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former director of the Royal Ballet of England
“All Ballet’s Fundamental Steps are derived from the folk dances of Western Europe.” |
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| what the steps are, what the dance looks like, portrayal of movement |
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| Italian royal courts, 16th, balletti |
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| Lavish entertainments: staged in the _______ ______ ______ of the early ____ century, dances first referred to as ________. |
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| _____ class started ballet |
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| basic movements of the balletti: swaying and gentle _____, stately _______. performers mainly members of the _____ rather than professional dancers. |
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| Written by Jehan Tabourot and published in 1589, _________ was the first written account that documented the rudimentary steps and positions of classical ballet. |
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| In the first half of the 17th century court ballet became an popular noble pastime, with _____ supplying ballet masters, musicians, and set designers to neighboring countries of Europe. ______ ______ was present in the masked balls and theatrical performances. |
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| Ballet- tool of royalty used to ____ _____ _______ |
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wife of King Henri II of France, great supporter and producer of dance, including Ballet Comique.
Imported Italian technique coming to France. |
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| production of 1581, choreographed by Balthasar de Beaujoyeulx. |
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| King Louis XIV was known as the ___ ____ for his betrayal of the Greek God Apollo in Le Ballet de la Nuit (1653) |
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| In 1661 Louis established the _____ _____ __ ______ in a room of the Louvre, the world's first ballet school. |
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| Jean Baptiste Lully, Pierre Beauchamps |
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| two important ballet masters of the period. |
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| Academie Royale de Musique |
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| In 1669, the King established _______ ____ __ ______, which became the ballet of the Paris Opera, the world’s oldest continuously running ballet company. |
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| large group of dancers, often moving in unison |
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| 1682, first woman to appear on the Opera Stage. |
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| As early as _____, after the Restoration, French dancers began appearing in England, impressing the crowd with elegant and virtuosic maneuvers. They often appeared on the same bills as native dancers, who performed what we would now call character dances. |
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| debuted with the Paris Opera in 1726, has been credited with shortening the skirts of ballerinas and was possibly the first to dance in slippers without heels. |
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| Male dancers dominated the stage in the ___ century. |
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| danseur noble, demi-charactere, danseur comique |
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| Gaetan Vestris was a _____ ____, chosen for serious and heroic roles, while his son Auguste played lighter roles in the ____________ class. Yet a third rank was the __________ _____, who played humerous roles. These roles were strictly followed. |
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| insisted that ballet should represent action, character, and feeling. “No one has suspected its power of speaking to the heart.” became known as a great dramatic choreographer. |
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| As soon as year ____, women began dancing en pointe. She wore a bell-like tutu which would become the preferred costume of the time. |
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| In ____, the Danish August Bournonville created the Danish version of La Sylphide. |
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| The ___ __________ _______ was established as the world’s second oldest ballet academy in 1748 (Russia). |
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| During the romantic era, the Russians imported dancers mostly from ______. |
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| leading dancer who became the ballet master in 1869, choreographed new versions of Giselle and Coppelia. |
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| In this year, Petipa created The Nutcracker with Tchaikovsky and his assistant, Lev Ivanov. |
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| In this year, Petipa restaged Swan Lake. The most notable ballerina of this time was Anna Pavlova (1881-1931) |
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| The music to ______ inspired Tchaikovsky to start writing music for ballet. |
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| known for dancing the Dying Swan in 1895 |
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| This era marked by the staging of Giselle in 1841. |
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| folk dances, village scenes |
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| The Danish version of La Sylphide featured theatricalized ____ ______ and happy ______ ______. |
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| Italian ballerina ____ _______ (1804-1884) was credited as first dancing en pointe. |
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| In 1832, Taglioni’s father choreographed __ _______, one of the first major ballets that is still performed today. |
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