1,754,699 research outputs found
Threads: Ballet Oceanique
No full textThe Byron Ballet, directed by Yvonne Hall stages new production of Threads: Ballet Ocèanique, a surrealist and intensely expressive electroacoustic composition. Byron Bay, NSW, Australia. While the original composition of 2015, titled "Threads" consisted of 4 large movements of electroacoustic and live instrumental performance, the 2019 production for the Gala Event utilized only the movement titled "Ballet Oceanique", or 25 minutes of duration, and featuring Sean Williams, Silvia Magnani & Eva Nicolaoa as soloists.No Full Tex
Ballet for Brain Injury: Summary of 2021 Pilot Program Evaluation
No full textThis document summarises outcomes from evaluative feedback by participants and facilitators involved in the Ballet For Brain Injury (BFBI) Pilot Program in 2021. This report makes recommendations for strengthening future iterations of the program and avenues for further research. The BFBI pilot program was a collaborative project between project visionary, film producer, and Traumatic Brain Injury (TBI) carer and advocate Belinda Adams, Queensland Ballet (QB), and researchers at the Griffith University Hopkins Institute, School of Health Sciences and Social Work, and Queensland Conservatorium Research Centre (QCRC).School of Health Sciences and Social WorkFull Tex
Dance, class and the body: a Bourdieusian examination of training trajectories into ballet and contemporary dance
Full text linkThis article is a result of a small-scale interview-based study that explored the social conditions of ballet and contemporary dance production in the city of Glasgow. This study draws on interviews given by twelve professional dancers and choreographers, both freelancers and company based, who for the purposes of this research offered to share their experiences of studying and making dance. More specifically, this article aspires to map the social conditions of possibility of dancing and making dance, drawing on the class condition and career trajectories of those individuals who became dancers. With the aid of Bourdieu’s (1984; 1990; 1993a) concepts of ‘capitals’ (economic, social, cultural and physical), ‘habitus’ and ‘trajectories’, this piece of work will discuss how class conditions give or limit access to vocational training as a career pathway to dance. It is argued that, although the social origin of this sample presents relative variety, dance is an activity that demands different types of support, which are eventually more accessible to those social groups with more assets.Publisher PD
Physiological demands of performance in Classical Ballet and their relationships with injury and aesthetic components
Full text linkA thesis submitted in partial fulfilment of the requirements of the University of Wolverhampton for the degree of Doctor of
PhilosophyAt performance level, classical ballet is a form of high-intensity, intermittent exercise, requiring a strong aerobic foundation. Existing training methods have remained largely unchanged over the past century, resulting in poorly conditioned dancers who are prone to injury. The purpose of the thesis was to examine, through several inter-related studies, the demands of training and performance at professional level, and whether fitness levels of classical ballet dancers affect both aesthetic components of performance, and injury. All participants were either in the final year of elite vocational training or were professional dancers. Initial, observational, investigations indicated that both rehearsal and performance posed a variety of demands on different ranks of dancer within a company’s structure, and depicted daily workloads which supported previous complaints of fatigue. Before examination of fitness or performance could begin, novel tools to assess both aerobic fitness, and performance proficiency in ballet dancers were designed and tested for reliability and validity. Both tests met with test-retest reliability standards, with 95% limits of agreement of ±6.2 ml.kg.-1min-1 for the aerobic test, and ±1.5 points (out of 10) for the performance rating scale. High overall performance scores were then best predicted by high jumps of both legs and good active flexibility of the left leg (F=4.142, df=3, P=0.042). Following this, an intervention study investigated the effects of a period of supplemental fitness training, designed to enhance aerobic fitness, jump height and local muscular endurance, on the performance scores of a randomly assigned group of dancers. A control group continued with regular training. Performance scores at the outset of the study were compared to those following the intervention period. Overall scores for the intervention group increased by significantly more than those of the control group, (p=0.03), with greatest gains seen for control and skill, indicating that supplemental fitness training, specifically targeting aerobic and local muscular endurance, can help improve performance, particularly elements such as control and skill. Finally, two separate studies confirmed that low aerobic fitness and low body fat percentage were related to injury in ballet dancers. Further research needs to focus on fully ascertaining the physical demands of ballet, and whether better training dancers to meet these demands results in enhanced performance and reduction in injury
Ballet body belief: perceptions of an ideal ballet body from young ballet dancers
Full text linkThis paper explores what is perceived and believed to be an ideal ballet body by young ballet dancers. Such bodily belief becomes, in Pierre Bourdieu’s terms, a core part of a ballet dancer’s habitus. A four year longitudinal, ethnographic, empirical study of the experiences of 12 young ballet dancers, six boys and six girls, aged between 10 and 15 years at the start of the study, examined processes of bodily construction and ‘becoming’ a ballet dancer in non-residential ballet schooling. Data was generated via a multi-method approach although only individual and focus group interview data are used here. Findings suggest that the 12 young ballet dancers’ attempted to replicate and position themselves within what is perceived and believed to be an ideal ballet body shape and size. Ballet is a social practice which shapes the activity of the young dancer but is also shaped by that young dancer through a process of incorporation of the social into the body. The ballet dancer’s body and habitus is produced and maintained as the young ballet dancers’ accepted their bodies as an aesthetic project. It is argued that there is a strong connection between the size, shape and aesthetic of the ballet body and identity
Correction: Ballet (2022). “Alpha Females”: Feminist Transgressions in Industrial Music. Arts 11: 37
No full textFigures 12 and 14a,b have been removed from the original publication (Ballet 2022) at the author’s request [...
Beni Montresor's Set Designs for Dallas Ballet's "Swan Lake"
No full textInvitation from the Dallas Ballet to the opening of the exhibition "Beni Montresor's Set Designs for Dallas Ballet's 'Swan Lake,'" September 6-October 26, 1986, held at the Dallas Museum of Art. The event was held September 11, 1986
Ohio Ballet poster, 1982
No full textColor slide of an Ohio Ballet poster that lists the days of free ballet performances
Ballet scene in Belgrade (1930-1940)
No full textThe author based his observations and his conclusions upon memoires of Ksenia Grundt Duma (Ксения Грундт-Дюме). She was a well-known ballerina throughout Europe, as she was dancing on many stages from Russian Kharkov to Paris. From her memoirs, the copy of which the author found in his archive, he learned about many ballet life details and things that enriched his previous knowledge on this matter. The author redacted the paper and selected lines which describe the life of Ksenia Grundt spent in the Kingdom of Yugoslavia, particularly those lightening ballet life in Belgrade, and the National Theater Belgrade scene. In the Belgrade National Theater Ksenia came from Zagreb in April 1926, and had her debut in the 3rd act in ‘Swan Lake’ ballet, the choreographer of which was Alexander Fortunato. He had just staged ‘Swan Lake’ with great imagination’, as she recorded in her memoirs. From that time onward her biography was closely related with the former Kingdom of Yugoslavia. In fact, there are several related topics in her memoirs: first, depictions of a difficult emigrant life, living drawings of Russian ballet dancers’ lives far from their homeland, and far from the glamorous and light stage effects; second, there are many famous names and recordings of them previously unknown but now revealed to the researcher: there are details about her contacts and work not only with Fortunato, but also with Nina Kirsanova, Elena Polyakova, to mention a few. In addition, many pages of her memoirs addressed the name of her protege Igor Yushkevich, a talented dancer whom she thought in Belgrade. From his first ballet steps made under her supervision, he established his name as a well-known ballet dancer associated with the famous Russian Monte Carlo Ballet and with the birth of the American Ballet Theater. So, from Ksenia Grundt’s memoirs many unknown pages of Igor Yushkevich’s life could be learned along with the whole of ballet world from that period, the dancers, the critics, the repertoire, and primarily the role and place of the Russian ballet masters in the vast Kingdom of Serbs, Croats and Slovenes. The author selected lines which describe the ballet scene of Belgrade of the time, the relationship among Russian emigres and the ballet scenes in the former Kingdom of Yugoslavia, and from those facts the author built his views and his conclusions on this matter, which has been his research field for decades. The importance of these memoirs are notably in the fact that the selected pages not only expanded, but also enriched the ideas and knowledge about the life of Russian ballet actors in Serbia. Further, implications of the publication of the selected pages are that the publication lays the foundation for the further works on the history on Serbian ballet, and can be effectively used for research of the development and beauty of the Serbian ballet in which many Russian ballet names have invested a lot of their work and talent
El Ballet ruso de la ópera de Perm en el Gran Festival de Ballet
No full text- Fragmento del ballet "El lago de los cisnes" (P. I. Tchaikowsky)
- Adagio del ballet "La noche de Valpurgis" (Sh. Guno)
- "El primer amor" (Kukarin)
- Dueto clásico de Florina y el pájaro azul del ballet "La bella durmiente" (P. I. Tchaikowsky)
- "MelodGran Festival de Ballet
Se desconoce la fechaMedellín, Biblioteca Luis Echavarría Villegas, Sala de Patrimonio Documental, Colección Programas de manoBogotá. Desconocid
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