the Franco-Danish-Russian School influenced by the Swedish Christian Johannson dominated the schools. For a while, there were two separate schools, much to the confusion of everyone. In 1902, Enrico Cecchetti moved on to teach in Poland, went on tour with Diaghilev’s Ballets Russes, and eventually opened his own school in London.
Meanwhile in St. Petersburg the young Agrippina Vaganova (1879 – 1951) had first struggled through her years at the Imperial Ballet School only to gain respectful success as a dancer. At the height of her career in 1916, Vaganova retired from the stage to give her undivided attention to teaching.
One year later, the Bolshevik Revolution of 1917 threatened the future of the ballet. Many Russian dancers fled the country and settled in England and France but Vaganova stayed in what was now Petrograd and later Leningrad, and refined her teaching methods. The Russian ballet master Nicolai Legat had started to incorporate Cecchetti’s speedy pirouettes and various entrechats into the graceful fluidity of the Russian style. Vaganova continued and combined all the different styles of her days with her own rich knowledge and insight. With her book “Basic Principles of Classical Ballet”, published in 1934, she put down her legacy. Her method became the basic method of the Soviet Choreographic School and in the last decade won more and more followers in the U.S.
Friday, June 18, 2010
By ROSLYN SULCAS
Published: June 17, 2010
“If someone that talented comes out, it influences the dancers around her, and the younger ones,” Mr. Ratmansky said. “After her there was a wave of physical talent coming from the Bolshoi school. It’s an interesting phenomenon.”
Thursday, June 17, 2010
Ballerina from Watford wins diploma spot at Bolshoi Ballet Academy in Moscow
Natalie Carter from Watford will start a three year diploma at the Bolshoi Ballet Academy in Moscow.
Ballerina Natalie Carter will become the first British girl to train for a full diploma at a prestigious Russian ballet school.
After a gruelling first year at the Bolshoi Ballet Academy in Moscow, during which she got to grips with the language and an unforgiving class timetable, Natalie has passed her exams and secured a spot on a three-year diploma course.
Natalie's mother Sue said: “She loves it, absolutely loves it.”
Natalie, 17, was invited to apply for the Bolshoi after impressing Svetlana Adyrkhaeva, a former principle dancer at the Russian school, when she saw the teenager perform with The Gypsy Booth School and College of Theatre Arts in South Oxhey last year.
She was placed on a preliminary course designed to bring her technique up to other girls' standards as she had not come from a dancing background, attending Watford Grammar School for Girls.
However, in the past 12 months Natalie suffered a number of injuries to her stomach, foot and hip, which forced her to stop dancing for several weeks.
But she was able to prove herself to her teachers and win the chance to train for a full diploma at the school.
Natalie will return home to Belgrave Avenue, Watford, for the summer holidays later this month before beginning the course in September.
Sue added: "I am obviously bubbling with pride that Natalie has secured her place, but more relieved and excited for Natalie as I know how much this meant to her and how hard she has worked during the year and to get back to fitness for these exams."
Wednesday, June 16, 2010
Frederick Wiseman Ballet Documentary on PBS
PHOTO: Nicholas Le Riche and Laetitia Pujol in 'The Nutcracker.' Courtesy Zipporah Films
The ever-brilliant Wiseman uses his camera to observe daily classes, rehearsals, and performances, and to explore the company's sumptuous home, the Palais Garnier opera house, with its gilded corridors, velvet-clad theater and Marc Chagall ceiling, and its ancient labyrinthine underground chambers and brightly lit rehearsal studios. But best of all, Wiseman bears witness to the ballet's cadre of remarkably gifted and disciplined young dancers, spending time in rehearsals and watching the performances of Nicolas Le Riche, Marie-Agnès Gillot, Agnès Letestu and others performing seven ballets, including: Genus by Wayne McGregor, Paquita by Pierre Lacotte, The Nutcracker by Rudolf Nureyev, Medea by Angelin Preljocaj, The House of Bernarda Alba by Mats Ek, Romeo and Juliet by Sasha Waltz, and Orpheus and Eurydyce by Pina Bausch. La Danse is Wiseman's 38th film in a career that has spanned 40 years of documentary filmmaking. If you can't make the broadcast, you can still enjoy the trailer.
Tuesday, June 15, 2010
ABT Ballerina Is AttackedBy DANIEL J. WAKIN
She had attended a performance of Ballet Theater’s “Sleeping Beauty,” in which she is to dance Saturday night, at the Metropolitan Opera House and was crossing Amsterdam Avenue on her way home when she was mugged, said the agent, Sergei Danilian. “Two guys just came from her back and they hit her and they took her bag,” he said. “She was so brave and so smart — she didn’t scream,” he said of the 5-foot-4 Ms. Osipova.
She had left her passport and money at home and her computer at the Met, but the muggers got away with her point shoes and a small hammer used to shape them. The Met doctor is to examine her on Tuesday, Mr. Danilian said, and would determine whether she could dance full-out during an afternoon rehearsal or just walk through it. She will “absolutely, no doubt,” perform on Saturday, Mr. Danilian said. The police also went to the Met to interview her, he said.
Ms. Osipova, who is Russian, is a star of the Bolshoi Ballet and in her second season as a guest artist with Ballet Theater. She is known for her theatrical flair, prodigious leaps and detailed performances. After Saturday, Ms. Osipova will next perform with the company in ”Romeo and Juliet” on July 10.
hi, i was wondering if you knew any ways to improve an arch in a dancers feet... please let me know :) thanks
I found a good answer at all experts.com for you since I wasn't aware of anyway to make the actual arch better - also therabands are great for preparing your feet:
There are several things you can do to improve and strengthen your feet, but unfortunately, there is nothing you can do to change your bone structure. You can better prepare by doing a lot of plie releves, rolling your ankles in circles (both directions) and pointing and flexing your feet, articulating through the foot. These exercises, if done consistently over a period of time (improvements will take a while to notice. . .) will help your foot to be the best it can be. But there is no changing your foot into a highly arched foot--as I said, you cannot change bone structure. When it is time to begin pointe work, you will want a shoe that fits you properly and helps you to be all the way up over the box. Keep practicing and be patient! Good luck!
Sunday, June 13, 2010
Yvonne Craig was originally trained to be a ballet dancer and was a member of the corps de ballet of the Ballet Russe de Monte Carlo in the 1950s before she took the roll of Bat Girl in the 60's.
Visit her fan site at Yvonne Craig and order a signed copy of her book From Ballet to the Batcave and Beyond here
Saturday, June 12, 2010
Polina Semionova is to perform. I wish we could be there!!
Read the full article at Ballet News Blog
Robert Griffin Photography
Friday, June 11, 2010
A young ballet prodigy is ready to learn from the best after winning a place at one of the world’s top dance schools. Benji Pearson, a student at the Wimbledon Village School of Ballet, will take up a place at the Royal Ballet School. Benji - who only started taking ballet lessons last year - will begin at the school in Richmond Park in September.
The 11-year-old, who lives in Wolsey Close, Kingston, has already performed at the Royal Opera House and is set to appear with Russia’s Bolshoi Ballet this summer.
Thursday, June 10, 2010
Wednesday, June 9, 2010
Many large productions including Blue Man Group, Cirque du Soleil, The Metropolitan Opera, and The American Ballet Theatre depend on Mehron products to look their best.
Check out their weblink above! I love this stuff. I'm going to try it for cirque and ballet. Will keep you updated!