999 research outputs found
Gwyn\u27s unhatched chick ballet
No full textModest Mussorgsky\u27s Pictures at an exhibition, movement 5. Ballet of Unhatched Chicks. Performed by Professor Steven Pane, on piano. Art work painted by Gwyn Ash
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 [...
Ballet Performance 3, Albuquerque
No full textIn the "People in the Arts" series. A man and a women dancing during a ballet performance
Ballet Performance 2, Albuquerque
No full textIn the "People in the Arts" series. A man and a women on pointe dancing during a ballet performance
Ballet Performance 1, Albuquerque
No full textIn the "People in the Arts" series. A man and a women mid dance during a ballet performance
Ballet Performance 4, Albuquerque
No full textIn the "People in the Arts" series. A man and a women dancing during a ballet performance
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
Justine Summers and Steven Heathcote in Stanton Welch's "Corroboree", 1995 [picture] /
No full textTitle from inscription on verso and from accompanying documentation, see file 204/17/00075.; Condition: Good, mounted.; "Justine Summers, Stephen [i.e. Steven] Heathcote, Corroborree [i.e. Corroboree], Marty Sohl"--Handwritten in pencil on mat verso. "The Australian Ballet"--Accompanying documentation, see file 204/17/00075..; Part of collection: Collection of photographs of Stanton Welch's "Corroboree", The Australian Ballet, 1995.; Exhibited in online exhibition: "Dance people dance" at http://www.nla.gov.au/exhibitions/dancepeopledance/index.html ANL
BALLET FOR CHILDREN AT THE SERBIAN NATIONAL THEATRE IN NOVI SAD (1972-2017)
No full textBallets for children have been recognized as a unique genre of the dance art. From the point of children ballet production of the Yugoslav ballet assembly very little was documented, and this particularly referred to the Serbian production. Children‘s ballets aim to provide an experience for young people, to educate on dance art and to attract, engage and sustain children as an audience for major ballet houses. They challenge a whole range of difficultes and problems that have to be solved by the choreographers and dancers. For example, the first major challenge in taking children to the ballet is that the story is told entirely through dance, and many children find this aspect of the ballet difficult to appreciate. The author examined the representations of the ballet body and analyzed how this and some other difficulties have been solved in children‘s ballet production of the Serbian National Theatre Ballet (SNP) in Novi Sad during the long period of forty five years, from the first performances in 1972 up to now, namely to 2017. In addition, the author has made an inventory by listing repertoir, choreografies, and stories. She was tracking the number of performances for each production and the number of audience to conclude on the impact of the children‘s ballet. The implication of the paper is that the possibile solutions referred to in the paper could be seen as a suggestion for the future opportunities of the production, particularly in the case of the future premieres
Vicki Attard and Steven Heathcote performing in "Beyond Bach", Australian Ballet, 1995 [picture] /
No full textTitle from accession record.; Reproduced in A passion for dance by Michelle Potter, Canberra: National Library of Australia, 1997.; P1790. Photograph of Vicki Attard and Steven Heathcote in an Australian Ballet performance of "Beyond Bach "choreographed by Stephen Baynes, performed 1995
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