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NOW AN AWARD-WINNING FEATURE FILM STARRING CARLOS ACOSTA 'The dazzling Carlos Acosta is the Cuban Billy Elliot, a poor kid who triumphed over prejudice and humble origins ... Frankly, you couldn't make it up.' Daily Mail In 1980, Carlos Acosta was just another Cuban kid of humble origins, the youngest son in a poor family named after the planter who had owned his great-great-grandfather. With few options and an independent spirit, Carlos spent his days on the streets, dreaming of a career in football. But even at a young age, Carlos had extraordinary talent. At nine, he was skipping school to win break-dancing competitions as the youngest member of a street-gang for whom dance contests were only a step away from violence. When Carlos's father enrolled him in ballet school, he hoped not only to nurture his son's talent, but also to curb his wildness. Years of loneliness, conflict and crippling physical effort followed, but today the Havana street-kid is an international star. This magical memoir is about more than Carlos's rise to stardom, however. It is the story of a childhood where food is scarce but love is abundant, where the soul of Cuba comes alive to influence a dancer's art. It is also about a man forced to leave behind his homeland and loved ones for a life of self-discipline, displacement and brutal physical hardship. Carlos Acosta makes dance look effortless, but the grace, strength and charm have come at a cost - here, in his own words, is the story of the price he paid. Previously published as 'No Way Home'.
Ballet Shoes meets Murder Most Unladylike in the second Swan House Ballet Mystery! Milly, her mum and her glamorous babushka head to the Nutcracker for a Christmas treat - but instead their evening ends in a bomb scare disaster. A dangerous trickster who calls himself 'the Mouse King' is playing a deadly game with Swan House, the ballet school for spies. As Milly navigates her second term, she starts to suspect there is more to the new Head of Ballet and his perfect daughter than meets the eye ... but will she let jealousy cloud her judgement?
'Magnificent. Beautifully written, immaculately researched and thoroughly absorbing from start to finish. A tour de force that explains how Europe's cultural life transformed during the course of the 19th century - and so much more' Peter Frankopan From the bestselling author of Natasha's Dance, The Europeans is richly enthralling, panoramic cultural history of nineteenth-century Europe, told through the intertwined lives of three remarkable people: a great singer, Pauline Viardot, a great writer, Ivan Turgenev, and a great connoisseur, Pauline's husband Louis. Their passionate, ambitious lives were bound up with an astonishing array of writers, composers and painters all trying to make their way through the exciting, prosperous and genuinely pan-European culture that came about as a result of huge economic and technological change. This culture - through trains, telegraphs and printing - allowed artists of all kinds to exchange ideas and make a living, shuttling back and forth across the whole continent from the British Isles to Imperial Russia, as they exploited a new cosmopolitan age. The Europeans is Orlando Figes' masterpiece. Surprising, beautifully written, it describes huge changes through intimate details, little-known stories and through the lens of Turgenev and the Viardots' touching, strange love triangle. Events which we now see as central to European high culture are made completely fresh, allowing the reader to revel in the sheer precariousness with which the great salons, premieres and bestsellers came into existence.
This gorgeously designed retelling of The Nutcracker will make the perfect Christmas present for ballet fans everywhere! In snow white covered St. Petersburg, young dancer Stana's dreams have finally come true - she has been chosen to play the lead role in Tchaikovsky's new ballet, The Nutcracker. But with all eyes looking at her, can Stana overcome her nerves and dance like she's never danced before? From the author of the bestselling The Sinclair Mysteries, Katherine Woodfine, and Waterstone's Book Prize winner, Lizzy Stewart, this sumptuous and magical retelling of The Nutcracker will transport you on a journey fay beyond the page. Praise for Katherine Woodfine's The Sinclair's Mysteries series: 'A wonderful book, with a glorious heroine and a true spirit of adventure' Katherine Rundell, award-winning author of Rooftoppers 'Dastardliness on a big scale is uncovered in this well-plotted, evocative novel' The Sunday Times 'It's a dashing plot, an atmospheric setting and an extensive and imaginative cast. Katherine Woodfine handles it all with aplomb' The Guardian Praise for Lizzy Stewart's There's a Tiger in the Garden (Winner of the Waterstones Children's Book Prize 2017, Illustrated Books Category): 'A journey of discovery' The Guardian 'A stunning testament to the power of imagination' Metro
A leading advocate for the arts in America and recent recipient of the 1997 National Medal of the Arts, the 1997 Kennedy Center Honors, and the George Abbott Carbonell Award for Achievement, Edward Villella was recently inducted into the State of Florida Artist Hall of Fame. Villella also received the Frances Holleman Breathitt Award for Excellence for his contributions to the arts and to education, the thirty-eighth annual Capezio Dance Award, and Award for Lifetime Achievement, becoming only the fourth dance personality to receive National Endowment for the Arts advisory artistic director of the Miami City Ballet, which has won worldwide acclaim under his direction.
Tatiana Leskova is one of last surviving pupils of dancers from the golden world of the Imperial Russian Ballet. She was born in Paris in 1922, where she studied with Lubov Egorova and other former Imperial Russian ballerinas. She joined the Ballet de la Jeunesse at the age of sixteen, then Colonel de Basil's Ballet Russe. She remained with the company, travelling to South America and settling in Brazil in 1945. In 1950 she joined the Teatro Municipal in Rio, going on to become a principal dancer, ballet Mistress and artistic director. In her ongoing freelance career, Leskova has continued to revive signature works by Leonide Massine created for the Ballets Russes. She staged Choreartium for Birmingham Royal Ballet in 1991 and for Het Nationale Ballet in 2001, and Les Presages for the Paris Opera Ballet in 1989, the Joffrey Ballet in 1992, Het Nationale Ballet in 1994, Ballet do Teatro Municipal (1998) and for the Australian Ballet in 2007. This riveting biography, first published in Brazil, has been brought up to date with Tatiana's close involvement and translated by Donald E Scrimgeour.
Presenting for the first time Akim Volynsky's (1861-1926) pre-balletic writings on Leonardo da Vinci, Fyodor Dostoevsky, Otto Weininger, and on such illustrious personalities as Zinaida Gippius, Ida Rubinstein, and Lou Andreas-Salome, And Then Came Dance provides new insight into the origins of Volynsky's life-altering journey to become Russia's foremost ballet critic. A man for whom the realm of art was largely female in form and whose all-encompassing image of woman constituted the crux of his aesthetic contemplation that crossed over into the personal and libidinal, Volynsky looks ahead to another Petersburg-bred high priest of classical dance, George Balanchine. With an undeniable proclivity toward ballet's female component, Volynsky's dance writings, illuminated by examples of his earlier gendered criticism, invite speculation on how truly ground-breaking and forward-looking this critic is.
Set against the glamorous backdrop of the Iranian National Ballet Company in 1970s Tehran, Romance and Revolution is the compelling memoir of Clair Symonds, a naive 19 year old Jewish dancer who grew up in apartheid South Africa, who sets off to join the national ballet company in Iran. Within a few months she has met and fallen in love with Arash Alizadeh, a dashing student of architecture. Much to both sets of parents' disdain, they marry, although Clair's Jewish roots are kept strictly under wraps. But Arash proves to be more charming in courtship and seduction than in wedlock and matrimony. Undeterred, Clair decides to marry for a second time. Does love conquer all? Are religious and cultural differences insurmountable? Read and decide for yourself.
In the ancient world, dance was used to express important truths about the human condition, and this significance can still be seen today in representations of dancers in ancient art. Sculpture, relief carving, vase painting, and other visual media offer a glimpse of the function of dance in antiquity. In the modern era, the Ballets Russes, a Paris-based collective established by Sergei Diaghilev (1872-1929), revolutionized dance and revived European and American interest in ballet, in part by drawing on notions of dance from the ancient world. Ballets Russes choreographers, designers, and collaborators looked to ancient culture for subjects and themes, and for a notion of dance as an expressive art form integrated with ritual. Hymn to Apollo explores the role of dance in ancient art and culture and how artists of the Ballets Russes returned to the past as a source for modern expression. Thematic essays and lavish illustrations present a fresh perspective on ancient artifacts, and watercolors, illustrations, sketchbooks, photographs, costumes, and other archival Ballets Russes material show how artists turned to the ancient world to create something new. Contributors include John Bowlt, Rachel Herschman, Kenneth Lapatin, and F. G. Naerebout. Distributed for the Institute for the Study of the Ancient World at New York University Exhibition Dates: March 6-June 2, 2019
"Elements of Performance" is based on Pauline Koner's course of the
same name taught at the Juilliard School in New York. It discusses
her theories of the primary and secondary elements of the art of
performing. The primary elements are Emotion, Motivation, Focus and
Dynamics and the secondary are those of the craft: stage props,
hand props, cloth of different length and weight, Chinese ribbons,
costumes and stage deportment.
NOW A MAJOR FILM BY RALPH FIENNES, THE WHITE CROW 'A gripping account of an extraordinary life' Daily Telegraph Born on a train in Stalin's Russia, Rudolf Nureyev was ballet's first pop icon. No other dancer of our time has generated the same excitement - both on and off stage. Nureyev's achievements and conquests became legendary: he rose out of Tatar peasant poverty to become the Kirov's thrilling maverick star; slept with his beloved mentor's wife; defected to the West in 1961; sparked Rudimania across the globe; established the most rhapsodic partnership in dance history with the middle-aged Margot Fonteyn; reinvented male technique; gatecrashed modern dance; moulded new stars; and staged Russia's unknown ballet masterpieces in the West. He and his life were simply astonishing. 'Magnificent, a triumph. Captures every facet of this extraordinary man' Mail on Sunday 'The definitive study of a man who, in his combination of aesthetic grace and psychological grime, can truly be called a sacred monster' Observer 'Undoubtedly the definitive biography' Sunday Telegraph
One of the most important ballet choreographers of all time, Marius Petipa (1818 - 1910) created works that are now mainstays of the ballet repertoire. Every day, in cities around the world, performances of Swan Lake and The Sleeping Beauty draw large audiences to theatres and inspire new generations of dancers, as does The Nutcracker during the winter holidays. These are his best-known works, but others - Don Quixote, La Bayadere - have also become popular, even canonical components of the classical repertoire, and together they have shaped the defining style of twentieth-century ballet. The first biography in English of this monumental figure of ballet history, Marius Petipa: The Emperor's Ballet Master covers the choreographer's life and work in full within the context of remarkable historical and political surroundings. Over the course of ten well-researched chapters, Nadine Meisner explores Marius Petipa's life and legacy: the artist's arrival in Russia from his native France, the socio-political tensions and revolution he experienced, his popularity on the Russian imperial stage, his collaborations with other choreographers and composers (most famously Tchaikovsky), and the conditions under which he worked, in close proximity to the imperial court. Meisner presents a thrilling and exhaustive narrative not only of Petipa's life but of the cultural development of ballet across the 19th and early 20th centuries. The book also extends beyond Petipa's narrative with insightful analyses of the evolution of ballet technique, theatre genres, and the rise of male dancers. Richly illustrated with archival photographs, this book unearths original material from Petipa's 63 years in Russia, much of it never published in English before. As Meisner demonstrates, the choreographer laid the foundations for Soviet ballet and for Diaghilev's Ballets Russes, the expatriate company which exercised such an enormous influence on ballet in the West, including the Royal Ballet and Balanchine's New York City Ballet. After Petipa, Western ballet would never be the same.
Celebrating the diversity of dance across the South Pacific, this volume studies the various experiences, motivations and aims for dance, emerging from the voices of dance professionals in the islands. In particular, it focuses on the interplay of cultures and pathways of migration as people move across the region discovering new routes and connections.
The eleven contributors to this volume investigate the connections between Nabokov's output and the fields of painting, music, and ballet.
This text presents an integrated approach to the study of rhythm and movement notation. These subjects, usually studied in isolation, are here combined to enhance the study of each. A complete course in rhythm notation is provided, along with cross-references to Labanotation, which are designed to help the reader learn both subjects more quickly and thoroughly. The text is punctuated with maxims to help readers consolidate their learning, and "symbol cluster", a technique for reading music notation and Labanotation with increased speed and overall comprehension. Assignments in each chapter, featuring integrated work in rhythm and dance, point readers towards varied applications of their learning, moving them beyond theoretical understanding. The assignments begin simply, with studies in beat division and walking, and progress to work with a variety of metres, and cross-phasing of movement and music. More advanced assignments include music and dance phrasing; rhythmic and movement composition, and the step-by-step analysis of a complete work of dance and its relation to music. A CD accompanies the book.
In pre-World War I England, a frail Jewish girl is diagnosed with flat feet, knock knees, and weak legs. In short order, Lilian Alicia Marks would become a dance prodigy, the cherished baby ballerina of Sergei Diaghilev, and the youngest ever soloist at his famed Ballets Russes. It was there that George Balanchine choreographed his first ballet for her, Henri Matisse designed her costumes, and Igor Stravinsky taught her music all when the re-christened Alicia Markova was just 14. Given unprecedented access to Dame Markova s intimate journals and correspondence, Tina Sutton paints a full picture of the dancer s astonishing life and times in 1920s Paris and Monte Carlo, 1930s London, and wartime in New York and Hollywood. Ballet lovers and readers everywhere will be fascinated by the story of one of the twentieth century s great artists."
Hope in a Ballet Shoe tells the story of Michaela DePrince. Growing up in war-torn Sierra Leone, she witnessed atrocities that no child ever should. Her father was killed by rebels and her mother died of famine. Sent to an orphanage, Michaela was mistreated and saw the brutal murder of her favourite teacher. Then Michaela and her best friend are adopted by an American couple, and Michaela begins to take dance lessons. But life in the States isn't without difficulties. Unfortunately, tragedy can find its way to Michaela in America, too, and her past can feel like it's haunting her. The world of ballet is a racist one, and Michaela has to fight for a place amongst the ballet elite, hearing the words 'America's not ready for a black girl ballerina.' And yet . . . Today, Michaela DePrince is an international ballet star, dancing for The Dutch National Ballet at the age of nineteen. This is a heart-breaking, inspiring autobiography by a teenager who shows us that, beyond everything, there is always hope for a better future.
In Getting Started in Ballet, A Parent's Guide to Dance Education, authors Anna Paskevska and Maureen Janson comprehensively present the realities that parents can anticipate during their child's training and/or career in ballet. It can be daunting and confusing when parents discover their child's desire to dance. Parental guidance and education about dance study typically comes from trial by fire. This book expertly guides the parental decision-making process by weaving practical advice together with useful information about dance history and the author's own memoir. From selecting a teacher in the early stages, to supporting a child through his or her choice to dance professionally, parents of prospective dancers are lead through a series of considerations, and encouraged to think carefully and to make wise decisions. Written primarily as a guide book for parents, it is just as useful for teachers, and this exemplary document would do well to have a place on the bookshelf in every dance studio waiting room. Not only can dance parents learn from this informative text, but dance teachers can be nudged toward a greater understanding and anticipation of parents needs and questions. Getting Started in Ballet fills a gap, conveniently under one cover, welcoming parents to regard every aspect of their child's possible future in dance. Without this book, there would be little documentation of the parenting aspect of dance. Dance is unlike any other training or field and knowing how to guide a young dancer can make or break them as a dancer or dance lover.
The only book of its kind, rewritten throughout, takes the mystery out of a confusing field. Dancers and students quickly benefit from the most current research - offering the latest information on hundreds of shoe designs, products and suppliers. The fundamentals of buying, preparing, and wearing pointe shoes are presented, including a detailed list of the many possible characteristics of each shoe. In discussing pointe shoe readiness, we present an array of contemporary views about when students should go on pointe - then, the way major ballet schools integrate pointe work into their classes, with in-depth opinions from David Howard, Suki Schorer and Steven Wistrich, among others. We take an intensive look at pointe-related injuries to the foot and ankle, their remedies, therapies, and exercises and medical and therapy providers. An understanding of the relationship between a ballerina and her shoes is gained by listening to the greatest dancers - like Paloma Herrera, Jenifer Ringer, Gillian Murphy and Evelyn Cisneros - talk about how they found the perfect fit and the joy of dancing on pointe.
Discusses all basic principles of ballet, grouping movement by fundamental types. Diagrams show clearly the exact foot, leg, arm and body positions for the proper execution of many steps and movements. Offers dancers, teachers and ballet lovers information often difficult to locate in other books.
In this instant "New York Times" bestseller, Misty Copeland makes
history as the only African American soloist dancing with the
prestigious American Ballet Theatre. But when she first placed her
hands on the barre at an after-school community center, no one
expected the undersized, anxious thirteen-year-old to become a
Vera Volkova was central to the European ballet world for almost four decades as advisor, friend and, above all, teacher to iconic figures from dancers Margot Fonteyn, Erik Bruhn and Rudolf Nureyev to choreographers Sir Frederick Ashton and John Neumeier. Having inspired British ballet in its early years with her profound understanding of classical ballet, she revived and transformed the moribund Royal Danish ballet, working with that company for almost 25 years.Invitations to teach in the U.S.A, Canada, Australia and South Africa further extended her influence. But, enigmatic, self-effacing and intensely private, her life remained a well-kept secret. Now this biography, hugely praised on its first publication in Danish, reveals Volkova's life and legacy.Brought up in Imperial St Petersburg, Volkova was one of the students upon whom Agrippina Vaganova developed her famous system. She was the chosen protegee of the controversial Russian philosopher and critic Akim Volynsky whose ideals she carried with her when she fled to the West, escaping the horrors of the Russian Revolution and the struggle to survive in its aftermath. This dramatic account of Volkova's extraordinary life includes her escape to Shanghai, an unusual marriage and a great love.Combining the first account of that life with a detailed examination of Volkova's teaching methods, this biography will be compelling and illuminating for both interested and expert readers.
Dancing the World Smaller examines international dance performances in New York City in the 1940s as sites in which dance artists and audiences contested what it meant to practice globalism in mid-twentieth-century America. During and after the Second World War, modern dance and ballet thrived in New York City, a fertile cosmopolitan environment in which dance was celebrated as an emblem of American artistic and cultural dominance. In the ensuing Cold War years, American choreographers and companies were among those the U.S. government sent abroad to serve as ambassadors of American cultural values and to extend the nation's geo-political reach. Less-known is that international dance performance, or what was then-called "ethnic" or "ethnologic" dance, enjoyed strong support among audiences in the city and across the nation as well. Produced in non-traditional dance venues, such as the American Museum of Natural History, the Ethnologic Dance Center, and Carnegie Hall, these performances elevated dance as an intercultural bridge across human differences and dance artists as transcultural interlocutors. Dancing the World Smaller draws on extensive archival resources, as well as critical and historical studies of race and ethnicity in the U.S., to uncover a hidden history of globalism in American dance and to see artists such as La Meri, Ruth St. Denis, Asadata Dafora, Pearl Primus, Jose Limon, Ram Gopal, and Charles Weidman in new light. Debates about how to practice globalism in dance proxied larger cultural struggles over how to reconcile the nation's new role as a global superpower. In dance as in cultural politics, Americans labored over how to realize diversity while honoring difference and manage dueling impulses toward globalism, on the one hand, and isolationism, on the other.
The distinctive style and technique of the dancers of the Royal Danish Ballet has always aroused great interest and enthusiasm in the world of ballet. Their special quality derives from the work of August Bournonville over a century ago. A great teacher and choreographer, his teaching and his ballets, such as La Sylphide, have remained unchanged through the years. Erik Bruhn, indisputably one of the greatest dancers of the twentieth century, was trained in the Bournonville tradition, and in his appearances as guest artist in the USA, Russia and elsewhere he had the unique opportunity of comparing his training and technique with other methods. This interest impelled him to study anew Bournonville's principles as set down in his Etudes chore graphiques, and in collaboration with Lillian Moore, the distinguished critic and dancer, he compiled what is modestly described as 'a book of studies and comments'. The authors emphasize that, 'In calling attention to Bournonville's Etudes chore graphiques and his own teaching, we have not the slightest intention or desire to urge a new and different "system" of teaching upon the world...Our purpose here is much more modest. We simply want to discuss a few things which are sometimes neglected even in the best schools and describe some of the ways they are taught in the Danish school where they are still remembered.'
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