• 
• 
• 

• Home
• converter
• calculators
• Support
• Contact

Dance all about ballet and modern dance

 

Meaning of dance


From wikipedia : Dance is an art form that generally refers to movement of the body, usually rhythmic and to music,[1] used as a form of expression, social interaction or presented in a spiritual or performance setting. Dance may also be regarded as a form of nonverbal communication between humans, and is also performed by other animals (bee dance, patterns of behaviour such as a mating dance). Gymnastics, figure skating and synchronized swimming are sports that incorporate dance, while martial arts kata are often compared to dances. Motion in ordinarily inanimate objects may also be described as dances (the leaves danced in the wind). Definitions of what constitutes dance are dependent on social, cultural, aesthetic, artistic and moral constraints and range from functional movement (such as folk dance) to virtuoso techniques such as ballet. Dance can be participatory, social or performed for an audience. It can also be ceremonial, competitive or erotic. Dance movements may be without significance in themselves, such as in ballet or European folk dance, or have a gestural vocabulary/symbolic system as in many Asian dances. Dance can embody or express ideas, emotions or tell a story. Dancing has evolved many styles. Breakdancing and Krumping are related to the hip hop culture. African dance is interpretive. Ballet, Ballroom, Waltz, and Tango are classical styles of dance while Square and the Electric Slide are forms of step dances. Every dance, no matter what style, has something in common. It not only involves flexibility and body movement, but also physics. If the proper physics is not taken into consideration, injuries may occur. Choreography is the art of creating dances. The person who creates (i.e., choreographs) a dance is known as the choreographer.

 

Dancing is both an art form and a form of recreation. Dance as art may tell a story, set a mood, or express an emotion. Some dances consist of symbolic gestures that tell a story completely through movement. As recreation, dancing has long been a people's source of fun, relaxation, and companionship. In earlier times, square dances gave families a welcome chance to socialize. Today dancing at a party or other gathering remains a popular way for people to enjoy themselves and to make new friends.

Dance can mean to move the body with rhythmic steps and motion. Dance can also mean a certain set of steps and motions, usually made in time to music. And a dance can also mean a party at which the people dance.


 

 

Dance history

 

• Dance does not leave behind clearly identifiable physical artifacts such as stone tools, hunting implements or cave paintings. It is not possible to say when dance became part of human culture. Dance has certainly been an important part of ceremony, rituals, celebrations and entertainment since before the birth of the earliest human civilizations. Archeology delivers traces of dance from prehistoric times such as the 9,000 year old Rock Shelters of Bhimbetka paintings in India and Egyptian tomb paintings depicting dancing figures from circa 3300 BC. One of the earliest structured uses of dances may have been in the performance and in the telling of myths. It was also sometimes used to show feelings for one of the opposite gender. It is also linked to the origin of "love making." Before the production of written languages, dance was one of the methods of passing these stories down from generation to generation.

• History of American Jazz Dance

• Since the 1920s, the term "jazz dance" has been used to describe a constantly evolving form of popular and artistic dance movement. Jazz dance has improvisation and individuality at its core.

• Schottische dance

• The Schottische is one of the oldest of all dances; it has been called a "combination of two movements, a polka and a circular hop, the two combined making up a most agreeable variety".

 

Dance, dancers, choreographers and theorists famous dance

 

• The Ballet Encyclopedia is a collection of ballet articles organized by subjects. At the moment it is mostly ballet stories, dancer bios, and relevant tidbits of information, but it will grow to include many more articles soon!

•  

• Allard Marie: dancer French (Marseille 1742 – Paris 1802). Mother of Auguste Vestris also said vestr'allard. interpreter of great temperament of the most famous work of the time, this indicated also to be one of the protagonists of the company worldly Paris of the second 1700s. Entry Member Royale de musique (the future Opéra) in 1771 in his carriera of Rameau. Famous was his "pas de deux" next to duberval. was great protagonist of Les INDES galantes, Castor et Pollux and of Hippolyte et Aricie always Rameau, but also of aramide of Lully and of the Devin du village of rosseau. In later, interpreted, always with great success, the first ballets action which medée et Jason of noverare and the chercheuse d'esprit of Gardel. Also appeared (1779) in petits Riens of Mozart, always on choreography by noverare.

  Alonso Alicia: (born martìnez). dancer (Havana 1917). Cuban great dancer, defined as "Mother courage of Dance", particularly thanks to its efforts in many years of activity if the ballet in its country enjoys particular splendour and popularity. After having begun the studies in the same Havana, they went both in New York at the school at Ballet as in London with true volkova. soloist at ballet in 1939, were in 1943 its first major statement as the protagonist in Giselle in replacement of Alicia markova ballet to theatre, New York. From then has become one of the most sensitive and moving performer of the famous character romantic danced even when the A. was struck by blindness. Also active as choreographer, especially in the field of reproduction of classics of repertoire (from Giselle precisely in the Sleeping Beauty referred healed a version also for the Fracci), the A. It should also the merit of having founded a school and a company (created in 1955, in 1959 assumed the title of national airline, with funding of the State) that represent a "unique" in the world. The Ballet Nactional de Cuba, known in the world for the many tours from it carried out in the West but especially in countries of the East, is indeed a company that knows unite l'impeccabile style of derivation typically federation to a character, physicality, a way of doing Theater typically Latini. The great classics in hand to Cubans are leaving enlivened and present, in addition, the ballet de Cuba, to whose rise determinants are also the presences of the husband of A., Fernando Alonso, Bravo dancer formed in New York, and his brother Alberto martìnez, dancer, and especially choreographer (Carmen suite, conjugation in memory of Che Guevara, 1973) has succeeded in projecting an original repertoire placed on the births of choreographers from the lively talent and committed to making the most the many ranges expressive and the specificity of the dancers Cubans.

  American Ballet theatre: one of the most famous dance companies of the 1900s. was founded in 1939 by Lucia chase and Richard pleasant with the name of Ballet theatre. its current name goes back to 1957. The first training his in New York in January 1940. For long seasons, ot B. was the great antagonist of the New York City Ballet of Balanchine. passed through various vicissitudes and not only artistic, the great company mise in light choreographers particularly American intended to have a place unique in dance of our century from Agnes de 1000 to Jerôme Robbins. It did but also of great masters foreigners included Foucault that here carried out its latest tests creative. The greatest dancers of the world were "guest star" in the course of his ultracinquantennale existence. From 1980 and for almost a decade, and raise also contrasts, was at the head of it Michail baryshnikov,

  Amedeo Amodio: dancer and choreographer ITALIAN (Milan 1940). certificated by the school to scale in this theatre began a brilliant careers of dancer often partners of Fracci and the svignano. Past work of Rome as the first dancer, here also carried out its first tests in as choreographer. to get in light was especially with a new version of l'après MIDI d’un faune (Spoleto, Festival of Two Worlds, 1972, then scale) and with seek to nine movements on Music by Vivaldi (scale, 1975). Followed, among other work, the slave dying (MS G. Arrigo, 1975), subject Amato (MS Bussotti, 1976), rare (MS Bussotti, 1976), syntax checker (MS Britten and Purcell). In 1980 was called to the direction dell'arteballetto, a company that in a few seasons she knew how strengthen until you reach a prestigious role also in the international field. For the same created a long series of choreography, many of all original and, also to highlight the artistic qualities of un'étoile terabust which Elisabetta "guest star" of the same arteballetto, other proofreading modern classics of titles. Between the materials are to be mentioned the limits of the night, crocodiles in evening dress, there darem the hand, mazzapégul. between the latter: Romeo and Juliet, Nutcracker, the hat to three points and coppélia.

  Ashton Sir Frederick: dancer and choreographer English (Guayaquil, Ecuador 1904 – Suffolk, England 1988). Artist brilliant and refined, of vast experience and fantasy, equipped with a happy vein poetic, he deserves the credit for having raised the ballet English into an international reputation. In 50 years of career gave to the scenes NOT LESS THAN A 60 ballets now supported by a smiling melancholy now by a Garbato humor typically Anglo-Saxon. WORK, IN THEIR multiplicity, almost all created for the Royal Ballet even if A. not disdegnò to cooperate with other prestigious formations such as the Royal Ballet Danish Danish and the new york city Ballet for which, among other things, created one of its most authentic masterpieces, picnic at tintagli (1953). As all the choreographers apparently simple, in the reality of his vocabulary, bristling with nuances and difficulties, requires the dancers a detailed study. For some ways, its "related", always so elegant and cantabile, you would say is imparenti WITH THE DENSITY OF THE SENTENCE Lampedusa’s. always rich its work of acutezze PSYCHOLOGICAL AND OF QUALITIES introspective, A. is perhaps the choreographer of our time that more than other knew listen to the perfection "the more of the heart". It is text for example a ballet which daisies and Armand (London, 1963, scenes of Cecil Beaton) on the music dell'amatissimo Liszt in which is described in an admirable way the sense of passion where. Even if often for his choreography is use classical composers or of the past, it was the case of the tasty rendez-vous (1933) that exploits the pleasant music Auber, A. It is very intelligently made use of contemporary composers and preferably of region anglosassona. Between them Berners, William Walton (of which he exploited the music for the small masterpiece that is facade, 1931) and still Elgar which gave the music for Enigma variations (1968), ballet that is an ironic details of certain "Country Life" typically British done through a series of inexpressible ritrattini. Son of a Honorary Consul in Ecuador, A. one can say that he arrived at Dance "dazzled" prestige of the mythical Anna Pavlova that in 1917 saw Dancing in Lima in the course of its tour in South America. contrasts with the family, but not least the economic hardships caused by the suicide of the Father, not enabled him to undertake immediately the studies regular. rejoined the family in England, A. will however to register as hidden at the school of Massine. It is with the 1925 that for A. especially beginning a period fruitful for meetings and experience. Period out of this meeting fundamental with Marie Rambert to debut in Brighton in a show of ballet, militancy in small companies that, not immune from the leaven left Venetian Russian, are trying to introduce in the United Kingdom a "national Dance". It is Rambert commissioning on A. his first, short ballet to Tragedy of fashion that caused positive impression on many connoisseurs even if his writing suffers from modules others is not last that the nijinska. The young A. while in a reality hard for him, begins to be known environment artistic London dance Covent Garden seat in the future of so many of its successes, is rebooked in troupe Parisian of IDA Rubinstein and then returned in London in 1928 which entered the ballet Club of Rambert, created one of its first titles important capriol suite (London, lyric Theatre, 1930) inspired dialogues for the 3 15c thoinot arbeau, ballet through which gives appreciated test of inspiration original and especially shows in so wise that fluidity of the movement that is one of the characteristics of his art. By Rambert another great lady of dance English, Ninette de Valois, is a short step. A. becomes little by little soul, image, the essence of Vic wells ballet, then sadler's wells (but from 1956 Royal ballet), dominated by de Valois. And with the Vic wells are born a series of genial creations included that kind of masterpiece-manifesto d'ardua implementation that is symphonic variations (1946) on music of Franck. List, fruits of extreme elegance, enter Daphne colas (1951), birthday offering (1956) and, previous of some year, the a refined Scènes de Ballet (1948). ballets almost all of a style dramatic-Romantic referred A. had already given beautiful test since the time of apparitions (1936), ballet will be used also in 1970 during the Gala to celebrate its leave after 25 years of the Royal ballet. The adaptation of costant Lambert, long his librettist, the plot of the symphony fantastic Berlioz in which a suicidal poet dreams his beloved while the poison acts. Exceptional was however also contribution of A. In the field of narrative ballets some of which remakes of important repertoire titles as the Kaiser de la Fée (1935), as cindrella (1948, where the same A. will be a big characterization en again of one of sorellastre), as Sylvia (1952), as Romeo and if (1955) and as yet La fille badly gardée (1960) rewriting full of freshness of the famous work of duberval. Refreshments always all very original they are to the side other important ballets to character narrative as the historic wavelets (1958), beautifully danced by a Margot Konrad to the summit of his career. interpreter for excellence ashtoniana, even if the beginning the fellowship was born under bad star, Konrad will also, in a couple with the young and overwhelming Nureyev, the performer of daisies and Armand from Dumas, magnificent and aristocraticissima as in Juliet. Other its dancer favourite will Lynn Seymour already protagonist marked the two pigeons (1961) but even more wonderful performer of and month in the country (1976) taken from work of turgeniev in which the action is been condensed thanks to that ability to feel extraordinary that it was another of the great quality of this choreographer precious and brilliant who knew how enter a SAP romantic in the Ballet of the 1900s.

  arteballetto: company born in Reggio Emilia in 1979, thanks also to the personal approach artistic DATE BY ITS DIRECTOR, Amodeo Amodio, already one of our most talented dancers and choreographer of talent, is perhaps the only constant reality outside the institutions and is the lyrical abroad representation of Italian dance. This thanks to its numerous tours that have brought dall'urss Argentina, from Israel to Canada to the USA. In the course of its activities many decades, standardised. has built a repertoire of considerable cultural level. Starting from seek to nine movements (MS Vivaldi, 1979) until you get to the limits of the Night (MS various authors, 1988) and to the hat to three points (MS de Falla, 1990), many are the creations that Amodio has dedicated to his strong and expressive company. Between these creations are especially remember syntax checker (MS Britten, 1980), psyche in Manhattan (MS Bernstein, 1983), crocodiles in evening dress (MS various authors, 1984), mazapégul (MS A. Corghi, 1985), a aimpegnativa version of Romeo and Juliet (MS Berlioz, 1986), South of Mozart (MS E. Bennato and C. small, 1987). Standardised. is a company mostly composed of soloists that alternate in challenging roles in all styles. In classical deserve special mention parade of Massine and bournonville, a collection of pieces by famous choreography of the same bournonville, AGON of Stravinskij oestrus and of long. Important also are collaborations that standardised. has developed over the years with great choreographers foreigners as Glenn Tetley, Alvin Ailey and, more recently, with William Forsythe.

   

  B

  bakst Léon: set designer (1866 – 1924). Founder, together with Diaghilev, of the group of Russian artists Mir isshustava (the world of art), his in the ballet with the scenes of a night Egyptian with Foucault (1908) revealing from that moment his particular mark given by a brightness and an intensity unknown to the painting academic. It is unthinkable the great adventure of Venetian Russian without his name as well as those of Benois and of Picasso. What B. contributed to the theatre, especially in its early scenes, was, along with the taste for the vast prospects and architectures fantastic, the sense of splendour Eastern Europe and the detail seductive. specimens in this sense were the scenes of shéhérzade but also of shall fire, and Dafni and colas and the spectre de la Rose. tried instead the extreme limits of simplicity through a counting décor as ever, while nell'orgia of the colors used, with l'aprés-MIDI d’un faune. With les femmes de bonne consumer (1917) and he put in place a curious experiment commenting with a scene slightly deformed, as if the show was seen inside a glass bottle.

  Balanchine gorge: dancer and choreographer (Petersburg 1904 – New York 1983). Its real name was Georgij melitonovic balancivadze. Son and grandson of musicians, got ten-year he entered the school of dance imperial School in 1921, at the same time he attended the Conservatory of Petersburg. danzò while still a student at marinski. Early talent choreographer and organisational, with the help of the painter Volodia Dimitriev in 1923 founded "the evenings of the young ballet", the performances took place in the historical house parliamentary of the Duma. In 1924 obtained the first residence for a tour abroad with the "dancers of the State Soviet" between which was also his future wife Alexandra danilova. (later marries order Tamara were, true zorina, Maria talchief and tanaquil the Clercq, also dancers). Between the cities affected, in addition Berlin and London, there was Paris, where he was noted by Diaghilev that called him to be part of Venetian Russian, at which will remain until its dissolution of the same in 1929. Since then began for B. A various international experience. For Diaghilev realized 10 ballets by barabau to Apollon musagète (1928), ballet intended to open up new horizons of the dance praised purity, the prodigal lavishes (1929) in which, with splendid result B. attempted the seam of Ballet narrative. Since then, began for B. A various international experience that, after Copenhagen, London, Paris, led him to Monte-Carlo where hold for some time the fate of Venetian Russian de Monte-Carlo. formed after the company les Venetian 1933 that acted for one season, in Paris and London (emerged, among other things, Mozart, aubade, the septs getting capitaux). It was during that period that had an opportunity to meet Lincoln kirnstein, which with Edward Warburg invited him to found in New York, the school of America from which into the American Ballet theatre. It was precisely in America, where B. Museum until his death (in 1939 had taken the citizenship USA who matured his style so-called Concertante, based on close independence between dance and music. linked above all from 1948 to leggiadrio New York City ballet in which B. was for over thirty years Artistic Director, its production includes some of ballets excluding the choreography for film, operettas and musical comedies. feature of this enormous production the solid and strong musicality. Although B., that was a man of strong character that brilliant artist, it was certainly not the choreographer only able to know the music, certainly was the first detailed and thin in giving "Display" to intimate structures of a score. "dance – clarified B. in one of its numerous writings – is a completion of the music, interpretation date through the choreography of what the choreographer listen and test. It is the music itself that serves as history ". poet of linearity and light (enough to confirm that ballets as concert Baroque or Serenade, B., more than any other while brilliant artist of our century has been one who has renewed radically the dance academic pointing the need to filter the style old with achievements of the 1900s, dance included. In ballets by B., the importance it ends up being enclosed in the movement itself, but it is just this movement that integrates deeply with the harmonies sound. Main choreography: the chant du Rossignol (MS Stravinskij, Int. princ. markova Alicia, Venetian Russian, Paris, 1925) ; barabau (min. and Ms V. Rieti, SC. Utrillo, London 1925); Jack In The Box (MS Satie Orchestra from Milhaud, SC. dérain, Paris, 1926); the chatte (MS Sauguet, Monte-Carlo, 1927); Apollon musagète (MS Stravinskij, SC. André bauchant, cost. Coco Chanel, th. S. Bernhardt, Paris, 1928); the bal (MS Rieti, Int. pr. A. danilova, A. Island, Paris, 1929); the Fils wasteful (MS Stravinskij, SC. and cost. G. roualt, princ. int. lifar Serge, Venetian Russian, T. S. berhardt, Paris, 1929) ; josephlegende (MS Strauss, new pers. version, Copenhagen, 1930); La concurrence (MS auric, SC. and cost. dérain, Venetian de Monte-Carlo, Monte-Carlo, 1932); Cotillon (MS Rachmaninov, SC. and cost. C. Bérard, Monte-Carlo, 1932); Les septs getting capital (from Brecht, Ms K. Weill, Paris, 1933); Mozart (MS suite. 4 of Mozart, Strum. By Tchaikovsky, Venetian 1933, Paris, 1933); Serenade (MS Tchaikovsky, American ballet, Avery memural T. Hartford, Connecticut, 1934); Jeux de Cartes (MS Stravinskij, SC. and cost. sharff Irene, American ballet, Metropolitan, New York, 1937); Ballet Imperial (MS Tchaikovsky, first concert for pianof. And Orc. America, B. caravans, hunger College, New York, 1942); concert Baroque (MS Bach, American ballet, New York, 1941); the four temperaments (MS P. Hindemith, ballet society, SC. and cost. Kurt seligmann, New York, 1946); the Palais de crystal, then became Symphony in do (MS Bizet, SC. and cost. L. purposes,'s. int. darsonval falls, Tamara tumanova, Opéra, Paris, 1947); Orpheus (MS Stravinskij, American ballet, New York, 1948); the bourrée Cafe (MS Rachmaninov, New York City ballet, 1949), shall fire (MS Stravinskij, PR. Marie tallchief, New York City ballet, 1949); the Swan Lake (MS Cajkovskij, int. pr. tallchief M., André eglevisk, New York City ballet, 1950); Nutcracker (MS Cajkovskij, int. pr. M. tallchief (magalanese, New York City ballet, 1956); cheerful brilliant (MS Tchaikovsky, New York cirty ballet, 1956); Agon (MS Stravinskij, New York City ballet, 1957); dream of a night of Midsummer (MS Mendelssohn, 1962); Don Quixote (MS Nabokov, New York City ballet, 1965); jewels (MS Fauré, Stravinskij, Tchaikovsky, int. pr. V. verdy, P. neary, Suzanne Farel, New York City ballet, 1967); invesiana (ives, New York City ballet, 1968); square dance (MS Corelli, int. pr. Patricia Wilde, no magallanese, New York City ballet, 1971); Symphony in three movements (MS Stravinskij, Int. pr. Edward Villella, New York City ballet, 1972).

  Venetian Russian: it is precisely the advent of Venetian Russian that determines the moment capital of the rebirth of dance in 1900. their debut, the evening of 18 may 1909 to the Théâtre du Châtelet in Paris, renewed for the opportunity, it fits in gold letters in the history of the ballet. To try to understand a little more to fund the meaning of their news we must refer to what he wrote much later l'accademico Louis vests by evoking the atmosphere and the outcome artistic. "The arrival in Paris of Venetian Russian was an event in a more complete and real of the term. was a shock. a surprise, a whirlwind, a new contact. shéhérzade! The Prince Igor! Shall of fire! The spectrum of pink! I can say without exaggeration that my life is divided into two periods: before and after the ballet Russian. All our ideas they suffered a "processing". The origin of Venetian Russian is however quite complex. It is to the point of convergence of two movements of rebirth. The first can be started to say end of last century by a group of painters of vanguard that in the Russian capital is unite around the figure of charismatic soon Serghei Diaghilev and the magazine the world of art; the other Foucault represented by mickail artist who fought for the dance as show really full. So in a case such as another, it was to react against the routine and the another habits. was precisely to a man enterprising as Diaghilev, brilliant Organizer and passionate man art in general and in particular by music and ballet, bring together these forces to make it lead to a form for more d’un towards unpublished of performance. And this also thanks to its great familiarity with the mundane and the artistic circles of a capital as Paris. designed as a synthesis of living three arts, and that music, dance and painting, the B. R. could not so surprising they removed from formulae. without losing anything of its aesthetic, the dance detaching itself from virtuosity dear to étoiles, was designed to new forms where the expression conquering on simple desire to have fun. Alongside the first dancer until then was the true protagonist of entertainment, now also the dancer was reversed: the feats and the exploits of an Blom and a nijinskij hit and into the equal of arabesques and the fouettés of Pavlova and the karavina. Reduced until then to not be an auxiliary discreet, even the body of dance assumed importance and more UNTIL THAT TIME unknown. admirably regulated by Foucault, scenes of mass (copies in this respect those of the dances polovesiane) They public attention as the most astonishing virtuosity of the dancers. Above all, however, the dominant stretch of B. R. was the close cooperation between choreographer, musician and set designer. Become inseparable, their names assured work made unit and splendour. ghéon wrote on Nouvelle Henri Revue française as "the ballet is not only the simple accompanying un'étoile, as the United dell'étoile is finished as the result that the tenore… collective surpasses of much the sum of individual talents that make it up. Its supreme quality is to appear invisible, to form a whole with work that represents ". It should, however put in relief as the B. R., whose organisational structure and economic changed several times (in principle, for example, until 1914, is that a temporary training set up in large part by dancers made available by Russian imperial Theaters for the duration of Tours abroad, then you become a company autonomous), be divided into two stages, but then the work 20 years path is variously periodicizzato from the historical. The first and most important phase, is the one that starting from May 1909 arrives to 1914. The second in the broad moves from 1917 and moves until the death of Diaghilev in 1929. for production and aesthetic result, the 20 years of their bright parable are truly impressive. On some 60 jobs created, many titles, at least a third, one can say are still present, and some very frequent, in the register all the companies of the world. The first all'attrattiva triumphs were certainly due the NEWS, all'esotismo, the luxury that surrounded every performance, however stripped from these elements of seduction, works as SHALL fire, Petruska, the spectrum of the rose, the them, l'après and other MIDI d’un faune still remain of the monuments of the choreography winning modern. Dafni and colas, les femmes de bonne humour, les noces, les Biches, Apollon musagète, are considered the most successful works of this century. Finally, work as Parade, les pas d'acier, the prodigal son opened the way to Ballet avant garde and many of the productions of the years to come are directly dependent on these searches. more still. will consult the list of musicians and so of painters is discovered that invited to collaborate on the part of Diaghilev, everything is made even more impressive. with few exceptions, you can find the names of quell'eccezionale most significant time. Nor is it from overlook the fact that, because of their production so bold as round, the B. R. managed to raise at a wide public interest to the dance UNTIL THEN unknown, interest which will benefit all the companies to come. These companies, among other things, Diaghilev bequeathed a constellation of artists who for more than a quarter of a century at least even after his death occupied a place to world protagonist on the scene. From Massine to Balanchine, from lifar to nijinska, from island to Ninette de Valois, to mention only some Name. retracing backwards their seductive adventure, we can say that the first period of B. R., the period for the Historic "admittedly Risso", was exceptionally brilliant. The triumphs were to the triumph. Shall of fire that led to the revelation of a young composer of name Stravinskij and shéhérzade the East legendary she amazed the spectators, were the two major events of the season of 1910. The next was amazing. Among the most exciting ballets of Foucault did their appearance: petrusca and the spectre de la Rose. The season of 1912, that coincided with the creation of the Dieu Bleu designed by Cocteau from Jeux of Debussy, passed instead history with the birth of another everlasting masterpiece even if then had arouse great scandal. l'après was MIDI d’un faune choreographer and interpreted by the inimitable nijinskij ilk which scandal but had to be less if not encouraged with the one which was meeting the following year the Festival of spring perhaps more than for the choreographic innovations of the same nijinskij for the violence of the music of Stravinskij. The evening of the first representation (Châtelet, may 29 1913), the Bagarre WAS SUCH AS TO OVERCOME everything is possible to imagine: whistles and ravages girl the show and the spectators not only altercarono between themselves, but were also the hands. less lively instead turned out last season d'ante war in which is indicated in the return all'ovile Foucault after the rupture created within the company for the preference from Diaghilev to ward nijinskij, and appearance of a new Astro nascent of Massine name leondine. The war dispersed the troupe. With fatigue Diaghilev succeeded to bring together the necessary elements for a season in New York. Later, in Spain and Portugal knew days rather bitter. However, the stays FIRST IN ITALY AND THEN IN SPAIN influenced on its inspiration. After Russia legendary, after the grand East, the Mediterranean countries acted in a very fruitful on many artists of B. R. Cut the relations with the mother country in following the Russian revolution, the company had meanwhile FOUND IN PARIS CENTRE OF GRAVITY. It is also for this that Diaghilev called to cooperate more and more frequently NEW NAMES: musicians, painters and writers of region the most different even if mainly French. Between the young musicians there are the most brilliant exponents of so-called Groupe des six and so prominent Milhaud, Poulenc and auric but enter the Sodality also Ravel and Satie. When the set, are the names of Picasso, roualt, De Chirico, of bale. In this second period, Diaghilev, always eager to maintain the leadership of artistic, feels that a reform if wants to act in depth must involve all the new forces operating in Europe. The fact that Diaghilev, despite the success in the recent past, felt the need not to "museificare" the ballet Russian but of making it not only artistic sample of the battles that excited last minute in Riva to the Seine, shows once again its sensitivity and intelligence. This permission, the momentum and the enamel not resembled them more to those of the first seasons. began to weigh a certain disaffection of the public due yes, but not simply to events social and political. You did hear the financial difficulties. The troupe, even if still other masterpieces were born, it was no longer able to offer Italy results of a time, perhaps because the programs came with be too electrical. However, the budget of this second period was not totally negative. From Parade (1917) draws a new orientation of Diaghilev projected to reach an art of breaking even if, perhaps arrived with a certain advance, the famous Ballet since of Massine went meeting again scandal even if not of the reach of festival. Other work and very happy into the talent of Massine. Les femmes de bonne humour, the boutique cafe, the fricorne, Pulcinella mark a chapter very significant. Of the eight ballets that bronislava nijinska will create for the company in five years that goes from 1921 to 1926 les noces (1923) and Les Biches (1926) mark at least two fundamental stages. If the years you make difficult, if the interests of Diaghilev seem geared towards other interests, a new generation of dancers and choreographers does, however the entrance in the field. The troupe stretches of new States capable of well illustrate the last five years of B. R. Together with Boris kochno that became the secretary of Diaghilev emerge the names of Serge lifar, of Anton Island, Alexandra danilova, of Alicia markova. Still, the NIME of George Balanchine. Is it really Balanchine that now oriented towards the choreography will sign the last great season of ballets B. R. Apollon musagète and the Fils wasteful, even if works not yet included until the end, are the authentic masterpieces to close a glorious adventure. A long cycle ended but the ballet to come will a great legacy.

  baryshnikov Mikhail: dancer and choreographer (Riga, 1948). vaganova graduate at the school of Leningrad in 1967, he entered a little later, eccellendovi, in the company of Kirov. As Nureyev and the markova, fled to the west in the course of his tour of the mythic Canadian complex, since 1974, when mediated in the United States, his popularity immediately climbed to the stars. The popularity that he did become also to star in American film The turning point (two lives, a turning point), for which ricevetto "as actor. Subsequently will be appreciated performer also dancers do H. Ross. dancer with great technical, was for years considered as the most direct heir of Nureyev. Next to the interpretations of classics that have enabled him to reveal his charismatic virtuosity, Misha B., as is confidentially called, has managed to express the most of its qualities also in many modern ballets, brought to the success through its large capacity workshop. It was the case of push comes to shove of dance's. In 1980 was appointed to the Directorate at Ballet Theatre, in which, although with alternate events, has given way to a lively activities choreographer, especially mimic of great classics of the past (Nutcracker, Don Quixote, etc.).

  léontine Mr.: dancer (Paris 1842 – including 1925). In the years of the Second Empire was considered the prototype of the dancer of French style. had however compete in the long with the public's preference that all'opéra instead the virtuosity of Italian ballerinas, Sangalli at the head. His technique was impeccable and the level of its services considered always high. His IN THE PAST THREE OF THE Papillon of Taglioni (1860). was pretty, the protagonist of petty green of mérante, the last Ballet submitted to the old Opéra in rue Le Peletier. scoccò his luck but only after the war in 1870, when the bozzacchi prematurely disappearance, the substituted in the role of swanilda in fact already intended to you. In 1877 was still l'applaudita protagonist of the Fandango of mérante.

  Maurice Béjart:, name of art of Maurice Berger. Choreographer (Marseille 1972). Son of the philosopher Gaston Berger, since child from the Father had as a gift the taste of thinking and a deep sensitivity to the next. Because of its fragile physical Constitution, the parents, to the time of high school, the led to a course of dance. will tell you later B. himself: "not wanted to be dancer. It is the dance that has chosen me ". While continuing the humanities, decided to imbraccare the artistic career attending Opéra where Leo STAATS will master and mentor and later the great Egorova that the gave the legacy of Petipa. In 1948 participates in the first season of Venetian DE PARIS created by Roland Petit. dall'internetional in 1949 is rebooked ballet to London where dance for well 103 times the "change" bird of fire. This is the time when he discovered the freedom of the language choreographer of Jerôme Robbins. soon will also have experience in Switzerland next to cullberg that starts it to the knowledge of Kurt classical. In 1950 is given an opportunity to create a step to two, l'inconnue, on a song of Piaf. a little later, under the insignia of Venetian de l'étoile, form a small company with which presents the first works that begins to sign, some with reference to the genius Molière, with the name of art of Maurice Béjart. The knowledge of the musician Pierre Schaeffer in 1954 is fundamental to the discovery of concrete music. Under the influence of the sounds, aesthetics of the ballet change. will say: "Without costumes, without scenes, the dancer modern will be more vero… following the rhythm of its body." The illustration of this idea will materialize with some of the work which the disturbing simphonie pour un homme Seoul, by the critics considered "a true Ballet of the future", and, with the music also of Pierre Henry, voyage au coeur d’un enfant and arcane 1. A few year however creative activity of B. will be going to move towards forms more spectacular that poetically not essential. After having seen some of its creations at the Berlin Festival in 1959, the Director of the Théâtre Royal de la above of Brussels, Maurice Huisman, International Expo in the occasion CALLS FOR HIS PERSONAL version of the Festival of Stravinskij. The success is that the next year is offered to settle in the same Belgian capital to the head of a great training. was born the ballet du Paris siècle. will be just and training with that B., for a period of well 27 years, will create a long series of happy work some of which become real classics. Based on youth, and on the discipline, forged sull'entusiasmo and on the perfect osmosis between elements where Excel authentic, great soloists, it is with the ballet du Paris siècle that B., in applauditissime Tours, will be out by the usual spaces theatrical carry his message of strength and beauty to the most various audiences in stages and Palasport. blatant example was the Ninth Symphony of Beethoven (1964) that beats all the records of public. Never before in this occasion, B. was convinced that the ballet, the dance, as well as ancient religion, is beauty and youth. But other work, while inspiring also some severe average, will find great successes in fervent 1970s. Starting from the new version of Bolero of Ravel (1961) that finds its splendid protagonist in Jorge Wome one of the best dancers, and will be many, shaped by B., to continue with mass for the present time (1967) and the mainland bakhiti (1968) and Les vainqueurs (1969). But the gallery will continue with frescoes as golestan (Persepolis, 1973), as for the sweet memory of that day (gardens of Boboli, Florence, 1974, retrieved from the triumph of Petrarch), as notre Faust (1975), Eliogabalo (Teatro alla Scala, 1976), Molière Imaginaire (comedies FRANCAISE, 1976), Gaité parisienne (1978). In parallel, in 1970, Born, always in Brussels by the side of the Ballet of Paris siècle, also the Mudra (gesture), the Institute for teaching and training, by B. wanted, which, going to dance develops the training of interests complete on a technical (actors, singers and musicians) and contributes to strengthening the personality of the various artists. always with the courage to go in adventures difficult but fascinating, risk and the mistake, in those years, B. also deals with major masterpieces music with the purpose of allocating them to large and various public. Born for example, and here the reading is boldly modern, in at our time, roméo et Juliette Berlioz and offrande coréographique on musihalische opfer of Bach. sbocciani's interpretations at the Don Giovanni And The Magic Flute. As to Mahler, the WILL one of his masterpieces dramatic, and that chant d’un compagnon errant (Brussels, 1971), entrusted to two star caliber of Nureyev and of bertoluzzi. In its work but he joins the search of mainly through Boulez (the Marteau sans Maître, scale, 1972 and PLI selon PLI, BRUSSELS, 1975). All this is also said that it is eclectic, in its joints literary, musical and philosophical, scenic universe of B. eclectic also because edettico is extremely his style. A style, strongly modern but all soaked of classicism, marked by a not drudgery of steps, the segmentation of chain and from those continuous changed in speed that then many other choreographers have imitated. Still, a style characterized by a use not traditional arms and torso in part also influenced by quell'oriente that it is always a dear to choreographer Marseillaise. A style (B. is not to be considered a true innovator) being deliberately escapes to each codification, because, for B., every innovation is always possible and this also for his constant desire for pleasure, to be understood and therefore to seize the interest of the great public under each latitude in Europe as in America, Russia as in Japan where also is much loved. A love returned with the creation of ballets which English that once again reflect a mixture of styles that opens guided solely by its immediate impulse. What the rest also have occurred in recent years (see Souvenir de Leningrad and the Baroque construction of "tetralogy), after that, for a need to take up new horizons, its fate has led him to abandon Brussels for the more collection Lausanne, Switzerland, where the ashes of the ballet du Paris siècle happily resources, always with young dancers generous and enthusiastic," Béjart Ballet Lausanne ". In the course of 1992, always in Lausanne, creates a École-Atelier that called "rudra", one of the names of the god Indian Shiva and that evokes the spirit of combative spirit. To indicate that in recent years B. withdrew from Directory one by one his ballets more important. Main choreography: th (MS Ravel, 1961), les Sept getting capitaux (MS K. Weil, 1961), les Contes d'hoffmann (MS J. Offenbach, 1961); noces (MS I. Stravinskij, 1962); La Reine Verte (MS P. Henry, 1963); the Veuve Joyeuse (MS F. L�ar, 1963); the damnation de Faust (MS H. Berlioz, 1963); 9^Symphonie (MS Beethoven, 1964); Mathilde (MS R. Wagner, 1965); Webern Opus v (MS A. Webern, 1966); roméo et Juliette (MS H. Berlioz, 1966); put pour le temps présent (MS different, 1967); Ni fluers Ni Couronnes (MS P. I. csjkovskij, F. schirren, 1968); Baudelaire (MS R. Wagner, C. Debussy, 1968); the streets d’un danseur (TV movie French); Les vainqueurs (MS R. Wagner, 1969); serait-EC la mort (Ms A. professor, 1979); oiseau de feu (MS I. Stravinskij, 1970); the chant d’un compagnon errant (MS G. Mahler, 1971); nijinskij clown de Dieu (MS P. I. Tchaikovsky, P. Henry, 1971); stimmung (Ms K. H. Stockhausen, 1972); golestan (MS traditional, 1972); the Marteau sans Maître (MS P. Boulez, 1972); the triumph of Petrarca (MS L. Berio, 1974); EC que l'amour me dit (MS G. Mahler, 1974); high water (MS different Italian, 1976); notre Faust (MS J. S. Bach, Argentinean tangos, 1975); héliogable (MS G. Verdi and African traditional, 1976); Molière Imaginaire (MS N. Rota, 1976); petrouchka (MS I. Stravinskij, 1976); gaîte parisienne (MS J. Offenbach, Rosenthal, 1978); EC que la mort de dit (MS G. Mahler, 1978); Leda (MS Japanese ancient, 1978); life (MS J. S. Bach, Crocker, 1979); Mephisto Waltz (MS F. lizt, 1979), Eros tanathos (MS different, 1980); the flûte enchantée (MS W. A. Mozart, 1981); Les chaises (MS R. Wagner, 1981); light (MS A. Vivaldi, the residents, 1981); ddivine (MS tuxedomoon, 1981), Wien, Wien nur du allien (MS l'ecole de Vienne, A. Schönberg, A. Berg, A. webernet., 1982); Sept Danses grecques (MS M. THEODORAKIS, 1982); Histoire du Soldat (MS I. Stravinskij, 1982); put pour le temps futur (MS traditional, 1983); Dionysos (MS R. Wagner, hadjidakis, 1984); cinq nô modernes (without music, 1984); the Concours (without music, 1985); the chauvesouris (MS J. strass, 1985); arepo (MS C. Gounod, H. the bars, 1986); martyre de St-Sébastien (MS C. Debussy, text G. D’Annunzio, 1986); Malraux ou la métamorphose des Dieux (MS Beethoven, H. the bars, 1986); English (MS T. mayuzumi, 1986); 3 etudespour Alexandre (MS African Traditional, D. Shostakovich, 1987); chips signaletique (MS B. B. F. C.); cantique (MS Jewish traditional, 1987); Prelude à l'après-MIDI d’un faune (MS C. Debussy, 1987); … et Valse (MS M. Ravel, 1987); souvenir de Leningrad (MS P. I. Tchaikovsky, the residents, 1987); 1789… et nous (Grand Palais, Paris, June 1989 on the occasion of the bicentenary of the French Revolution); pyramid (Cairo, 1989), the ring (MS Wagner, Berlin, 1990); the tour (Palais de Beaulieu, Lausanne, 18 June 1991, for the 700 th anniversary of the Swiss Confederation); damage in Wien (Vienna, 1991, for the bicentennial Mozart); mr… C. (Recklinghausen, June 1992); episode, dedicated to pisolini (Rome, July 1992); work and Mandarin (Lausanne, December 1992, with Ruda Béjart Lausanne).

  Benois Alexandre: (1870 – 1960). Descending from a family of artists and architects of origin Franco-Italian, in the field of the figurative arts was together in bakst and the artist that had one of the most important roles in the creation of Venetian Russian and in their orientation aesthetic. It is in him, even librettist, which must be the merit of aroused AND IMPOSED A cohesion increasingly vital between the various elements of entertainment, i.e. a close relationship between music, choreographer, painter-scenographer and musicians. Its historical knowledge, aesthetic and technical were indispensable for Diaghilev. Without denying or destroy nothing of the tradition, B. was in his own way a revolutionary. If the scenes of Papillon d'armide (1909) and then Giselle (1920) surprises the Parisian public, it was with petrusca (1911) was meeting to his greatest success thanks especially to the great capacity to merge the wonderful with the realistic, to live side by side with poetic aspiration popular tradition. EXHAUSTED THE SEASON OF Diaghilev relocated in Paris, collaborated with the Rubinstein for a series of important creations (Bolero, the Kaiser de la Fée, etc.). Its activities subsequently took place between Paris, London, New York and Italy, utmost to scale. A particular mark to Stage Design of the 1900s also left his son Nicola Benois (1901 – 1988) which Paris he moved to Milan where offered large contribution to Ballet (the scale for long years was director of scenic designs). Great was his productions of Belkis of Massine – Respighi (1932).

  An Carlo: dancer, choreographer and especially theoretical dance (napoli1975 – crenobbio, como 1878). Man of vast culture, it was among the highest teachers of his time to exercise with its work and practical huge influence on Ballet 1800s. TO HIM TO THE SUBSTANCE OF HAVING conceived with dancing like a real theatrical Summary of other arts pursuing it as a classical ideal of apollinea formal Beauty ready to identify with the spiritual beauty. Educated in his native city of dutarque the French school, his old all'opéra just of Marseille city in which his family was about: his father was composer. Then he was taken Pierre Gardel Bordeaux where danzò with some success to grand Théâtre before the same master French introduced the all'opéra of Paris. Its personality of dancer, like that of choreographer, was soon living from that of theoretical and man of letters. Perfect connoisseur of various languages, in Milan, where it was established in the meantime, just 23 PUBLISHED IN FRENCH briefly but extremely fundamental Traité élementaire théorique et pratique de la Danse (1820) in which were fixed very clearly many principles of dance, a real step grammar on the time they were exposed in the main concepts of dance as it had evolved after the reform of noverare. in volume, after instructions of a general nature, B. ran deal with the details: the study of the body, the perfect balance, dell'aplomb, the port de Bras. detail you took in examination l'attitude and l'arabesque although still not all of its possible variants. Attention is on the study of therefore moved whirls and finally were considered the differences between dancers serious, half character and comedians also highlighting the vital importance of master and the necessity for the first to teach has been very good dancer, what is still fundamental today. In Traité, B. was also the first that dealt with the way of operere "on the peaks", fundamental aspect of the ballet romantic. 10 years later followed in two version, French and English, the well more comprehensive and more important Manuel complet de la Danse ou Code de Terpsichore (1830) where the dance precisely were discussed in an exemplary way all the aspects teaching and aesthetic; text, you should say, that was to fulfilment of almost two centuries of technical processing, poetic and dramaturgy of great art. Soon, the Manuel was considered one of the books capital be asked next to Les Lettres of noverare. This for the theoretical part. For the part more properly practice, B., especially since, from 1837, began to operate the scale where he was appointed Director of the Academy of dance (but in Milan where he opened also a private school had alongside also his wife, the dancer Annunziata Ramaccini, the daughter art; also the brother Antonio R. was one of the most acclaimed dancers and mimes of time) was a teacher t5. with firmness and patience in its already teaching was formed a long and important series of dancers ready to spread to his knowledge throughout Europe. In the schools passed almost all the artists of firmament romantic: from grisi to Fanny Cerrito Carlotta, Sofia Amalia fire to ferrarsi, by Carolina rose to 1 grahn American Augusta maywood. In the field Male: by Pasquale Borri to Giovanni hares, maestro in turn of Enrico Cecchetti. less effective, soon fall forgotten was his parable of choreographer even if, as he recalls, only to scale in his 13 years of stayed (1837 – 1850) signed something "as 1300s pieces between steps and ballabili". ballabili often for operas. Already its beginnings in his capacity as choreographer to scale was a little lucky when, 24 in 1819 had created on music of the Father Francesco Antonio B. A fake feudatory. As the teacher and choreographer of a theoretical that was however activities never resigned even after that obscure intrigue within the theater was forced to leave the scale for a long circumnavigation abroad. First was at work of Warsaw and to San Carlos of Lisbon, then in Paris and finally at the Bolschoi of Moscow, where he remained until 1864. To his return to Italy he was devoted almost exclusively to write will withdraw in its beautiful Villa Cernobbio on Como lake where, for heart attack, died here they.

 

Bo Blum Réné: Director of company (1844 – 1944). Artist sensitive and refined, man of kindness extreme. It was a singular character in the history of Ballet of 20 th century. Brother of socialist leader Léon Blum, dedicated his life and art to the theatre. exquisite taste and of immense culture, after having followed in the long the fortunes of French theatre dedicated exclusively to dance. With the colonel de basil, personality very different from his, he founded the first company of Venetian Russian de Monte-Carlo. To this company went all his wide knowledge artistic-literary. In 1936, in response to a break with de Basil created a new training with the collaboration of Foucault and subsequently of Massine. He died deported in Germany in 1944.

bournonville Auguste: dancer and choreographer (Copenhagen 1805 – including 1879). To his name is one of League most fascinating chapters of the history of Ballet 1800s. B. is then to see as the true founder of the ballet Danish. To him, while respecting the academic tradition, it must also the creation of an original style whose are key to identify, although not only in them, in the perfect finishing every step that is enriched and made more brilliant by important given the "half Punta", to the lightness and ease of the "ballon", with the graceful composure of the "Port de Bras", the wise commitment of the "batteries", and all alien to every music appearance. B. received the first lessons from the Father, the dancer and choreographer Antoine B. but his real education, severe and rigorous, happens to Paris where the Father sent still youngest, at the famous Jean-François Coulon and especially the great Vestris Auguste. Such rules prevented his in his future parable of dancer and choreographer to watch the dance academic also with a certain humor and allow it to be intelligently "contaminated" by popular dance known and appreciated in the course of its many travel especially in Italy by him very loved as his countryman and contemporary Andersen. in Paris, terminated the studies, had the first records. all'opéra was in 1826. Later (1829) arrived to London to King’s Theatre, but it is in Copenhagen in 1828 where the Royal Theatre is appointed "first dancer", that there was the most of his career. was in Copenhagen that compose also his first ballet, the marriage of victory, FOLLOWED BY FAUST and dall'ancor more significant the veterinarian (1836). 3 years later, staged always for the Royal Theatre, was his new version of the Sylphide of Filippo Taglioni, still in the repertoire of kongeliege Danske Ballet but not only in it. On music not more than schneitzhoffer but of Herman lovenskjold, the ballet was remodelled in his country’s choreographic style all shiny elegance composing, each step and every figuration polished with technical perfection. disagreements with some elements of theater, even excluding hostility procuratagli even the grahn for certain its preferences, in contrast with the rules of the time, the male dancers, the lead after in that first and long term Danish to go to Italy. It was at Naples, the city from which drew stimulants suggestions, and so in Milan where, among other things, as the first danzò dancer, beside Rosanna that and to GIOVANNINA King it the castle of kenilsworth, the great Ballet action that the such had retrieved from renowned and popular novel homonymous Walter Scott. In subsequent years, B. was also in Vienna (1855 – 56) and from 1861 to 1864 was sent to direct the Royal Theatre in Stockholm. HIS ACTIVITIES AS choreographer, however took place almost entirely in Copenhagen. B. signed a little less than 40 or so of work between ballets and divertissement. Many of which fall between those more openly of character humorous and those most closely affected by dancing. Among the first, and certainly the most important, was konservatoriet (1849) on music of the faithful composer Holger Simon pallium. Short ballet, an act only, free of mere action and half way between the academic and discovery, it in a scene to a Maître de Ballet Parisian (quite likely overshadowed his master Vestris) that gives lesson to the students, which while Constantine excursion to the study will allow small and interweave evasion amorose. almost certainly taken from a previous work much more complex and with action precise but not made history (marriage proposal on an official), the ballet in the revision way to his time by Harald Lander is still in his repertoire and not soltantopresso the Royal Ballet Danish. between the second and most numerous group, belong to l'infiorata of Genzano (1839), already eloquent since title, toreadoren (1840), Spanish degree, in the Carpathians, away from Denmark or a dance in costume on board (1860). The latter, inspired by the fashion of the cruise around the world of its own high Scandinavian company that time you can say to come as the most farcito elements of ethnic-folklore to B. so dear and here expressed in a t5. Set in Flanders in a late 17 th century and inspired by the painting of the time, always on music of pallium, another Ballet was important kermesse in Bruges. Above all through the roles of the three players (three brothers), B., in right balance with the parties female, he promoted in another instance the dance men. Faithful to his ideal country’s choreographic of not to accept the secondary role attributed mainly in France to dancer, B. it did in fact always a point of honour to give the dancers their importance. Also in this ballet in which it is supremely use batteries and of the Grands-jétés, has always remained in his repertoire in Copenhagen, as the rest Naples or the fisherman and his Bride (MS pallium, Royal Theatre Danish, 29 March 1842) rightly considered his masterpiece. of a year just after the Sylphide, also presents itself as a great example of Ballet romantic but of a Romance that softens or better cangia its atmospheres and its colors in the reflections of light warmer, and southern Mediterranean within a frame that exalts the joy of living and to communicate serenity and happiness. Perfect mixture of popular dance and brightness academic technique, Naples, faithful mirror of folklore partenopean, even if folklore transfigured in essence of art, is the perfect fruit of the choreographer and a dancer (it was the same B. to be the first Gennaro, the protagonist) that was accustomed to having danced repeat "), particularly with the happiness of live and transmit happiness". B. he retired definitively from scenes only two years before the death in 1879. left a autobiography (but means théâtrale) in two brief writings of a theoretical nature one of which, Etudes choréographiques, 1861, is presented as a summary of his way to work for lines always clear and expressive. Main choreography: La Sylphide (MS Herman lovenskiold, SC. C. F. Christensen, Royal Theatre, Copenhagen 1836); Naples eller fiskeren og brud Hans (Naples or the fisherman and his bride) (Ms Simon Holger pallium, Edvard helsted, Niels Wilhelm "Christian and lumbye, SC. Christensen, Royal Theatre, Copenhagen 1842, Prot. August bournonville and Caroline fjelsted); konservatoriet (MS H. S. pallium, Royal Theatre, 1849); kermessen the Brugge eller de: three (the event to Burgess or the three gifts) (MS H. S. paulli, scenes of H. Noel, Royal Theatre, Copenhagen, 1851); fjernt between Danmark eller kostumebal om bord (away from Denmark) (MS H. C. lumbye and others, SC. By F. Christensen and others, Royal Theatre, Copenhagen, 1860).

 

C

Cecchetti Enrico: dancer, choreographer and teacher (Rome 1850 – Milan 1928). Rigorous academic reformer of dance, its action as a teacher and as Maître de Ballet has had a decisive influence on the development of contemporary Ballet still today is dispersed. You can say that all the great dancers of his time are passed to his school to start from nijinskij, the Pavlova and the karsavina. person of character sweet, was severe and esigentissimo nell'insagnamento. Referring to the lessons of masters like an ancient, students always refusing a performance purely mechanical, C. has developed a real system of teaching in which each year has a definite purpose and is the preparation logic and required for exercising following. Thanks to its teaching and the creation of a genuine new grammar, has donated to dance A unit that previously had the same had never known. To Him, among other things, it must be the merit of having restored the concept of "related", have stretched l'arabesque and still having deepened the exercise of pliés. Son of dancers (his parents were Cesare Cecchetti and Severina casagli) had the birth in a dressing room of the theatre Apollo of Rome. In a sense a birth symbolic if you consider the fact that not abandoned never the limelight in the course of his not short existence. Also the death the understood during a lesson and all'amatissima scale. Since child had small parts in the shows of the parents, his first teachers. Later was sent to Florence to the school of John hares already pupil of an. after a hard training in theatres minors, his the scale in 1870 in a ballet of Borri (the Goddess of Walhalla) impressing for its exceptional technical. Immediately rebooked from important European theatres, still young arrived in Russia at in that of the Petersburg that will become the center of its major successes. 1885 was to return to scale where in the company of his wife Giuseppina de Maria (1857 – 1827), his partner for years, was performer of Messalina of Danish. Then he was in love (1886), by which he had already interpreted Excelsior in London. In 1887 was the new in St. Petersburg at Teatro Arcadia where, beside GIOVANNINA LIMIDO, presented some of its choreography and versions of ballets ". The successes the opened the doors of marinski where will become first dancer but also burying assignments choreographer and teacher in the school Imperial. In this theatre his in Tulip in Harlem of Ivanov by participating then to many spettecoli of great importance not excluded the Belle au Bois dormant by Marius Petipa interpreting "en again" the part of carabosse but also creating the change bird blue. In 1902, disagreements with the direction of the theater the turn him away from Russia and the lead before to Warsaw and then in Italy. In Turin was for some year teacher but with square even in Rome and Milan. In 1906 he returned in St. Petersburg where he opened a school of dance TO WHICH. Students of great talent intended to become famous including Anna Pavlova that he willed also exclusive master. The foundation of Venetian Russian, Diaghilev the scritturò as Maître de ballet. At the important company, he remained until 1918 interpreting also some important into in various ballets of Foucault, Massine and others, including the part of report in Petruska. In 1918 he settled in London where he opened here too a school that, forming dancers complete, was decisive for the birth of the ballet English. touched in those years to C. Beaumont fix in a treaty his "method" that from 1922 was disclosed by Cecchetti society then founded. Also for reasons of health, a few years later he returned in Milan where he founded a school in 1925 until toscsnini Arturo not called him to the management of the school of dance to the scale, where he stayed until the death of November, 1928. Also here the style of his teaching seemed prove to the phrase already so many times he repeated his students in Russia and London: "with me, you learn as i. danzerai scene as you do or how you can ".

Cerrito Fanny (Francesca): Italian dancer (Naples 1817 – Paris 1909). Between the largest 1800s, student of S. Taglioni and P. Hus at the San Carlo in Naples, it was in this theatre that reported the first success, then repeated in other important Italian theatres and in particular the scale where it was first dancer from 1838. emanating a particular fascination since entering on the scene, precisely Milan had moments of great popularity to the point of to create a Party "cerretista" that is opposed to that of "taglionisti". And this even if its aspect of typical southern Beauty hot and sensual could appear at odds of ethereal see coming d'oltralpe. The seat of his most remarkable triumphs he should not have to be the scale, where sparked admiration also de Musset, but l'her majesty's Theatre of London where, precisely in SEE, danzò also faced with the Queen Victoria. Equipped with a formidable technique, but gradually broke away from the register so to say "air" and more sensitive to move towards a type of dance of CHARACTER OR OF MEANS character; towards that compositions more suited to its personality such as the Gypsy (of Taglioni) or Alma ou la fille du feu (of Perrot). In the course of the seasons London, which caused a real "cerritomania" as it wrote in the chronicles of the time, the sodalizzò with Arthur C. Saint-Léon (already known in Vienna) intended to become not only his usual partners but also her husband. What happened in 1845 that year in which danzò alongside the Taglioni, the grisi and the grahn in the famous pas de quatre of Pierrot. For you, Saint-Léon created one of the fille du Marre Ballet that she had great consent but that the Valse however the consecration Paris. And in Paris, where will put in shadow even Carlotta grisi until that time Queen indisputable dell'opéra, will interpret among other things star on contrabandiers (MS fists) and that vivandière already submitted to London become popular, more than in the subject, for a series of steps characteristic (" pas de la vivandière "," pas de l'incostance "and" redowa ", dance very close to Mazurka that will become famous in the mid 1800s) to which the C. had contributed to the establishment. If you remove Maria Taglioni who created the Papillon, the great dancer Italian was, in fact among the few female personality that, 1800s, were dedicated also to choreography. Left is a half-dozen ballets from you signed between which rosida (London, 1845), Ballet of its debut, and Gem (Paris, Opéra may 31 1854), his work of leave, on a libretto by Gautier and in which the C. stood out even for excellent qualities into. As to rosida (MS of fists) of which You yourself also wrote the libretto, while its installation "larmoyant" typical of the season Romantic, is to remember for the social aspect that its topic touches: the situation of Sicilian claiming brutally taken from masters deposits. separatasi from Saint-lèon in 1855, avràancora a short but bright season in Russia after which he left the scenes. Who withdraws in Paris, now nonagenaria will die in 1909 on the eve of the coming on the Seine of Venetian Russian of Diaghilev.

So Liliana: dancer (Milan 1941). E at the school of dance of the scale in 1958, in 1963 will be in Moscow to attend a course of processing the Bolschoi where he will return two other times student of Messerer, of Semionova and the ulanova. At the Bolschoi his as a soloist in 1965 it Swan lake and then in Giselle. Two ballets from you interpreted with excellent results with its splendid technical and its expressive quality and whose success was repeated to scale, Theatre of which will become Étoile in 1970. Star International, in 71 is next to Nureyev for a tour in various European countries. In 1972 makes a long tour in the USA and the following year was called by Béjart for the Ninth Symphony. dancer of great rigour and enamel, applauded in all the more important roles classics, from coppélia to Juliet, in 1978 he left the scale to direct, in Reggio Emilia, a school and its own "company of classical ballet" alongside the dancer and choreographer marinel Company (Bucharest, 1947), which will make sensitive performer of some work in character eminently spiritual awakening never, etc.).

 

 

(d

danilova Alexandra: dancer Federation (Peterhof 1904). After his studies at marinski followed his beautiful European tour Balanchine in 1924 that was to marry in the same year. will subsequently Étoile in Venetian Russian until 1929 then all'opéra in Monte-Carlo and the company de basil. Best interpreter of all the great roles, with rare charm and elegance of excellent also interpreting modern characters as that of guantaia in Gaité parisienne of Massine and in that of dancer can can in the shop fantastic.

duberval or d'auberval bercher said Jean D: dancer and choreographer (Montpellier 1742 – Tours 1806). figure of the most eminent and innovative of the end of 1700s, a great admirer of the ballet action, D. did much for the dissemination and for the implementation of the theories of noverare. The same noverare had great admiration for him so much that in one of his famous Lettres tells you to D. "nor avec de l'esprit, du first, de l'intelligence… on embellir et de vos the genre lany", adding that he knew how to speak with great precision and own. lover of the measure and harmony, D. he was devoted mainly to the development of the "Danse Haute" and "d'élevation" rejecting the scene all that was mere aerobatics. As a man, life was very adventurous, often eventful from intrigues Galanti to which it was not unrelated to the same du Barry, the favorite of Louis XV. After his studies in Paris, in his zaïs all'opéra in 1761 alongside the great Guimard. In the same year he was appointed First dancer "demi caractère" and in 1770 "danseur noble". dancer of success, it was not however lucky in its ambition to happen in quality of "Maître de ballet" to "Astro" Gaetano Vestris at the same Opéra so much so that, given the resignation from "Maître de Ballet adjont", he preferred pass in Bordeaux. Thanks to its care, to his work and especially to his teaching to then Bordeaux will become, as also writes an, that was his student, "la première Ville de France après Paris pour l'execution des grands Venetian" but also nursery for future talent. The Grand Théâtre, in the years from 1783 (date of arrival), and up to 1791, will many ballets between which l’épreuve villageoise, the page incostant and télémaque. But over all, intended to become a true classic today still directory on all the stages of the world, La fille gardée badly. In two acts and three paintings, the ballet went on stage just a few days before the outbreak of the French Revolution (Bordeaux, Grand téâtre, 1789, libretto of the same D., protagonist 1,000 Theodore, MS, lost, attributed to J. W. Hertel). This creation was considered the first and important example of ballets "character" in the current sense of the word. For the first time in fact appeared modern argument involving persons and facts of a real world, on the scene, in a rusticano intrigue, bourgeois and peasants. In line with the reading sentimental in vogue with work Buffa, 1700s, it told the struggles of a mother naive (Mme Simone, usually interpreted as a dancer en again) that Alarm clock so little good the beautiful daughter limes to enable the young farmer Colin, you love, to get a foothold in the house with quite logical. The freshness layers and should the libretto, allowed the ballet to survive without pause until at the time romantic. Easy and attractive, and the music of the first version were revised from a good operista as hérold in a score always exploited by further productions that were many. between the versions most interesting of the 1900s, in addition to that due to B. nijinska and D. romanoff by the ballet theatre/New York, 1940), are to remember that English Ashton (London, Covent Garden, 1960) and the Russian O. vinogradov (Leningrad, 1970).

De Valois Ninette name Art from edris stannus: (Dublin 1898). leading figure of English dance not only as dancer and choreographer but especially as Organizer and director of the schools. Student of Cecchetti, after a brilliant start to Covent Garden was as from the Venetian Diaghilev for Russian (1923), where stated in many roles (Dafni and colas, Petruska, les Biches, les noces, etc.). In 1926, rejoined in London, personality energetic, he devoted himself particularly teaching forming the first important core of dancers destined to become the sadler's wells Ballet then called Royal ballet. More faded but of some interest also his activities developed choreographer in particular nell'anteguerra. Between the two productions more significant job, la création du Monde, the rake's progress, bar aux Folies stone.

Diaghilev Serge DE: animator and director of company (Novgorod 1872 – Venice 1929). D. was the maximum renewal of the Ballet of the 1900s. These the testimonies of some of his friends and contemporaries. "What was charged in D., was the Authority enjoyed in places by this great Lord had the gift to seduce and convince" (Robert Brussel). "His speciality was the WILL. When he began to want, everything began to become, to take form, and to exist "( Alexander Benois). Beautiful, high, seductive, a méche white hair on Corvina – something that the Valse the nickname chinchillas – elegant and affezionatissimo to its monocle, new character but capable of great and genuine friendships, the only rule that seemed guide it into overcome apparently insurmountable obstacles, was that of any sacrifice to do what its intelligence appeared in the very beautiful and artistic sense of the word. a very short, brilliant self-portrait could come from what he wrote to her grandmother still youngest panaev Mme-Diaghilev. "I am: 1° A REPORT full of Brio; 2° a great statement; 3° an insolent; 4° a man in possession of great logic and unscrupulous; 5° a to be afflicted by total absence of talent. In reality, of talent had to sell if, since his youth, was Bravissimo organizer beginning with a first important SHOW OF SPECIAL English and German that organized in St. Petersburg in 1897. After studies of law, D. was immediately attracted to world of art closely linked with young artists, also intended to their great fame Alexandre Benois Léon to bakst, with which he founded a magazine Mir iskusstva (the world of art). rebooked the opera house imperial as official in special mission, reveals himself as a brilliant Company of works. In 1904 and the 1908 also hosts a large number of shows not only in Russia but also in Paris. And it is precisely all'opéra that with Boris godunov sung by the great scialpin debuts as impresario. To return to Russia, meet a group of dancers chosen among the best talents of time. They shall submit to thèâtre du Châlet IN PARIS ON 9 may 1909 with a triptych of ballets. It is a triumph. A triumph that it will launch the magnificent adventure of Venetian Russian. Spirit curious, restless, impatient to reveal the trends of the talents, in all, D. feared first of repetition, but was brought to detach itself from its primitive inspiration closely Federation. What that led him to separate from its first collaborators, Foucault including. Certain discord were however prominent also by his character wheat and excessive. It was the case of Beniamino valsav nijinskij when the latter married ramola de pulszky, but also the case of Stravinskij, by D. considered his son spiritual, or in troupe of rival IDA Rubinstein. After an era splendid and great euphoria, knew hours difficult during the war especially when, with a part of her company, is found in America. This until 1919 when the seasons of Venetian Russian recaptured regularly even if perhaps were followed by the public with lowest interest. The numerous tours, the constant need to renew itself, the leakage and the rifts with some old friends and one snobismoche it attacked him, came with the sfiancare temperament dynamic and generous which its. passionate registration, this passion ended with her won on that of the great and brave director of company. At the end of the season of 1929 London withdrew to Venice where he was crushed by a diabetes. sank with him a genuine creator of which never one knew how explain with accuracy in that consisted his genius.

didelot Charles Louis: dancer and choreographer French (Stockholm 1762 – Kiev 1836). The influence of D. was fundamental in the development of the ballet Russian. After the first studies alongside his father first dancer the Royal Theatre of Stockholm, perfected in Paris with the most deemed masters of the time, between which Vestris Auguste and desahye. He studied also Bordeaux with dauberval. rebooked at London from noverare that had high hopes in him, all'opéra in the Paris, where, however never had life easy for his character rude and tempered, his in 1970 alongside Mlle Guimard and in the Ballet of the premier Navigateur Gardel. In Paris remained just two years following living a life wandering that led him to London and subsequently in Russia. It is in London that presented what was considered its most important work, namely Flore et zéphire (Ms C. Bossi, King’s theatre 1796), past the history also because it was the first Ballet that used metal cables invisible and silent to simulate the flight of dancers winged, what then exploited largely from the ballet romantic that will put in scene them and Villi. his masterpiece, Flore et zéphire, the Valse the consecration to great choreographer and the call in Russia from the Tsar Paul I in dress of dancer but especially of Maître de ballet and choreographer. dilanova the protagonist and Duport, celebrities of the time, the Grand Ballet was presented in St. Petersburg in January 1808 while in Paris appeared with great delay (12 December 1812) because of intrigue and the jealousies' Gardel that, despite the enormous success, made pay the costs set (this figure then record of 2400 francs). This treatment led D. to not take into account the proposal ADDRESSED TO REMAIN all'opéra and returned in Russia where to his school, a school in truth conduct with methods very strict and tyrannical (the legend says that he picchiasse it with its students), were formed the biggest talents era: the histamine to likhutina, by zubova to teleshova. in St. Petersburg, in this second period of stay, created a 20 ballets some of which to consider as already preromantici. Between them ACI and Galatea and, inspired as work by Pushkin that was his great admirer, a prisoner for the Caucasus (MS Caterino CAVOS, St. Petersburg, 1823). Ballet the latter, in which D. mise in act once more technical resources possible including appearance of with coming down from heaven to abducting a child. The Prisoner of the Caucasus was in 1827 taken up by his pupil beloved Adam glouchkovskij (1827) and still in our century found refurbishing by of stibine for the ballets of the Marquis de Cuevas.

dolgushin Nikita: dancer Russian (Leningrad 1938). It was the "STAR" more refined, intellectual and in the same time iconoclast that shone on the scene of Kirov in the 1950s and 1960s. Exceptional physical, arms extraordinarily expressive, ways elegant and reserved, soft and gestures at the same time imperative made him a hero romantic made. In more dramatic quality owned SUCH AS TO CONSIDER THE MORE gifted actor between the dancers. He distinguished himself in the role of Albrecht making it an intellectual tormented. For rapacity forced to leave the Kirov in 1961, there he returned but for a short period in 1968. From 1968 to 1980 (an accident in the knee it broke the career) danzò to Maly where he could also highlight its quality of choreographer with compositions almost completely abstract.

Dorella has: dancer (Milan 1952). student of the school of dance the scale, is Entry later in the body of dance of the same crossing all the career until the role of Étoile. also active in the television, the small screen has increased its reputation. interpreter of great roles classics, has distinguished itself also in ballets modern as Mrs Giulia of cullberg, the road of pistons and the lesson of F. flindt.

dupond Patrick: dancer (Paris 1959). Artist of extraordinary talent, is quick and harmonious dancer capable of great elevation. dell'opéra trained in the school of Paris became Étoile theatre of the same little more than twenty. Brilliant and creative has been awarded with gold medal in the International Contest of Varna. Its eclecticism has led him to create various roles in ballets modern from the Phantom of the Opera and the cat with the boots of Petit to Salomè of Béjart. In 1988 appointed Director of the ballet de Nancy, in 1990 took office at the same Opéra Paris.

 

and

elssler Fanny: dancer (Vienna 1810 – including 1884). One of the great "Reines de la Danse" era romantic. rival of Taglioni, it is differenziò for a style more lively and energetic and even more intensely dramatic. Precisely for contrapporla to the divine Mary, "dancer Christian Gautier the defined" dancer pagan ". Even if tax the same school and of the same grammar academic, that of E. was, in fact a dance "Terre à Terre", DECIDED, brilliant, in all BY CONTRAST TO THAT OF "and" and elegiac of rival. elssler sister of Therese, she also dancer but less brilliant, Fanny E., whose brother to 20 years he made a Franciscan friar, was the daughter of Therese pristner nicknamed for his attractiveness "Die schöne pristner" and John of the famous composer E. copyist Haydn. Formed in the city Christmas, had as the sister the first successes to the theatre of door Korinthia. It was here that after having discovered l'impresario Italian Domenico Barbaja convinced him to move to the San Carlo in Naples. In fervent and less intransigent partenopean climate, the E. began to narrow down its taste of Austrian tempered by French technique to a free from classical set, towards a kind of dance most passionate and passionate. In Naples, where he was very young, the E. also had the first of its many adventures sentimental, in the case with the Crown Prince of the Kingdom of the Two Sicilies. In the past, the legend the accredited also a love with the King of Rome, unfortunate Aiglon, son of Napoleon and of Maria Luigia of Parma. danzò part-session in Vienna in ballets of Armando Vestris and Filippo Taglioni. It was then in Berlin and therefore had a successful season in London. He was here that during a trip in the capital English the clever Dr Véron, director of Parisian Opéra, decided to scritturarla for the theatre and put it in competition with the Taglioni in the moment of most of the glory but also of claims of this. After a well orchestrated company advertising referred Véron was master, the E., next to the sister, his all'opéra on 15 September 1834 in a "Ballet-féerie' dall'allestimento Grand of corals: the tempête ou island des génies (MS schneitzhoeffer, libretto, but anonymous on the programme, of C). Followed for you a series of works rather mediocre. Its first real and dramatic success had back almost two years later when, in June 1836 was protagonists of Le Diable boiteux always of corals in which he could deploy in full its temperament and his art. It was in that ballet, which profits all'opéra, now directed by duponchel, receipts record, that she introduced the famous "cachucha" that sedusse the public for his enormous Brio and in the same time scandalizzò more unknown to the excessive freedom that the E. seemed afford. In reality, that was not more than a Spanish dance stylized. Spain dancing, recall, was then in Paris of great fashion on the success of a given Dolores serral, a dancer arrived a few season before with two excellent partners in the Royal Theatre of the Madrid already had found imitation by sisters noblet. The success produced by the "cachucha" had repeated when the following year the E., and in frogs, boots and spurs, perform nell'altrettanto famous "pas de la cracovienne" and the gipsy of mazilier, soon to become another horse of battle. In fact, what liked to the public was his dance so-called "tacqueté", made by quick steps, correct, ready "to bite" the stage and always very vigorous, IN WHICH THE TIPS played such a great role, of all opposite of the style of "balloné" of Taglioni. The success, not he had however to repeat itself when the E., remained alone in the field, after the Taglioni for too much competition had decided move in St. Petersburg, wanted tackle the Sylphide, masterpiece of his great rival. Its interpretation pleased and sparked a real all'opéra Bagarre. In reality, also two other ballets HAD NOT BEEN SUCCESSFUL sensational for you. and were the Volière, on choreography of the same sister Therese, and the chatte metamorphosé en femme (1837). The failure of the Sylphide convinced then from America where he had given triumphal as never happened for no Diva Union. was three years of glory and of cautissimi gains. The was accorded even a degree "Honoris Causa". When after the United States are also produced Havana were as many delusions and ghosts united to gifts fabulous. However, the America was close. The E. wanted then gamble paper Milanese of Teatro alla Scala where it was already when in 1838 was produced it the change of habitual of galzerani. Ballet with which he returned again now. Ready to challenge a public THAT NOT ONLY FROM SOME seasons brought the shields the Cerrito but saw, in years Risorgimento, as the "Austrian" enemy. Next to a series of ballets rather mediocre, perform in its horses of battle among which Catarina or the daughter of the bandit of Pierrot and had match won. From December 1843 THE SPRING OF 1848 passed for success in success. to deny the favour and to force her to fall almost fleeing in Vienna native home was a "sgarro" done to the public. During a replica of the Faust of Perrot for having demanded that the components of the body of dance is given the rosettes with Pius IX benedictory was made sign of a violent event Austrian. Also Carducci the bollò nell'ode to the Italians (" waves shame harvest will weigh the nepoti/d'ellssler the vanto… "). from Vienna walked immediately in St. Petersburg from little left by Taglioni. In Russia lived his last season d'iro. in St. Petersburg and Moscow with its repertoire of always riebbe the delusions French and American. When in 1851 will leave the Court of ZAR, together with the regret will behind new gifts fabulous. Fanny E. will fall in Vienna with his glory regained. The last triumph will be to the capital of Austria on the evening of 21 June of that same year. For the last time was Margherita in the same Faust that had brought bad luck in Milan. wife of an aristocrat, rich, ready to take living room in its rich Palace, hebbel will tell you that in her riviveva "something Ninon de lanclos". will live without more trauma, grandmother Felice, until November 1884. A few months before, in Marseilles, their off its great rival Maria Taglioni after a life not as happy as his.

 

(f

fadeecev Nikolaj: (Moscow 1933). star in the Bolschoi, where he studied, in the 1950s and 1960s, excellent in the Lake of the swans that will become his horse of battle. It was for long seasons partners in the plissetskaja that followed in its many tour all'astero.

Ferraris Amalia: dancer (Voghera 1828 – Florence 1904). For its grace, lightness and expressiveness F. was called "the new Taglioni". lived its moment of greatest splendour all'opéra in the Paris around the years between 1850 and 1860 in full Second Empire. Student to Milan, great an, belonged to the group of young ballerinas such "plaeidi". Yet adolescent appeared to scale in 1841 alongside the Taglioni in SEE but his true debut was at the Regio of Turin as named in Giselle. However, will still give you the scale to fame when you perform in an extraordinary "pas de deux" French next to mérante. What the he promoted and led her to have many successes in many European capitals, from London to Vienna, was his game of drills extremely strong together exceptional "ballon" and the habit noble and elegant. all'opéra his Paris with les elfes (1856) of mazilier. The same choreographer held in baptism also Marco sword ou La fille du bandit (Opéra, 1857), ballet in which the F. perform alongside another Italian glory of the time: Carolina rose. It was the first time the two large étoiles appeared together on the scene dell'opéra and the verdict is of the public that the criticism turned out even-handed for both, this even if the critical Saint Victor of You wrote that it was "a feather between two Soffi". To put even sharper focus all its virtuosity, its extraordinary "turs" and the magic of its peaks and its jumps airplanes, will be sacountala (1858) of lights Petipa based on a booklet of Gautier once again of exotic and in which the music of Reyer outlined reflections Eastern WITHOUT HOWEVER fall into banal. IN THE INTERVALS OF ITS COMMITMENTS IN PARIS the F. was also in St. Petersburg where reported other triumphs. In 1868 RETURNED TO ITALY AS FROM VARIOUS theaters and especially the scale where over the leonilda of Paul Taglioni who was of two famous dances of monplasir: Brahma and the Camargo.

Alessandra Ferri: dancer (Milan 1960). has begun to study dance at the school of dance of Teatro alla Scala. 15 years he moved to London to continue his studies at the school of royal ballet. In 1980 won the Prix Lausanne and became part of the Royal Ballet debuttando at 17 years as the protagonist in Manon of MacMillan. With the same company interpreted ipiù different roles as long as in 1985 was invited to the scale for the new production of the lake of the swans signed by Zeffirelli where interpreted the role of Odette. Subsequently, on the invitation of Mikhail baryshnikov, was committed American Ballet with which it is produced in the major roles of classical repertory-Romantic. Following that also worked with Petit (New Edition of Carmen, le Diable Amoureux) and 1989 his next to Bocca in Nutcracker in Florence but, with mouth, even in Buenos Aires in Birdy Jean Pierre aviotte. 1991 protagonist of Cinderella of polyakof in Florence.

fiocre Eugénie: dancer. Very popular all'opéra of Paris in the years of the Second Empire. It was the first nouredda it the source (1866), SAINT-Léon. specialising in roles en again, it was also the first performer of the character of Franz in coppélia (1870) always of Saint-Léon. Its name is also remembered for being the first dancer immortalized by the panel of Degas.

Michel Foucault: dancer and choreographer Russian (Petersburg 1880 – New York 1942). Entered the school imperial Petersburg, F. was soon noted for its early talent by its teachers among which gerdt and legat. appointed in 1898 first dancer of marinski without having to carry the usual training in the body of dancing, knew how distinguished in the main roles of the directory of the time. Character always, thought even in that period of Dover attend courses country’s choreographic he held in St. Petersburg Swedish Christian orchestras so much so that just 22, in 1902, always the same school Imperiale, obtained became teacher of young students. Two years after it was already teacher in the classes above, highlighting excellent quality do pedagogist and at the same time winning with an original working method in which it could warn the first signs of that reform which will implement in the field of country’s choreographic there in the short time. without in fact neglect the daily exercises to the Bar ", he considered essential in a performer the expressive qualities and in this sense is related to arouse and to develop at his students qualities creating individual, fight even for the free improvisation. For him the technique was always not more than a simple means and not a true end. To detect genuine and original choreographer will be the death of swan (1904), created for Anna Pavlova and intended to become the symbol artistic of the same dancer. Will Be dream of a night of Midsummer and Eunice and the Gobelins GIFs, which will follow a night Egyptian and chopiniana, which subsequently, in the course of Parisian adventure Venetian Russian which immediately becomes a member, will become CLÉOPÂTRE and Les sylphides. will be next to that Diaghilev by the fantasy of F. sbocceranno a series of masterpieces that will soon universally popular. From 1909 to 1914, F. compose Carnival, the dances polovesiane of the Prince Igor, SHALL of fire, shéhérzade, petrusca, the spectre de la Rose, daphnis et cholé, the Gallo gold, the legend of Joseph. IT WAS AT THAT TIME THAT, IN A LETTER pubblicatagli from London "Times" (6 July 1914), he condensò in five paragraphs that puòdefinire its reform of the ballet modern. A reform in which his first point is in the "create in each Ballet a form of dance corresponding to the style of the subject". As regards the subsequent, F. claimed as dance and mimicry must draw dramatic expression without having to resort to any fun out of the subject; the mimicry must be corporal and this in full, need not be confined to few gestures conventional; the groups and the sets must never be purely decorative, but also play a role expressive; finally, the ballet should be considered on an equal footing with other arts, poetry, music and arts. However the rifts between him and raging Diaghilev DURING THAT PERIOD AND ALSO crucial by the fact that the "patrons" of Venetian Russian would impose as choreographer nijinskij, the vetoed by the same.. returned in Russia, F. compose for the ballet imperial Francesca da Rimini, the jota Aragonese. The revolution will do emigrate before in Sweden and then in the USA. After some years for him difficult in which he had had to settle to produce modest spettecoli dedicating himself to once and to the cinema, in 1921 is new to Paris where not only comeback all'opéra daphnis et Chloé but for the company of IDA Rubinstein signature a series of interesting creations that go from Diane de Poitiers to sémiramis, from th A LA Valse. A FURTHER PERIOD OF compositions less set did ASSUME THAT ITS SOURCE was creative now exhausted when, asked before the ballet de Monte-Carlo and then by Ballet of Colonel du basil, this brilliant choreographer considered crown spiritual Marius Petipa found all the power of his imagination creating masterpieces which l'epreuve d'amour on music of Mozart, Don Giovanni of Gluck, cendrillon, Paganini. Perfect construction, clarity expressive, dynamism were once again present in these jobs as well as in the last works created by the ballet Theatre in America, where was the end returned: the Lieutenant kije and bleubeard. abruptly his life he will discontinue its in New York a day during the summer of 1942 when his name from time was goà entered in the history of the ballet. Main choreography: Soleil de nuit (MS Rimskij-Korsakov, Grand Th�tre de Gèneve 1915); Les femmes de bonne consumer (MS Scarlatti, on subject of Goldoni, Teatro Costanzi, Rome, 1917); Parade (MS Satie, sets and costumes Picasso, Théâtre du chalet, Paris 1917); the boutique Cafe (MS Respighi, scenes and cost. derian, Alhambra Theatre, London 1919); Pulcinella (MS Pergolesi, adapted from Stravinskij, Opéra de Paris 1920); Les facheux (MS auric, curtain, scenes and cost. Braque, Théâtre Sarah Bernhardt, Paris 1927); Les matelots (MS auric. gatié-Lyrique, Paris 1925) ; zéphire et flore (MS V. dukelsky, scenes and c. Braque, Théâtre de Monte-Carlo, 1925); pas d'acire (MS Prokofiev, T. Sarah Bernhardt, Paris, 1927); Jeux d'enfants (MS Bizet, Opéra de Paris 1932); gaieté parisienne (MS Offenbach, Monte-Carlo, 1938); noble vision (MS Hindemith, Monte-Carlo, 1938).

Konrad Dame Margot: dancer (Reigate, England, 1919 – Panama 1991). After initial studies in China where he was with the parents, his teacher had cone Seraphica astafieva London first to be admitted as student to sadler's wells where, just sixteen, had to happen to Alicia markova as the "STAR" of the prestigious company. In 1936 in his Giselle and subsequently as Odette – Odile it Swan lake. Three years later faced in a inimitable the character of Aurora in Sleeping Beauty that became one of its roles favorites.. dancer of great elegance and temperament, with a beauty a bit exotic that came from the mother Brazilian, F. excellent in numerous ballets of choreographers contemporaries (Ashton, de Valois, etc.), not least les Demoiselles de la nuit from Petit created specially for you. It was also a delicious Ofelia nell'hamlet R. helpman, dancer that long was his first partnet meeting with Nureyev. With the great Russian DIVO, Western transfugo on the scenes, despite the age difference and above all a style and temperament, F. constituted most extraordinary of couples of the 1960s. Remain memorable some interpretations, reproduced in film, of Romeo and Juliet (Prokofiev-MacMillan) and of daisies and Armand (COR. Of Ashton), in addition to the relaunching of some classics of the Royal ballet. For almost forty years you can say that the ballet English has been identified with its a refined style.

Carla Fracci: dancer (Milan 1936). student of the school of dance of the Teatro alla Scala is from in 1954 now this in the spectrum of the rose of Foucault in occasion of the "step farewell" of the students (1955). Even before having graduate however, had supported solo roles and first appointment official dancer soloist (1956) replacing verdy as the protagonist in violets Cinderella. The great career of Fracci was virtually begun and is strengthened in 1957 of International Festival of nerves in the pas de quatre of island fists in which impersonava the character of Cerrito. become first dancer of the scale in the season'/Matteucci, not neglected however other Italian and foreign Bureaus and Bureau Bookcases. In the first 1960s will perform among other things in Edinburgh, Dublin, Copenhagen while in 1962 will appear the first time in the Festival of Spoleto. In 1964, the Maggio Musicale Fiorentino was protagonist of paneta of malpiero. will not fail even if fleeting, interesting incursions in the field of the prose (Titania the dream of a night of Midsummer, Ariel nor the storm, etc.). After a sensational Giselle in New York to the side of Erik bruhn, was consecrated as the Star and defined International crown of Taglioni in spirituality and the lightness of his dance became a model is difficult. In Giselle, became his horse of battle, had as partners the greatest dancers of our time by Nureyev to vassiliev and baryshnikov to iancu. left the scale in order to perform freely its international activities, but the scale in reality always returning, the Fracci has always managed to maintain prodigious rhythms of activities. in America the critic re Barnes The called "The Duse of dance". has had successes with major companies of the world but not if it never confined in easy repetition of itself. It has not been afraid to rely on parties dramatic even violent as the one to rely on modern choreographers. passing from the great canko that he shaped on you the character of Juliet to Amodio (the daughter of Jorio of Hazon), to pistons (the road of Rota). But beyond the dance has also tackled the screen (has interpreted the film nijinskij and dancers of Herbert Ross) and the serial television (strapponi in green Giuseppina Castellani). Thank you dance in Italy after the war has become more popular and is distributed in places where there was never srtata.

Fire Sofia Maria Brambilla that Sofia F. dancer (Milan 1830 – Como 1916). Student to the scale of an belonging to the group of so-called "PLEIADI", born in the same Theater not yet adolescent. 15 years danced it already in Gisella or Willi of courteous and, for its skill, in 1846 was chosen for interpretere the famous pas de quatre of Pierrot. In the same year his IN PARIS all'opéra where he stayed two years. Strongly applauded, its technical exceptional enable it to perform an extraordinary change on the peaks without ever lay the heel to the ground. for precisely this was nicknamed "pointure" (" his feet are like two arrows steel that basis on a marble floor ", Gautier). Its Ballet – Parisian was Betty of mazilier had given such as to open them then the ports to other capital such as London and Madrid where became well as a beniamina. In 1853 is new to scale in Catarina or the daughter of the bandit of Pierrot that was one of his horses of battle.

 

G

grahn 1: dancer Danish (Copenhagen 1819 Munich – 1907). The largest Danish dancer 1800s. Student of bournonville, of stunning technical qualities became the most refined representative of the style brilliant and crystalline of this great choreographer. As was the Royal Theatre Danish girl but his true debut was in 1834. Two years after, always in Copenhagen, was protagonist of the new edition of the Sylphide curated by burnonville, true masterpiece of elegance and absolute technical perfection intended to become his horse of battle in all of the maximum European theatres. guastatasi with bournonville, was forced to leave the Royal Theatre and appeared all'opéra in the Paris Franco´s in the same Sylphide in competition with the brilliant Taglioni creates the role. In January 1843 was in St. Petersburg as to the imperial theatre where his in Giselle later shadow of Taglioni and in Sylphide with new triumphal successes. From the 1844 WAS IN LONDON alongside Pierrot that wanted protagonist of many of his ballets (eoline ou la Driade, Catarina ou la fille du bandit, etc.) but also called for the famous pas de quatre now history also because brought together four of the most large "Stars" era (in addition to G., the taglooni the grisi and the Cerrito). Still next to the Cerrito Taglioni and was the Drury Lane, Theatre of the major successes double-Deckers, neither the jugement de Paris. In 1846 was in Italy (La Fenice in Venice, Argentina in Rome), where was already presented and where in 1843 to scale had debuted in Elda of Bernardo Vestris. His career went unchanged up to 1856 when she retired from scenes including after the marriage with the tenor Austrian Friedrich young.

grisi Carlotta: Italian dancer (visinada, 1819 – Istria Saint Jean, Geneva, 1899). Between the greatest dancers 1800s. Versatile and provided with drills saldissime, cool, light but also in sober gesture, was equipped with great communicative and expressive intensity of moving. It was the creator of Giselle during apex of the ballet romantic. was considered the true art of which continues Taglioni and the elssler. Gautier, its great worshipper, located in her "A naivety infant, a own happy and communicative, units sometimes on a minimum imbronciata melancholy". Student to the scale of an, considering that she had also a beautiful voice, to the beginning was uncertain if a career of dancer and not rather that of singer as it was his famous cousin Giuditta while grisi and the sister of this Giulia. choice the road to dance, his precocissima (1833) to San Carlo in Naples and with happy result so as to be called "the little héberlé", the Austrian dancer then still in great Auge. It was during his stay partenopean who met Jules Pierrot that you made its student favourite in the eyes and the shaped up and they reach the highest peaks of the art. After Naples the two, began a long pilgrimage in various European theatres, from London to Vienna, where they were on the scene as "spouses Pierrot". In reality, THEIR POSITION WAS NEVER regularised by a true marriage. In 1840 the G. landed in Paris where the Théâtre de la Renaissance danzò always with and in a ballet of Pierrot, the Zingaro, where he had a part sung. It was mostly critical success but also thanks to laudativi reviews Gautier soon found himself open the doors dell'opéra. debut was in the pas de deux of the favorite of Donizzetti alongside Petipa lights. subsequently appeared in other divertissement inserted in operas. It was in Giselle (1841) that happened its consecration Journal. Giselle, danced the day of its 22 nd birthday, formed the reputation as a G. which true art of which continues Taglioni and the elssler. Performer sublime, he could give the protagonist a great truth dramatic ranging without difficulty by whiteness Giocondo page to the tragedy of madness up to smaterializzarsi in the most pure lyricism in Ballet Blanc of the second act. Between 1840 and the 1850, the supremacy of G. all'opéra was reinforced by a series of large creations. The centre of the cast exceptional, was the protagonist of the Jolie fille de Grand (1842) of Albert where reached the summit of standing ovations at the time of step of Dionysus. For you, after Giselle, Gautier was a new ballet, a fantasy Eastern always based on relations between a be land and a creature supernatural. And it was the P�i (Opéra, 1843) Scope almost immediately to London Drury Lane (September 1843) with equal success also here had alongside lights Petipa and the choreography of corals the forced the first act to very difficult and acrobatic "pas de songe" in which was by height of two meters literally "cannot" in the arms of partner, company that is not always the had managed the same perfection. Other Climax was the "pas de l'abeille" second act in which revealed fully its capacity to merge the typical tacquté of elssler with the more chaste Taglioni of balloné. an enviable success reported even le Diable à quatre (1844) of mazilier during which and in the character of Mazurka revealed another interesting aspect of his talent: the humorous if not even funny. It should be recalled as in the course of a resumption of the ballet, the G. had to injuries in the foot both by having away for a certain period from the scene. Its exceptional technical, rifulgerà also in PAQUITA (Opéra, 1846), always of mazilier, work that demanded extraordinary efforts on the peaks. Three years after, the G. will still have such a way to perform next to his first and great partners Pierrot, now become choreographer of international fame, and was in the filleule des Fées (Opéra, 1849). To note, that its bright Parisian decade all'opéra was often with by performances in London all'her majesty's theatre where among other things reported success in Esmeralda but l'impresario wanted the Lumley also in renowned pas de quatre of Pierrot alongside the Taglioni, Cerrito and the grahn (1845). The departure of G. dall'opéra marked the sunset of the ballet romantic in the maximum theatre French. For her has opened a more short but intense season in Russia. in St. Petersburg his triumphantly in that Giselle that was his real masterpiece. Other successes followed from 1850 to 1853, the year in which, in Russia occurred in his last appearances. He retired from scenes only 34 years prefer peace and the silence of her beautiful villa on Lake Geneva in the surrounding area of Geneva. Here will live secluded and also forgot until almost the threshold of the new century. Together with the Taglioni and the elssler was she who had opened the cult of the "great dancer".

gullielm Sylvie: dancer French (1965). of the most appreciated star of our time. all'opéra grew up in Paris, became the symbol of the generation of artists reached with Nureyev in maximum temple of dance French where also the touched to be promoted Étoile in public in the course of a memorable evening (29 December 1984). Artist very elegant, his successes in the big theaters not only Europe are mainly due to its wonderful class of dancer and to its lightness and the capacity.. between its most famous interpretations that of bayadère and of kitri in the don Quijote of minkus and the revision of Nureyev. Béjart has willed protagonist of episodes (Rome, 1992).

 

The

iancu AT: dancer Romanian (Bucharest 1956). Coming from the body of dell'opéra dance of Bucharest where he studied, from 1977 began working in Italy, especially as partners of Carla Fracci with which has begun before in Rome (1980) then Arena of Verona. Elegant dancer, has played the clothes of the most important characters of classical (Albrecht, who, Romeo, etc.) but has not designed appearance in ballets contemporaries of the side of Luciana svignano. In recent years there is also dedicated to choreography Taking his cue especially from literary works. It was the case of the last Dinner, revisiting of the legendary rivalry between Salieri and Mozart, and of the mask from Goldoni.

Ivanov Lev: dancer and choreographer (Petersburg therein – 1834 1902). was the first genuine and brilliant choreographer expressed his country. His career was dominated by bullies personality of saint.l éon and Arthur Marius Petipa that saw him as a dangerous rival and exploited the character mild and more. He had poetic imagination and profound originality in knowing treat groups space. Signed many ballets, however, often in collaboration with other, together with the resumption of many titles classics. came out of the imperial school, was hired by marinski. In 1882 was appointed "régisseur" and three years after second Maître de ballet to the orders of Petipa which in its early attempts merits ricalcò style. Among his masterpieces was Nutcracker (marinski, 1892). In this Ballet on brilliant and poetic music Cajkovskij knew return a extraordinary range of delicacies exercising an exceptional fantasy. Just think of feast and initial and battle among soldiers and the mice but also to the classic beauty of the steps to two. The Fairy world thanks to his talent and his sensitivity is a great renewal. OTHER OF ITS ingenious choreography was the magic flute (Petersburg, small theatre of the school Imperial, 1893; then, 1893, theatre marinski). dissimilar in subject "Mozart, work was a new and utterly unique version of the flute enchantée ou les danseurs involontaires Ballet carried in scene in 1818 in Moscow, in MIME Italian lucky Bernardelli. A few years later was Cinderella (solyushka) (marinski, 1893) in collaboration with Petipa and Cecchetti on the music of fittingholf Baron-Schell: a colourful holiday but rather encumbered by scenes and the costumes. His art the following year would have been complete with Swan lake of Cajkovskij soon to become one of the greatest masterpieces of dance. In its full version went on the scene to marinski on 15 January 1895, but only the second act had already been executed the previous year in the evening of 17 February 1894. This "classic" was made with Petipa, I. created the second and fourth act whose result was a perfect fusion of academic choreographic composition and of disturbing psychological symbolism and of rare clarity formal and rewarding virtuosity. Despite this, remained still in the shadow because of its excessive modesty and in the last years of his career was forced even humiliating work in quality of aid of mediocre choreographers. Died while in collaboration with gerdt, it was preparing to set up a new version of Sylvia of Delibes.

 

(k

karsavina Tamara: dancer (Petersburg 1885 – London 1978). Étoile of marinski, then in troupe of Diaghilev, it was thanks especially to you and to nijinskij, that the Venetian Russian got their first major successes. Its rare intelligence and his innate sense of theater made of the K. who ideal of ballets, in its time revolutionaries, Foucault (from the spectre de la Rose to petrusca, from room to Jeux). You, who was brought to the success l'oiseau de feu that remained always one of his favourite interpretations. daughter of a famous dancer, Platon karsavin, was formed to great school of Ballet imperial specialized but following the scale with the Beretta. After its debut in St. Petersburg in 1902 appeared in a considerable number of ballets classic NOT EXCLUDED Swan lake and Giselle. The public the tentatively especially for its contained sensitivity and the superb BALANCE OF HIS style in stark contrast to the virtuosity of certain its while large colleagues. IN THE POSSESSION OF A BODY extraordinarily proportionate, black hair and paleness lunar, the beautiful K. led in scene of a personality alive and rich of heat, and in this very dissimilar from Pavlova and the spessivtzeva that they a type of beauty cold and ethereal. perfectly safe of his technique, owned a large elevation, very lightly and an enviable "Port de Bras". The most remarkable of his art was however given by its large capacity workshop. sposatasi with the graduate English Henry Bruce in 1915 stayed a long time in different European capitals before settling permanently to London where, after the death of Diaghilev, became one of the most precious allies of the case of the ballet English. In London, taken by the ballet Lambert and the Camargo society some of its historical roles collaborating with the Royal Ballet classics in refurbishing of diaghileviani. Its heritage has been passed down from a interesting volume autobiographical FROM TITLE theatre street (1930).

 

L

Laban Rudolf VON: NATO Rudolf Laban de Vara gias (Pozsony now Bratislava, 1879, Weybridge, G. B. 1958).

Thanks to this great theorist of dance and movement, today the choreography can be rebuilt years after their creation. With labanotation, in fact, the most ethereal of artistic forms, the dance, also take a form that will ensure that the work of choreographers do not disappear with glia years and the death of their creator. As a young L. he studied painting, recitation and ballet in Paris, where he was in contact with different kinds of ethnic dances and with the studies of theoretical movement Francois, worsening. In 1910 founded a School to Munich where he studied also Mary Westwood. This was one of the first of a series of schools based or managed by L. worked in Switzerland – in Ascona and Zurich – during the first world war, he made return in Germany in 1919 and worked in Nuremberg, Stuttgart (he had to student Kurt classical) and Mannheim. He founded an organisation for amateur – bewegungschore – that he was interested to dance and movement for the masses. Therefore he also created the dances for the Olympics of Berlin of 1936. A little after he emigrated in the UK where he worked with classical in Dartington Hall. Its interests you were about dance and the movement in a school context and if today the dance is part of the programme of study of so many schools in the UK that is due to his work and commitment. In 1946 opened, with Lisa Ullman, art of movement studio for a continuing and deepening of his theories. The courses carried out in this area were accepted later as part of the programme of goldsmith's at the University of London. The analytical mind of L. was trying to sort the principles of the movement human in a philosophy. So went the concepts of choreutics (the relationship between body and space) and eukinetics (a formulation for all the possible types and directions of movements bodily) and developed the knowledge of existing connection between psychology and motion. Since the years 1920s Laban began to develop a system for recording the movements: labanotation. This technique uses graphic symbols in vertical (cf. benesh notation) from the point of view of dancer, which represent the human body. The time of the movement is given by the length of these symbols. Today the use of labanotation is promoted by notation bureau, based in New York also thanks to hanya Holm, from Laban centre in London and the kinetographic Institute in Essen. In its search to transfer the dance on paper, L. fits in with a long tradition from PIERRE beauchamps (teacher of dance of Louis XIV), Arthur Saint-Léon, Margaret Morris and, in the 1950s, Rudolf and Joan benesh that drew up a system called choreology or benesh notation system, which uses the five horizontal lines of the staff. Other famous names that have tried a scientific approach to the movement, even if it is not ending to a system of annotation, are those of E. Jaques-Auguste, Oskar Schlemmer, Ted Shawn and Marie Lambert that have focused on the link between sound and movement pattern.

lacotte Pierre: dancer and choreographer (Chatou 1932). dell'opéra student and dancer of Paris founded the company Ballet de la Tour Eiffel. Specialist in historical reconstructions, has reported on the scene especially many creations of romantic period, between them Marco sword of mazilier. It has been Director of Venetian de Monte-Carlo and in 1988 of the body of dance at of Verona.

lavroski Leonid Ivanov: said L. dancer and choreographer (Petersburg 1905 – Paris 1967). apprezzatointerprete was entered into the Kirov of various roles classics and character starting very soon ITS ACTIVITIES choreographed and teacher. His first Ballet was fadette (MS of Delibes). Its first important creation remains, however the prisoner of the Caucasus (1838). Become Director of the same Kirov with it he made his masterpiece of Romeo and Juliet Prokofiev, of which was the ulanova t5 performer and from which was also stretch the famous film. past to the direction of Moscow Bolschoi, founder various editions of classics. between its most important creations is also to point out the flower of stone (1954), ballet posthumously of Prokofiev.

picq the Charles: dancer and choreographer French (Strasbourg – Petersburg 1749 1806).

He was a student and interpreter of noverare. Thanks to his art extraordinary wherever it is furoreggiò esebì. was in Vienna, Warsaw, Venice, Milan and Naples, where the San Carlo from 1773 to 1788 was first dancer. Already a good interpreter of Caprices de Galatée in Paris, noverare also wanted the otters in the protagonist of Apollon et les Muses. This was his fame, that the great Caterina of Russia called him to Petersburg to replace the choreographer Domenico songs now at the end of his career. The Prince Potemkin chose him also to set up the dances to the Palace of Taurine for the celebrations in honour of the same Caterina II. Go back to that its fervent time Russian Ballet of a certain important as Didone abandoned (1792), Oracle (1792), Love and Psyche (1794). And yet Tancredi (1799). This was the last his work in St. Petersburg since then had to surrender his sceptre to Pierre Chevalier, artist mediocre, but whose wife, beautiful and Brava Cantatrice, was the favorite of Tsar Paul I.

legat Nikolaj: (Petersburg 1869 – London 1937). Son art, still youngest he was a soloist in marinski where he remained for two decades first dancer in all the great roles classics. In the same Theater, where he also created some ballets, successor was of Petipa as Maître de ballet. Afterwards, it was much appreciated teacher to which school were formed more large Russian dancers of the time: from nijinskij to Foucault.

legat Serghei: (Petersburg 1875 – including 1905). brother of the previous, was also him soloist and first dancer of marinski. commited suicide just old likely contrasts with the young wife Marie Petipa.

Hares John: dancer and teacher Italian. The pupil of an, was among the first it dancers who presented themselves at the Scala in period postrisorgimentale. Also Bravo MIME, was protagonist of the most popular dances of the time, from the Count of Montecristo Rota to the giocoliera and Rodolfo of Borri and even the travel of the island of morticini. FINISHED ITS season Scaligera that he saw alongside the étoiles of time, the Beretta, the woods and other, withdrew to Florence where he had among his students also Enrico Cecchetti and Virginia Zucchi.

Liechtenstein: dancer and choreographer origin Federation (Rostov 1910 – LOS ANGELES 1972). left the country Christmas from child, L. was a student of Egorova and the nijinska that (1928) The scritturò for the company of IDA Rubinstein. danzò even with the Pavlova BUT IT WAS ONLY WITH THE VENETIAN Russian de Monte-Carlo that was enforced as one of the best musicians of his generation. Light, elegant, sleek, perfect both in roles of style noble as those of dancer of character, linked his name to many and important creations (see the "King of Arthur" in Beau danuble AND "THE TRAVELLER" in Jeux d'enfants). emigrated in the USA in 1940, from 1952 you stared in Los Angeles where, thanks to Mecenate A. H. TAYLOR, founded a school and a company called precisely "of Los Angeles". As choreographer made its debut in 1933 with Nocturne (from dream of a night of Midsummer). was however under the impetus of Colonel du Basil that taken most significant works which the lion Amoureux and Francesca da Rimini. Smart and clever, not owned the technical knowledge and the less artistic culture an Foucault or an Massine however knew how excellence in choreography a few characters and in particular in "pas de deux". In this sense, work as the Création and the Rencontre ou Oedipe et The Sphinx (daring transposition scenic episode central of the myth of Oedipus) may be considered as interesting you get personal. its greatest success he had however with graduation ball (T. Royal in Sidney, 1940), the more known as the title the dance of cadets.

lifar Serge: dancer, choreographer and writer (Kiev 1904 Lausanne – 1986). To speeds his destiny d’artista, was the arrival in his native city of B. nijinska which opened a school of dance. While not being an excellent student, followed in Paris in 1922, to be the year following the company of Venetian Russian of Diaghilev FROM WHICH, FOR A FURTHER PROCESSING, was mandate in Italy by Enrico Cecchetti that L. then saw as his one true teacher. In 1925 was first dancer of Venetian Russian and up to the dissolution of the same was one between the major exponents last season of Diaghilev that watched until death in Venice. Thus, between his creations of this period are to be mentioned at least the pas d'acier and prodigue of the Fils Prokofiev and Apollon musagète by Stravinskij. of physical not extraordinary, size and particularly thin shoulders very square, but from Legs magnificent and remarkable for the beauty of the body and physiognomy, undoubtedly, many among his colleagues were but it was in L. the possession of a very acute words dramatic, and the ability to transforming in true art also the gesture more banal. To this, to add the gift of a great sense Lirico with which for more than thirty years knew bewitch the audiences especially Paris. The death of Diaghilev, was mainly between the walls dell'opéra held its extraordinary even if often turbulent d’artista parable. In this theatre in fact, and as performer and as Maître de ballet, except short breaks in the postwar years, there will remain until 1958 by creating it, you called "choréauter") a large number of ballets, almost a 50. his debut was with les créatures de promethée, new interpretation of the classic of Vigano-Beethoven but his masterpiece is to see in brilliant consolidated (1935) Ballet without music and exclusively based on rhythms L. same predisposed. After this creation that he had to raise vast noise, L. which until then seemed to have strong privileged work of a single role to play and men to him suitable, seemed away from this way to allow Europe to participate in broader the body of dance and the "étoiles" female. with rare exceptions, the subject of his works were for the most mythological, legendary and poetic; in some cases also abstract, but never realistic and disconnected always from the social context of the time. As the country’s choreographic vocabulary, is finding specific ornaments (entrechats, Tours, etc.), of "pas frappés", very symbolic gestures and positions of the feet that, while already exploited by other choreographers, he will enhance and encode under the term "sixth" and "its". Great tragic IN THE SENSE raciniani of the term, L. not owned the genius ironic and funny even if in the territory humorous did its tests but with little result (Guignol et pandore, Pan Cinéma, etc.). egocentric but ready to the generosity, obstinate of character but always passionate of his work, Beniamino of public Parisian like few other artists, his name became famous as one of the most famous stars of cinema then. The war and occupation, instead of stop the momentum, marked the apex of his career but the liberation, having had the wrong to see in Nazi occupants not more that of the audience ready to applaudirlo, was forced to leave Paris. Monte-Carlo realized new ballets for the Marquis de Cuevas. Despite some opposition, in 1947 could return to all'opéra in quality of Maître de ballet. post he held until 1958. Two years before, in that Giselle where so many times had wonderful performer, he had given goodbye the scenes. Still arrange a show especially abroad, as the Fete du Roi Soleil for the inauguration of the Festival of nerves in 1969. Parallel to its wonderful career of dancer and choreographer (also well-known in utalia having often worked on the scale), L. also took place a wide activities journalism on the history and theory of the ballet that led him to write a about 30 books of which, stone basic, remains, obvious du choréographe (1935) in which he proclaimed one of the supremacy of dance on the other arts sisters, music included.

 

M

MacMillan Kenneth: choreographer (Dunfermline, Scotland, 1929 – London 1992). A pupil of sadler's wells ballet, M. entered in the famous London company in 1946. It was his rapid ascent in quality of choreographer of International fame soon. 1955 signature HOUSE OF BIRDS commissioned by Ninette de Valois precisely for the sadler's wells and in which is already extremely stated his brilliant style and clear. The following year to Covent Garden is more delicate programme noctambules. sonnambulism followed the sadler's wells and solitary, limpid and incisive work that brought him to be considered one of the most important choreographers British of his time. In 1957 for the American Ballet created winter's eve. 1958 is the burrow inspired by the diary of Anna Frank and the 1961 the invitation. Always with success, in 1964, will also introduce a version of the Création du Monde on music of Milhaud. The choreography of M. are characterized by the extreme fantasy that dominates but also for a thin vein satirical, when there is also eccentricity, branded typically Anglo-Saxon. Become choreographer main Royal Ballet referred in 1970 will also be director, for it will a series of classics (Romeo and Juliet, the sleeping beauty, etc.) that the couple Konrad-Nureyev will lead to great success. Other its choreography of extreme refinement and beloved by the great ballerinas is Manon on the music of Massenet (1974).

markova Natalia: dancer (Leningrad 1940). E to Kirov won the competition to famous Varna of 1965. was one of the largest Giselle of our time. During a tour of Kirov in London in 1970 churches political asylum in England. From then on was "guest star" in the main international companies West especially with the Royal ballet. It is also dedicated to recreation of important work, including the bayadère.

by Luigi: choreographer (Milan 1835 – including 1905). M. is the personality more representative and imaginative Ballet Italian "fin de siècle" characterized by fabulous productions and monumental. After having studied with Pasquale Borri, his to Milanese Theatre of cannobiana. Then he moved to Rome where museum and worked for years, dedicating himself to historical studies on the world Roman those favoring. Always in the capital, created its first choreography, the death of Masaniello, in which acted as experienced MIME. In the 14 years of its fruitful stayed on the banks of the Tiber composed two other significant work, roll that carried in a scene to a episode of the life of Michelangelo, and Pietro Micca (1875), which was highly acclaimed protagonist so much so that work becomes his horse of battle. was however to Turin that happened her encounter with the composer Piemontese Romualdo Marengo, which gives him music of BRIOSA and easy melody will become its valuable collaborator of the successes to come. first chapter of this fruitful Sodality was the ballet in six acts sieba went in scene to the Teatro Regio in Turin in 1878 and in which been reminiscences ". For the first time on this packaging, was included as an important collaborator also the designer and costume designer Alfredo Edel. Role of walchiara THAT IT GAVE title to ballet, was Virginia Zucchi. The maximum target, M. and Marengo would be achieved there to three years with the famous "Grand ball allegorical-historical" Excelsior (scale, 1881) first piece of a grandiloquent trilogy that would be terminated with love and sport. True European age century and synonymous with fruit down progressive typical of that period, soon erased from gunfire of Bava getting to Milan and from one of Monza, Excelsior went meeting to a success as it was not known for some time. In the season had 38 performances, a real record, and then in the next one other 64 performances divided into two cycles. This however was his success that not only was resumed in the subsequent years in maximum theatre Milanese but spread soon in other theatres Europe not only by finding picturesque versions miniaturised: See the famous edition date from puppets of brothers glue in the same Milan. mammoth Allegory of progress in the centre is the genius of the light that defeats obscurantism, divided into 12 managers capable of carrying the viewer from the Ponte di Brooklyn in New York to the laboratory of Alessandro Volta in Como, the piazza of the telegraph in Washington to Suez for the inauguration of the channel, Excelsior with all its rhetoric but also with its hundred found fantastic he celebrated in all its pump, the rite scenic of a company that seemed to believe blindly in progress.. infected by the success, M. thought to be able respond with a new Ballet even inspired by the Divine Comedy. riuscendogli not, the substituted with another that it represented equally as a real compendium of universal history. A summary that departed from Adam and Eve and came to the battle of Legnano. This was the "great Dance" Amor (scale, 1886) even more colossal Excelsior and precisely for this less exportable. Amor LED IN FACT, IN STAGE well 614 performers and a host of animals including an elephant and 12 horses. As Sports (scale, 1897), M. was instead performer of another of the issues dear to the company of the time: that of "Yachting" which ranged from horse races to regattas, from cycling still basically all'alpinismo. TO BIND THE VARIOUS episodes, a lesser wire narrative represented by a spotman, the Marquis of farnkville, ready to engage in more different sport, but also to police with more of a woman. With sports, the parable manzottiana but turned to term. Its further tests were very modest, including the last Rosa love (1899), even if Edel once again, tried to few creating costumes considered boldly modern. The music this time however, was signed by Joseph Bayer director and composer of dances work of Vienna who had a reputation even in Italy. Main choreography: Pietro Micca (MS John chiotti, scenes of Magnani, zampironi costumes, Int. by L., F. Bratti, Carlo Coppi, A. Coppini, Filomena alleged; Rome, theatre Aliberti, 1875); sieba or the sword of Wodan (Ms A. Marengo, SC. and cost. A. Edel, Prot. Virginia Zucchi, Turin, Teatro Regio, 1876); Excelsior (Ms A. Marengo, SC. and cost. A. Edel, Int. BICE Vergani, Carlo Montanara, Rosina viale, Carlo Coppi, Angelo cuccoli, Milan, Teatro alla Scala, 1881); Amor (MS A. Marengo, SC. G. Zuccarelli, cost. A. Edel, Int. Antonietta beautiful, Ernestina covered, Giuseppina Cecchetti, Enrico Cecchetti, Ettore Coppini, Carlo Coppi, Milan, Teatro alla Scala, 1886); sport (Ms A. Marengo, SC. Magni, Rota, room, cost. A. Edel, Int. Cecilia Cerri, Luisa Christin, Antonio Monti, Vittorio De win, Milan, Teatro alla Scala, 1897).

markova Alicia: name of art to Lilian: marks (Hackney, England 1910). discovery in the school of astafieva in London, was made make its debut early in 1925 in a concert of dance in Monte-Carlo. Entry in Venetian Russian is perfected with Cecchetti and who was of some creations of Balanchine (the chant du Rossignol, the chatte). Next we will as before from Ballet Rambert and then from sadler's wells Ballet performing especially close to island and with him doing famous couple especially in Giselle. Equipped with rare cleanliness expressive and with formidable technique, after the war, and after experience American with the ballet Theatre, its activities as the "guest star" in the great roles especially classics will affect the various and larger theatres of the world where the M. he earned always large triumphs.

Massine works: dancer and choreographer Russian naturalized American (Moscow 1894 – borghen, Germany, 1979). One of the maximum here of the Ballet of the 1900s. eclectic artist, in its long and eventful career confronted, if not always with the same results diamonds, the genera more different distinguishing itself mainly in seam humorous-grotesque; they are example two masterpieces such as the femmes de bonne humour (1917) of subject glodoniano and the credo (1919) the result of his love for Spain. Action very lively, maximum expressiveness, colouring rhythmic-figurative of the characters are the basis of his art that can be said move from the far legacy of coreodramma of Vigano but also of that of Foucault. "purpose ideal in the elaboration of Ballet – wrote him – is to achieve the highest Power possible and expression through the more close balance between the dynamic and plastic, in the continuous counterpoint of movements choral and individual" (dance Journal 1932). While agreeing to the styles and to worlds pictorial of its many illustrious and staff for the part spectacular, succeeded always to remain faithful to its formula composing so that an eminent scholar which the levinson HAD TO DEFINE "Mannerism massiniano". tireless worker even if man quite reserved, park in the gestures and the word, was a valuable teacher always requesting by his students and musicians, chosen primarily on the basis of their abilities workshop perhaps more than for their technical, artistic maximum performance. Moscow of birth, he studied under the guidance of gorskij at the school of imperial Bolschoi but also attending the school of the great stanislavskij, whose method and whose teaching the WILL BE precious for its analysis as. Graduate in 1913, the following year was noted by Diaghilev that, in search of a successor to the "recognized reprobo' valsav nijinskij, the scritturò in its Venetian Russian. Just twenty protagonist of the légende de Joseph but also recent interpreter of famous ballets which Petruska, fire and l'après shall MIDI d’un faune, revealed very soon those qualities of choreographer that the imposed as the highest exponent of that second phase of Venetian Russian that can be said "European". The phase that is that, together deepening of the theories of Foucault and all'accentuata property Lirico-pictorial, led to a umoroso emphasis of so-called dance of character or of means character. IN HIS CAPACITY AS A choreographer in Geneva in 1915 with Soleil de nuit inspired reasons Russian folk. Followed las High Tech Arturo Soria (San Sebastian, 1916). His first masterpiece was born just after in Rome during the tour of Italian Venetian Russian and was the already mentioned the femmes de bonne humour (1917), work in which stands out in full its lively style and the beautiful characterisation. To it will follow, always in that year, another title historical parade (Paris, Châlet), ballet cubist born from the fertile collaboration with Satie, Cocteau and, for the scenes and costumes, Picasso. Other work now history was the boutique cafe on music of rossigni overhauled from Respighi, all impregnated of moods from Commedia dell’Arte, usually from M. very loved, as the Spanish dance that led him to create the credo (1920) went on stage with successful all'opéra of Paris. 1920 is the year in which arise also Pulcinella and the cool stuff female. After also offered its own particular version of stravinskiano sacred du Printemps (1920) broke with Diaghilev and formed its its company (1921 – 1925) that you perform in South America and London. replaces the reunion in 1925, this, however distressing results led to as before. Other works as the ballet Lirico zéphire et Flore, the narrative les matelots auric on music, the ballet constructivist matrix tairoviana the pas d'acier (1929) on music of Prokofiev and still HS on music by Nicolai Nabokov and new version of Les fâcheux not little different from that of nijinska. After the death of Diaghilev and the end of Venetian Russian, began to M. a new period very intense that led him in maximum theatres of the world. With the company of IDA Rubinstein presented all'opéra of Paris David (MS saguet) and Amphion (MS Honegger and subject of Paul Valéry) while at the Metropolitan in New York proposed the sacred with Martha Graham protagonist. It was also the Scala in Milan where it would also be returned the war and with happy outcome created old Milan (MS nationals, subject Luigi Adami) and Belkis (MS Respighi). More close was the partnership with the Venetian Russian of Monte-Carlo for which Franche mâitre de Ballet happening to Balanchine. Title important for them was Jeux d'enfants on music of Bizet and libretto by Boris kochno. It was precisely in this period that was a turning point new and interesting in its parable artistic: date it from the birth of ballets symphonic and therefore the creation of that Ballet concertante that is still at the base of so much contemporary dance. It treated ballets inspired by famous games music such as les présages (Monte-Carlo, 1933), created on the fourth symphony of Tchaikovsky, or as choréartium (London, 1933) based on the fourth of Beethoven. The maximum results in this kind the reached but with 4-Sinopoli (London, 1936) in which masterpiece homonymous Berlioz, who knew how translate in terms coreutici specimens guaranteed access romantic spirit, having brilliant collaboration also in Christian Bérard set designer. Personality of character not easy, M., as in the past had broken with Diaghilev, is down but also with Colonel de an "patrons" of the company and passed to rivals Venetian de Monte-Carlo direct René Blum. shift with great stir but also with long judicial legacy. For they created one of the seventh symphony of Beethoven (Monte-Carlo, 1938), un'estosa gâité parisienne (Monte Carlo, 1938) on the music of Offenbach and mobilissima vision (London, 1938), inspired the figure of the Poverello of Assisi, which gave the music Hindemith. Artist instinctive rather than intellectual, with strong curiosity for all the arguments and the mode M. he found a way to prove a momentary interest even in respect to beauty surrealistic of Dalì creating, on music of Wagner, mad Tristan (New York, ballet International, 1944). 1944 is also the last in which M. took the American citizenship and was a new company active for a short period with which presented, among other things, Leningrad Symphonie on music of Shostakovich. After the war will revert to work very actively in Europe guest of the most notes companies and of important theatres. Between his creations of most prominent stands out Laudes Evangelii on music of Valentino Bucchi presented on the occasion of Sagra Musicale Umbra of 1952. Figurative inspired by the world of Italian painting of the 1300s, the work does the profound religious spirit of the great artist of Russia. Always by refusing the "pure Dance" and a fortiori the virtuosity end in itself, its eclectic ethics led him to address the subject even more different. dall'americanismo (New Yorker, saragota) all'imitazione and by hand to progress (Union Pacific), by revisiting Austria Felix (the Beau by cloud, Vienna, 1814) to the deep horror (husher by PoE). coreografò l'operetta offenbachiana but also (gaîté Parisienne) As mentioned and attempted to revive, freely expressing the Don Giovanni of angiolini. This happened to scale where he also gave a version (MS Mannino) by Mario and the magician of T. Mann. About its Italian season (M. the proceeds of its successes he bought an islet Li Galli, on the Amalfi coast) is to say that went also work Opera (Armida of rossigni for the Maggio Musicale Fiorentino, 1952 and starring Maria Callas) and directed with enamel edition 1960 of the International Festival of the Ballet of nerves. Previously but also had approached the Magazine (rythm) and the musical comedy (Woof, woof). To underline how its interests focused also to the means film. TWO FILMS especially remained in the annals: red shoes and the Tales of Hoffmann. Well as his were the choreography of carousel Napoletano (1954) of Giannini. When died in 1979, his figure from time shone high in firmament of the dance of 20 th century.

mazilier Joseph: dancer and choreographer (Bordeaux 1797 – Paris 1868). was among the most fruitful creators of all'opéra Ballet of Paris in the decades central 1800s when the blaze romantic is still very alive but also explodes the splendour of the Second Empire. For its versatility was in fact said that could also compose a ballet to the day. Not had neither the talent nor the sensitivity of a coral or a Pierrot. As choreographer was imoutato among other things of significant shortfalls in ensemble and in the large mass movements. In contrast, he distinguished himself and excellent in solo and in the "pas de deux". M. was also among those who in his ballets accentuated the graft of popular dance and folk of the Mediterranean countries or Eastern coming with this meeting to the just of the spectators era. After its debut as dancer in his hometown, Bordeaux, and have performed on Bureaus and Bureau Bookcases Parisian Minors (from 1822 is also to the popular Théâtre de la Porte Saint Martin), in 1829 was hired as dancer of character and Maître de Ballet all'opéra. Become a VEDETTE, was often Taglioni partners of the most important work of that time. In 1839 in his choreography with what was one of its maximum successes: the gipsy (Opéra, 1839). derived from filmography exemplares of Cervantes, the ballet, which had for each of its three acts a composer different between which Ambroise Thomas (the others were bénoist and Marliani) would counteract with its saga the Gypsy Filippo Taglioni had created the previous year to Petersburg's daughter Maria T. protagonist was Fanny elssler that in the famous "pas de la cracovienne" seemed repeat the same success three years before the cachucha dancing it le Diable boiteux corals. The success of gipsy seemed intended to be renewed when created, always all'opéra, le Diable à quatre (1845) and PAQUITA (1846) both for the new Astro Carlotta grisi. In the first of two ballets, composed on the music of A. Adam and derived from a popular farce of C. coppey (the devil to pay or the wives metamorphosed), M. poured many elements that pantomimici had derived from Commedia dell’Arte Italian. As to PAQUITA, is the only Ballet of M. that, also because it was a real test the danzarlo of the most large dancers, still directory especially in the theatres Russians. pantomimici many elements will also in ballets of the period running from 1853 to 1857, its richest of titles. To mention Vert vert (1855),'s (1853), les elfes (1856) and yet the surface and Marco sword. Among the many ballets that during the nineteenth century inspired the well-known poem Byron, the surface of M. (MS Adam, libretto by verony de Saint Georges, Opéra, 1856) was perhaps the most important. Its success also due to changes in the character of Medora (scène de la seduction, pas de l'éventail, etc.) to his "first" interpreted with the extraordinary success by Carolina rose. As PAQUITA, also went in, through Pierrot, in the register Russian and was also reproduced from Petipa (Petersburg, 1899), which not only the it according to his sensitivity choreographed but added a "pas de deux" whose music was specially written by Riccardo Drigo and which became famous and still eseguitissimo. Last great ballet, composed by M., but he himself shine his imagination, Marco Spada (booklet of Scribe, Opéra, 1857) was drawn "comic homonymous Daniel Auber represented all'opéra Comique in December 1852. It was also one of the major financial successes era. The scenes of CAMBON, Thierry, despléchin, and rubé Nolan you contributed with their grandiosity, even if sorely tried (not all Filò smooth the "first") Chapter machinist Sacré, a celebrity of the time.

mérante Louis: dancer and choreographer (Paris 1828 Courbevoie – 1887). Early, to six years, his in Liège in Gustave III Auber. nominated "first dancer" in 1846 to the Grand Théâtre of Marseille, two years after he entered all'opéra in the Paris where he perfected with lights Petipa. very good dancer, was protagonist of many successes era (Étoile de Messine Nemea, the source, etc.). In 1865 danzò also the scale in flick and flock to Paul tagliono next to his wife, the dancer Russian Zina Richard. 1869 was named first Maître all'opéra and began to devote themselves to profit choreography while during a period of decadence of the ballet, especially in France. Even if the IS ACCUSED OF HAVING neglected the work of the tradition, including those of predecessors mazilier and Saint-Léon, it maintained its place with honour also inviting all'opéra large stars foreigners as Rita Sangalli before, and then, Rosita Mauri while not overlooking the étoiles housewives as the Mr., the fiocre and Laure fountain. is to remember as the ballet in that period reported serious damage also fire that destroyed completely, in October 1873, the old Opéra in rue Le Peletier. The last Ballet that there was given and a few months before, was signed by the same M.. Was petty green, the work of not great interest, on music of Ernest guiraud, now history precisely to be was the last Ballet danced in the glorious Room location of the triumphs of the masterpieces romantic. Very different will be the outcome to which, in the new building of Palais Garnier, will have Sylvia ou la nymphe de Diana (booklet of Jules Barbier and Baron de Reinach inspired all'aminta of the rate, 1876). And not only because, to its' debut Parisian, Sangalli in the role of protagonist that offered great possibilities., offered a splendid test of its artistic skills (action with its mythological nature-pastoral was ridden with mere pretexts of "Steps of Bravura"), but Léo Delibes knew provide a true masterpiece of Ballet music, perhaps as it had never happened and how will it just repeated in a future not far from Tchaikovsky. to note how on a piece of this music in 1950 Balanchine will create in turn another jewel: Sylvia-pas de deux. As at the same ballet, will find in the course of more than a century versions by the more different choreographers (HEEMANN, scale, 1896, Ivanov and gerdt, St. Petersburg, 1901; Fred included, on music arranged by C. Clarke, London, 1911; lifar, Paris, 1941; Ashton, London, 1952). At, after the success, M. will create Fandango (1877), yedda (1879) that, on a theme Japanese opposed to the taste of the time since ended in a tragic way, the korrigane (booklet of the poet F. Coppée, Prot. R. Mauri, Opéra, 1880). Also in this case, the ballet, which was a delicate legend Breton, caused interest for the quality of the music offered by Charles Widor using a strange instrument (the tipofono invented by Muse) 12 years before the Nutcracker submitted the quality liquid of celesta used here. will follow in 1886 Les Jumeaux de Bergamo and, in the same year, another title that will go down in history: Les Deux pigeons (Opéra 1886). swan song of M., very happy especially in ensemble, was remarkable, even Ballet because formed the country’s choreographic debut as a composer of André Messager, whose music appeared very inventive passages is in delicate as in the dances full of movement of the gypsies. To note, he had already done that for narrow-minded Green, even here M. conceived the role terms for a dancer in costume men. Who was éugenie fiocre, then specialized in roles "en again".

 

Milloss Aurel: true name of aurell Milloss de miholy. dancer and choreographer Hungarian naturalized ITALIAN (ozora, Hungary, 1906 – Rome 1988). Having made Studies literary and musical and irregularly also Dance in Budapest, started in Berlin, a more systematic preparation under the guidance of Laban whose teaching in a decisive influence was defined on a version of the dance Art universalism and consequently the technical principles necessary for the achievement of its future poetic. And it was in Berlin that M. made its debut (1928) performing in a recital of his compositions. Confirmation of his country’s choreographic talent was a few year, when work of Wroclaw realized the ballet H. M. S. ROYAL OAK on music of E. schuloff. Since then it will open up for him, a period in which will appreciate in the long in the theatres Germans, but also in Hungary where he was back in 1933 laa'opera in Budapest AS dancer and choreographer. period for which work and achievements of ballets time even if at times were not that new versions of the most famous ballets dwel past. forced to leave Germany because found down the Nazism the allusions against the tyranny inherent in its version of gaukelei of Laban, in 1936 arrived in Italy where the French composer Alfred Roussel the proposed to create the ballet Aeneas (1937) to S. Carlo in Naples. The success of the work of M. he was able to highlight certain affinities between discoveries labaniane and the teachings of great Italian masters of the past (baltazarini, Vigano, etc.) the opened the doors work of Rome where the Maestro T. Serafin sent him to hold (1938) he became choreographer stable and first dancer. Since then M. played business primarily in Italy dominating as one of the creative personalities and organisational more lively. Deep mark and revolutionary undoubtedly had to leave even the scale where the ballet was still bound to a taste retro. If already in 1942 here had began with the first Italian representation of mandarin of B. bartòk OF WHICH WAS protagonist and choreographer, in 1946 was called as Director of the body of dance.. always with the theatre Milanese in 1947 will create the folly of Orlando one of its titles most important and on music of Goffredo detrassi with which it will bind in a long Sodality. 1947 is the year in which he began his collaboration with the Biennale of Venice with the important creation of marsia on music of the little perhaps his most successful. The echoes of its successes Italians, the will open the doors also of important teatrio foreigners. kochno at the invitation of Boris and Roland Petit, Paris the call for setting up portrait de Don quichotte (1947) the first in a series of challenging work defined "portraits merits" in which its own theories had merge all'universale (in the gallery will also figures of Don Giovanni, labyrinth, etc.). are the ones the years in which the turning point in the creativity is being millosiana by defining a poetic personal dictated by the need for inspiration to inner values of all. From here also a series of ballets its and character particularly abstract inspired to the problems existential between whose titles are ballad without music, the tides, the return, Community, tautologs, the revolt of Sisyphus. works that, under the profile stylistic represent a summary absolutely organic dance academic and the dance. defined as "soul and the engine of the recovery of dance in Italy" (M. 000), M. will give life to a catalogue productive to view exterminated. If in 1950 is still at work in Rome to establish the threshold of time and the scale and Maggio Musicale Fiorentino will continue to work directive, even in the 1970s, enlarging its radius of interests and presences working including Argentina, work real Stockholm, Brazil and in Germany, where in Cologne overlaid the role of Director of the dance of theatres municipal creating more significant work. Especially fruitful also was his collaboration with the Staatsoper Vienna where proposed a series of works (A FURTHER COMMUNITY) in which once again proved its vast culture based in particular on deep knowledge of all the components of the show of dance. Curator of many Regie lyrics, especially of works of the past, M. also took place a wide activities journalism. Main choreography: H. M. S. ROYAL OAK (Ms E. Schulhoff, work of Wroclaw, 1932); Silvana (MS Weber, Augsburg, 1932); death and Transfiguration (Ms A. strass, Augsburg, 1933), the creatures of Prometheus (MS Beethoven, Augsburg, 1933), kurcz month (MS follows, work in Budapest, 1934); Aeneas (MS A. Roussel, San Carlo, Naples, 1937); the Giara (MS box, opera, Rome, 1939); the mandarin (MS Béla bartòk, Scala, Milan, 1942); the folly of Orlando (MS detrassi, Scala, Milan, 1947); Marisa (MS from the small, Fenice, Venice, 1948); the Prince of wood (MS bartòk, Fenice, Venice, 1950); the threshold of the time (MS bartòk, work, Rome, 1951); reflections forgotten (MS Respighi, Scala, Milan, 1952); the Sonata distress (MS bartòk, municipal, Rio de Janeiro, 1954); indiscretions (MS J. Ibert, municipal , Rio de Janeiro, 1954); inspiration barbaric (MS bartòk, Cologne, 1960); Community (MS Varèse, Staatsoper, Vienna, 1965); oestrus (MS detrassi, Spoleto Festival, 1968); of wiederkher (MS A. Vlad, Cologne, 1962); visage (MS Berio, communal, Florence, 1973); for Cape (MS pleased, Staatsoper, Vienna, 1973); Jeux (MS Debussy, Scala, Milan, 1975); revolt of Sisyphus (MS detrassi, Scala, Milan, 1977); labyrinth (MS G. Turks, Florence, 1972); portrait de Don quichotte (MS detrassi, Champs-llysées, Paris, 1947).

 

No

nijinska bronislava fomichina: dancer and choreographer Federation (Minsk 1891 – Pacific plisade, USA, 1972). Student of Cecchetti and of Foucault, was as to the imperial Theatre of Petersburg in 1908 where danzò the ballets of the great repertoire. The following year was among the artists selected by Diaghilev for the adventure of Parisian Venetian Russian which participated in subsequent seasons in the course of which appeared in Petruska, Narcissus and carnival. rejoined in St. Petersburg, the war the prevented his again reach the troupe of Diaghilev what that forced her to settle in Kiev where opened a school. Only in 1921 can leave again Russia to meet in Diaghilev that watched the resumption of sleeping beauty. It is from this time that she began her long career although chopped and very eventful. The fact no went meeting immediate successes, and it was the case of Les Biches (1924), but also to severe criticism as those encountered by Les noces (1923) on music of Stravinskij, however one of his masterpieces. all'opéra also invited to create in Paris, dominated for an entire season, that of 1928, in the company founded by IDA Rubinstein (Rencontres, La naissance de the lyre, impressions du music-Hall). Compose still les noces de l'amour et psyché, the baiser de la Fée. The bien-Aimée, the princesses Cygne, th). After having given its fertile seeds last season of Venetian Russian, in 1929 created aubade for the Viscount of Noailles. Subsequently he collaborated work federation of Paris, founded a own company and assumed (1937) the direction of Venetian Polonais. From 1938 where he settled definitively in the United States where he worked including for the ballet Theatre and the ballet International and where in Hollywood opened a school much frequented. Despite the extreme diversity of ballets from you treaties (modern, historical, mythological) and called in case the composers more different from the classics, including Amato Chopin, modern, is possible to identify some feature in vast production of this brilliant and fruitful artist with a temperament almost virile. So, while his famous brother valsav no seemed inspired attitudes and to pose that he proposed the painting vascular Greek, bronislava no on the contrary seemed search its inspiration and have its models in certain forms designed prestige medieval. Further distinguishing characteristic is to see in the care domestic that, on the scene, it he payed to the groups and movements overview. MOREOVER, THAT THE search was slipping on a land also highly theoretical, his ballets abound of tension that ended with l'escludere charm neglect and certain rights of the grace that the dance requires. Despite these reservations, is considered among the strongest personality and original 20 th century. choreography main: the Renard (MS Stravinskij, Paris Opéra 1922); Etude (MS Bach, Paris, Théâtre des Champs Elysées 1931, par Opéra Russian à Paris); Les noces (MS Stravinskij, Paris, Gaité Lyrique 1923); Les Biches (MS Poulenc, Montecarlo, Venetian Russian 1924); Romeo et Juliette (MS Lambert, Montecarlo, Venetian Russian 1926); the Kaiser de la Fée (MS Stravinskij, Paris Opéra 1928); Les facheux (of Molière, Ms auric, Monte-Carlo, 1924); Les tentations de la Bergère (MS monteclair, scenes and cost. Juan gris); la nuit Sur Le Mont chauve (MS varied, 1924); the train BLEU (Ms D. Milhaud, subject Cocteau, scenes Picasso, Venetian Russian Théâtre des Champs-Elysées 1924); impressions du music-hall; the baiser de la Fée (MS Stravinskij, Paris Opéra 1928); th; aubade (home of the Marquis of nollis, 1929); variations (MS Beethoven); Les Comédiens, jaloux ; Les tableux d’une exposition; Les variation de brahmas; concert (MS Chopin, Paris, Opéra 1929); La Valse (MS Ravel, Paris, Opéra 1929); La fille badly gardé (of Hertel, NewYork Ballet theatre 1940); harvest time of veniavski (new york metropolitan 1945); in memorian Chopin (théâatre des chamos-Elysees); the beautiful au Bois dormant (Paris, 1960).

nijinskij vaslav: dancer and choreographer (Kiev, 1890 – London 1950). defined, with not unjustified hyperbole, "the genius of Dance". Born in Kiev from parents of Polish origin also dancers, entered the 1900 at the school imperial Petersburg. Of character taciturn and introvert, little-loved by young companions, though not inherently body harmonious, manifested great artistic quality immediately sense by Nicolas legat his teacher. In March 1905 made its debut in a show of students in part of a Faun in ACI and Galatea. From that moment was praised for its extraordinary lightness and its prodigious elevation. One case, and the other destined to become legendary. Even if he was offered by marinski a writing with two years in advance on parental of school, his as dancer Pro only in 1908 in the course of a representation of the Don Giovanni of Mozart. This even if he had previously addressed the role of the slave in the hall of Armida alongside the Pavlova. was already a celebrity in Russia, when Diaghilev he willed in the first season of Venetian Russian. and also in Paris, the young dancer from the Mongols, from the muscles too large and from the foot too small, she amazed in addition to l'accennata elevation for his extraordinary qualities workshop. rifulgenti both qualities in Carnival, where he was a Arlecchino king and very modern, as in shéhérzade. "fired" in haste from marinski, no became in a short time l'idolo of the public Western consolidating its fame in 1911 with two other masterpieces always fokiniani and that is the spectre de la Rose (remained famous The "grand jété" with which bypassing a window entered in stage) and Petruska, done on the scene with a masterpiece of technical and sensitivity interpretation. Known Jaques Auguste, rhythmic theories of this deeply influenced. docile to suggestions of Diaghilev that on him had a profound influence also cultural, was for him the moment of creation of l'après-MIDI d’un faune (December 1912) work which, after the initial surprise on the contrary the scandal, s'impose on the public. Shortly afterwards will take her to him to assume the role that had Foucault when he leaves the Venetian Russian. However, that no criminal commitment with no little fatigue while helped by bakst and by Marie Rambert, also because his work of creation proceeded always a very slow and had major difficulties in communication with its colleagues dancers. 1913 is the year of two very original creations although different between them: Jeux and the sacred du Printemps, ballet was meeting, the evening of May 29, to a clamorous dissent. If not pleased the music of Stravinskij, "with" was also considered its grammar sign language. The same dancers then, from time criticized the arbitrariness from him gone in meaning to dance academic (waste of "en Dedans", flexing pointless, etc.). But this is precisely his refusal to predetermined a vocabulary that determined his great merit of projecting the theatre of damza in a metamorphosis already radically modern. In the meantime the marriage of Romola de pulszky spoke during a tour in South America, caused the rupture with Diaghilev. Rupture followed for him a life particular and the issue that will result in those crises of depression that the will lead to the madness. Its extraordinary personality he was able to speak once again at the time of the creation of till Tod in 1916 in New York. As has shone on 26 September 1917 when for the last time appeared to be in scene anchors the spectre de la Rose and Petruska. returned in Europe, will in Switzerland, where, in Saint Moritz, will write his diary (1918 – 1919), impressive witness to its Calvary physical and moral. diary that his wife will give the prints of the 1936 14 years before the death of the great artist to London, forgotten for almost all those who had glazed next to him in magnificent season of Venetian Russian. Main choreography: l'après MIDI d’un faune (MS Debussy, scenes and cost. bakst, Venetian Russian, T. du Châtelet, Paris, 1912); Jeux (MS Debussy, scenes and cost. bakst, Venetian Russian, T. des Champs Elysées, Paris, 1913); the sacred du Printemps (MS Stravinskij, scenes and cost. shrine, T. des Champs Elysées, Paris, 1913).

nikitina Alice: dancer (Petersburg 1909). student of the school Imperiale, left the Russia before the revolution came work of state of Ljubljana. noted in Berlin by Diaghilev was as in Venetian Russian where he remained until their dissolution. His first big role was that of Flore in Flore et zéphire. It participated in the creation of Apollon musagète and was also distinguished in the chatte, les Biches, SHALL of fire. he dedicated himself to the song.

noverare Jean-Georges: dancer and choreographer (Paris 1727-Saint-Germain en Laye 1810). between the maximum theoretical and reformers of Ballet whose renewing work continued to be reflected in the time never running out of his office. It is the author of the famous letters Sur La Danse, true treaty of aesthetics and one of fundamental books of 1700s. While considering the necessary technical, was the artist who fought because expression endeavours dance appeared in the first place. Which choreographer, with its work also for its reform, port to the extreme as the rest made its great rival and contemporary Gasparo angiolini, those in part of it was already the concepts and the vision of the history of theatre German Johann Christoph gottscheld that in his essay im von work in connection with the dance that was expressed in terms such that it truly represented the tragedies in human striving to characterize the characters through coherent action. On the eve of a great historical upheaval, no was the artist that most felt the need to restore the dance towards a genuine representation of human reality, striving in all the ways, just as was angiolini, to eradicate the game vacuous virtuosity end in itself so dear to dancers and also the most famous of ‘700. OF FRENCH MOTHER, it has doubts about the origin Switzerland of the Father who was journal of King Charles XII of Sweden and programme for the Son a career in liberal arts. Since still youngest instead no nurtured vocation for dance even if much, not is to say about his qualities of dancer that had to be fairly modest. Furthermore its first years of artist are scattered many questions. Very probably his old all'opéra Comique de la Foire in Paris and almost simultaneously, without generate enthusiasm, before the Court in Fontainebleau. certain is that it left soon the road of dancer to devote himself instead to the creation. lany called by the Court of barlino where already were other French artists, his stay proved particularly German not so happy that it should be included also because of its carattera not easy in homeland. It was at Marseille and Strasbourg and in the years 1750-51 in Lyon. In the 1752 earned again to Paris where, always all'opéra Comique, was hired in its capacity as Maître de Ballet from Director Monnet which in its (recalls the great success which went two works of N., namely les Fêtes chinoises (in the future then repeatedly revised but also subsequently refused by the same its author) and the fountains de juvence (1754) in which segu' equally fortunate les juissances flamandes. In 1755 passed it to London where he was hired to Drury Lane from great actor scespiriano David Garrick, then the Director also the theater, and with which establish fruitful friendship. The outbreak of war Marittima franco-English forced him however to leave soon the capital where the Fêtes chinoises were go out to meet a clear public success. He returned to Paris vain will endeavour to settle all'opéra so much so that will still fall back on Lyon where he will spend two years very fruitful (1758-59). It is at Lyon that other to establish new ballets shall draw up the first version of Lettres Sur La Danse et sur le Ballet (1759). work that will appear in the same Lyon in 1760 but almost the same time also in Stuttgart where he was hired at the theatre of the Court by Mecenate and very sensitive to the arts of Carlo Eugenio Wuttemberg. Positions of spirit of the Enlightenment, the Lettres went immediately meeting to a great success. In 1769 will be translated by the same Lessing, the author of dramaturgy of Hamburg. In English, appear instead to London only in 1782. That of Stuttgart was one of the periods more fortunate and fruitful of N. was in the German town who created many of its most important and tragic "ballets Action" including that carry et Jason which will be one of his titles of glory. But alongside and carry (Stuttgart, court Theatre, 1763, Ms Jean-Joseph Rodolphe, Int. M. LLE nency, Gaetano Vestris), created with the excellent complex dance that had available, there were also les danaides, Orpheus und Eurydice (1763), der Sieg des Neptun, hypermnestra (1764), des fest des hymenaus (1766) and raub der der Proserpine (1767). were very six years spent in Stuttgart that the added the fame of maximum choreographer of his time. Other SEVEN YEARS fruitful from 1768, he will spend them in Vienna where will enter the favour of the future Queen of France Marie Antoinette intended to be her Patron in Paris. In Vienna compose among other things l'apotheose d'hercule (1767), Don Quixote (1768), ACIS et Galatée (1772), Roger et Bradamante (1771), die 1 sultaninen (1772), die sascherinnen von Cythere (1772), die matelotten (1772) and still among the many other love the Horatii and Curiatii (1774). This was one of its latest tests Viennese before its transfer to Milan where in the theatre Ducale HAPPENED IN HIS OFFICE OF DIRECTOR OF dances and Maître of its most bitter rival Gasparo angiolini. Even if work not particularly significant because not considered a fund, will be the first Age dell'innicenza or the rosaia of salency (MS of Louis baillou, theatre Ducale, 1775), the most interesting of the achievements of no during its two years of staying in Milan, where it will put in scene the loves of Venere that is, the revenge of volcano, Galeazzo Duke of Milan and ritigeri and wenda. Its peregrinations continue to Turin, Naples and still for a short period (April – June 1776) in Vienna. his mind is, of course always addressed to Paris where there may come in August 1776 (almost in conjunction with the opening of the new the Scala Theatre in Milan) upon the recommendation of Marie Antoinette. The queen in fact he did appoint Maître de Ballet all'opéra happening in this office to resigning Gaetano Vestris. Successfully produced les Caprices de galatèe (Opéra 1776), but already the success apelle et campaspe (1776) will run into a success are. This is not prevented his produce new choreography among which a new version of the fête Chinoise (1778) in which he tried to purge the work in those exuberant devices and virtuosity, the strict equipment that had marked the first editions of a length River. short but very important chapter was also that of its cooperation with the young Mozart that gave the music (an Overture more 12 short pieces) for a ballet of smiling pantomimico refinement but in the frivolità which was les petits Riens (Opéra, 1778) interpreted by a real poker d'assi: the Allard, the Guimard, Vestris Auguste and duberval. Ballet as many others of which, also lost the booklet of the same no nothing remained for posterity of her choreography very probably conceived in the style of joint and pantomime of pure dance. style that if it is accepted by intellectual milieu is far from taste test was the outcome of ominous les horaces (1777), but more still that carry (1780) that proposed again to years of distance to the one that had submitted Vestris went meeting real hostility. The fact is that to blow on the fire by time s'erano put l'invidioso Gardel and duberval to which their close alliance the Guimard which ill could be the character rights, which the reforms which he was trying to put in place. intended to be increasingly fierce, the "quarrel" will end only with a false compromise. recognized the merits to the great choreographer, these will however be resigning dall'opéra. has only 54 years and is always the teacher who was honored in all the courts of Europe. Man who one day to a minister who had to call three times to visit while responded with pride "comme Maître à Danser je me considère l'égal à Voltaire comme Maître à écrire". The calls are still many by the various theatres. Arriving from London, arriving from Lyon. two cities in which he had met with luck. Magra revenge, while on the banks of the river Thames collects and collect a long series of successes, know that Opéra in 1781 was destroyed by a furious fire while represented Orphée of Gluck which in those years was being pursued by his great reform musical and with which to Vienna had cooperated in implementing the danzr for Alceste and IFIGENIA in tauride. soon a very more serious fire will France. is situated in Clermont Ferrand, when the Revolution broke out. The best thing was repair in the safe London where already were courses Vestris and the same Guimard, the great enemy said "L". Fate wanted that just a month before that fatal July of 1789, a fire had destroyed the kins's Theatre, seat of so many of his triumphs in the years just previous (between the titles: Les Amants réunis, the conjugal Triomphe de l'amour, the emperor' cosack, the temple de l'amour, les Fêtes du temps). Will be rebuilt in record time, the following year and he will arrange the great feast launch. At this point, no the great collaborator of Gluck becomes the employee do Haydn. Composed les noces de thétis AND DE EN Dominus and obtained a resounding success. Even is crowned on the scene. But slowly the health of the "rude jouteur" declines. The news of France are always worse. Its fifty years of economies were cancelled by the Revolution. It is a blow when it is to know that the King and Queen have been ghigliottinati. Later, past the storm, relatively poor, resigned will be back in France and will withdraw in the quiet of Saint-Germain en Laye. The task is to rearrange its famous Lettres AND TO DISMISS AN Edition "trés augmentèe". Will in St. Petersburg, thanks to the Tsar Alessandro its great admirer who had appreciated and that it did carry patron of publication of all his works. Of that support it and to his had been through the faithful friend the PIQ that WITH HIM HAD danced in Stuttgart and Paris and now was Maître de ballet to the Court of Tsar. The same version will appear in France with the title is significant: Lettres sur les Arts imitateurs en général et La Danse en particulier. It is the final version. That which allows us to consider this not a technical manual but a true treaty of aesthetics. It is the version in which back to stress in a more convinced the concepts that always have been dear. First, that a ballet should be clear and incomprehensible. Basic is La Lettre XIII laying down the "rules to follow in the composition of ballets", but fundamental (the Lettres in all are 25) is the previous, 12 th. It is in it that strongly supports "that poetry, painting and the dance not sono… or, at least, should not be, that a faithful copy of beauty and nature". And is explained better: "a ballet is like a framework, the scene is the canvas, mechanical movements of dancers are the colors and their espressione…. Is the brush; whole and the vivacity of the scenes, the choice of music, the set design and the costumes MAKE THE CHARACTER: Finally, the Composer is the painter. If the nature has given the fire and enthusiasm, that soul of painting and poetry, immortal is guaranteed. To him, when you go dark to 83 years on 19 October 1810, schiusala was immortal time. From there to a month will follow him into the tomb also his wife. by so many years if was already left his friend Garrick that had defined as "the Shakespeare of Dance".

Rudolf Nureyev: dancer and choreographer Russian naturalized Austrian (1938 on a train in path between the Lake Baikal and Irkutsk former USSR – Paris 1993). accepted in 1955 to the school of Kirov, three years after he was admitted in the body of dance of the same Theater. In June 1961, at the end of a tour of the famous complex, requested political asylum in France. It is from that moment that began its dazzling international career, first with the company de Cuevas, therefore, diventatone "Guest fixed", with the London Royal Ballet having almost always as partners Margot Konrad. remained famous THEIR INTERPRETATION IN daisies and Armand in Ashton. DIVO of celebrities world, will be called at all the companies of international fame, "in Vienna the Scala in Milan (where his in 1965 in Romeo and Juliet of MacMillan), all'opéra of Paris Theatre of which, at half of 1980s, would also become artistic director it ancient splendour and launching many young talents. For its extraordinary charisma, for its extreme virtuosity, for its capacity to become character (was a great time to Albrecht and who as in Jean Miss Giulia), for its passionate vocation material in technical, his name soon became legendary. interpreter of great intelligence and sensitivity, although than temperament, no knew broaden in an extraordinary enormous its interests and touch all genres but, above all interpretative reveal a hidden predilection for modern dance. Hence the fact that the most choreographers of our time have thought of Him for some creations, from Béjart (chant d’un compagnon errant) to Van danzting (MONUMENT to a dead boy), from Petit (padise lost, poem he) to Martha Graham (Lucifer). Because artist with many curiosities to meet, not only as an interpreter (soon to cinema he payed its personality for the Valentine of Ken Russel), but also as choreographer felt intended to renew, although through the language Classic-academic who belongs to him, the great repertoire. The titles most important of the literature ballettistica find it so through him, not a simple reproduction, but one always careful, watchful re-reading, in more than a case even daring, often rich of tensions psychological unknown, with the plots and characters addressed with a cut up. See the connection Nutcracker but also, in its various versions, the lake of the swans. Also a ballet empty and dusty as Don Quixote of minkus, thanks to its fantasy could find renewed triumph.

 

P

Paganini Raffaele: dancer (Rome 1958). Student of school work of Rome, in this theatre will become first dancer, and then l'étoile. interpreter of many works also contemporaries, its "stages" popular television will make more of its other colleagues.

Pavlova Anna: (Petersburg 1882 – the Hague 1931). The most famous and perhaps the greatest dancer classic 20 th century. It is passed to history for the extraordinary gloss and the spirituality of his art. student of the school imperial Petersburg, precocissima showed an exceptional ability for dance. Foucault, for you created the famous "only" for the death of swan (MS Saint-Saëns, 1905) that became the symbol of its own personality. After having furoreggiato, in 1907 left the imperial theaters to perform with bölm in the main European capitals. debuttando in them and Cleopatra, attended including of Venetian Russian dancing with nijinskij. However, that was not a brief meeting. Very strong personality and a character very shady (certain sides of his life remained mysterious as those of Garbo), contrary to every idea of renewal artistic, its relations with Diaghilev were as never difficult. In 1923 he settled in London and then formed small companies own performing in classical and preferably in recital in the course of personal tour around the world, often tonic and that led to a premature death in the Netherlands. Artist incredibly versatile, the P. if was great in characters, see Giselle, which she made with total accession emotional and extraordinary force dramatic, knew how be as great in roles diamonds and witty.

Pierrot Jules: dancer and choreographer (Lyon 1810 – parami 1892). Renowned during his time for his style so-called "Aérien" P. was one of the greatest dancers 1800s but also one of the maximum choreographers of romantic period. His still youngest in his hometown where he had made the first studies, to pass, after a wandering in many French cities with companies street vendors, in Paris, City in which he perfected with Armand Vestris. In fact, the teacher he found a student in great part already format, agile, flexible, lightweight, fitted with muscles with that allow all acrobatics possible and that extraordinary elevation that made him famous, and that was sending in delirium the public not only Parisian. Twenty, in 1830, born the king’s Theatre in London, The Capital in which in the course of his career will be fraught with triumphs. In the same year he entered all'opéra in the Paris where he went quickly in light. For its wonders, was nicknamed "Pierrot l'aérien" and also the "Taglioni Mâle". Until 1833, of Taglioni should also be an exceptionally good partners. 1834 was hired to San Carlo in Naples. Here knew, very young, Carlotta grisi, which became his student but which is also linked successfully. In the past, was also supported hypothesis of the their marriage. Realizing the enormous potential of the dancer ITALIAN, dedicated himself to its processing up to make it the great "Étoile" then recognized. In that period date back even its first tests choreographic. In 1838, P. he entered the scale, theatre in which to alternate stages will perform for a decade, until 1848, when even compose Faust that danzò together with the elssler. In the early 1940’s, not before you have paused also to the Théâtre de la Renaissance where with great luck you perform in the ballet Zingaro, P. is again all'opéra Theatre from which it was removed in spectacular fashion. lodatissimo also by the critics, is the Beniamino FOR A PUBLIC that, without paying heed to its physical aspect, especially to his face far from harmonious, loves it for the suecdoti, by the Municipality, for his sense of rhythm, for his flawless stage presence. In 1841 Giselle to which adds its own behalf and that of corals. Certainly as has established lifar, goes to P. the merit of having prepared the parties alone the protagonist that is, of grisi. of the masterpiece in absolute of romantic ballets, P. will run later, and by giving commercially run to the new part other versions in particular in Russia, but first in London in 1842. Year in which this is pressing more and more the partnership with another star romantic: Fanny Cerrito. For you, that also contributes to choreography, creates Alma ou La fille du feu (MS John Costa, libretto A. J. J. deshayes, London, her majesty's theatre 1842. The success is great and the ballet from him and danced (role of belfagor; the public makes sparks at the time of the pas de fascination), is the draft for his appointment as "choreographer main" of the same Theater. Also the criticism is external in Lodi. And it will do when after also presented wavelets ou the naïade (1843), presents Esmeralda (Ms C. fists, libretto Pierrot, scenes W. Greve, London her majesty's theatre 1844). Retrieved from the highly popular novel of Victor Hugo Notre Dame de Paris, the ballet he is still on the scene next to grisi and the young Saint Léon. During his brilliant London presence, her name is associated to another title basic romantic period: the famous pas de quatre (MS C. fists, her majesty's theatre 1845). Without more subject, this is a mere Ballet divertissement in which the protagonist becomes merely the dance. exemplary work, are four of the most popular romantic ballerinas that are called to interpret it joined dall'impresario Benjamin Lumley that if was made a point of honour the want dance together. The stars are Maria Taglioni, the grisi, the Cerrito and the grahn: each ready, after making joint group, to perform "only. Beyond the meeting of the four celebrities, the choreography of P. must simply recognized as one of the most TO BE WELL expressions of romance as danced because of the way fantastic and together ideally stylized using the academic technique of tradition is French and Italian. The pas de quatre will be subsequently always performed with great success by other great interpreters of the time. When in 1846, the Taglioni The will dance the scale will next to the rose, the fire and the vente. niove WILL BE CARRIED OUT editions also in 1900. in particular by Keith Lester and Anton Island (1941). A Memorable was also that produced in 1957 at the Festival of nerves with the markova, the chauviré, the Fracci and Margaret scranne. modeled on a realistic story and strongly passionate, London, P. will create yet Catarina ou La fille du bandit (MS fists, Prot. L. grahn, her majestry's 1846). To its center, in a plot very complex as they wanted the taste of the time, is the figure of Italian painter Salvator Rosa. was also a ballet that s'impose in favour of the public and l'ineguagliabile force of the movement of Mass for the contrast that was expressed between feminine grace, and confident swagger. Famous was the "pas Stratégique" that mimava a battle (probably in mind from Petipa for Nutcracker). Also, F. elssler made his horse of battle before in Milan (1847), then in St. Petersburg in 1849. 1849 is the year in which Fr also produces another its acclaimed work, the filleule des Fées BUT ALSO THAT OF HIS TRANSFER in Russia, intended to open a new and long page in his brilliant career. Here found Saint-Léon and here is applauded as dancer. should in fact move three years before being responsible for new choreographic creations. Appointed Maître de Ballet will take with pride and great activities office for a dozen years. In this period founder old and new creations, his OR OTHER choreographers. are enthusiastic hospitality Esmeralda, le Diable à quatre, Faust, pas de quatre but also gazelda, Armida and other ballets yet. 1860 is the year of his leave and of its return to homeland ready now to give way all'astro nascent Marius Petipa. When will go dark year, the Ballet of matrix romantic will have lost with him his interpreter and creator perhaps more passionate.

Petipa Lucien: dancer and choreographer (Marseille 1815 – Versailles 1898). Brother of Marius Petipa, dancer of lightness and precision, fine and elegant, as choreographer not reached the height of artistic brother. was the father, Jean Petipa, AND IN BRUSSELS, received the first lessons. And it was in Brussels that, during a gala, had the first success and was immediately hired by the Théâtre de above as' first dancer ". HOWEVER, THAT TASK left almost immediately to arrive to the Grand théâatre of Bordeaux where he was partners of the sisters noblet that they advised him to move to Paris. Opéra reached here in 1839 danzò in Sylphide next to elssler. In 1841 will be the first Albrecht in Giselle with the grisi. danzò even with the Plunkett, the ferrarsi and the rose. In Milan appeared in 1849 in John Leiden, Casati. had success even in London. After it was the first Maître, always in 1860 all'opéra of Paris was appointed Maître de ballet, post he kept for several years. Although less fruitful and brilliant, brother, created some ballets that had considerable success. First of the series, and work entrusted to him by mazilier was already too elderly to tackle an entire choreography was sacountala (Opéra, 1858). The ballet, the passbook was due to Gautier, he drew inspiration from story written by kalisaha poet. Also the music of Ernest Reyer had a "Ink India' without this divest in slavish imitation of Oriental music. Next to the same P., in the role of the king dushmata, was Amalia ferrarsi then the "peak" of his career. Other TITLES OF RELIEF: Pretty (MS T. the bar, Opéra 1865), Le marché des innicents, in collaboration with the Brother Marius P. (1861), le Roi d'yvetot (MS T. The bar, Opéra 1865). More important, even with a weakness in dramatic construction and discontinuous musical invention in namouna (Ms E. Carlo, Opéra 1882) created for Rita Sangalli that reported an actual triumph thanks also introduction of a couple of "pas" become famous (" pas de charmeuse "and" pas des Fleurs "). As the subject (The book was of the same P. in collaboration with C. nuitter) submitted aspects with exotic lord, auditors, pirates and bangles the center of a set time action on the island of Corfu. P. was also able implementer of "divertissement" merits in famous "Grand Opera".

Petipa Marius: dancer and choreographer (Marseille 1822 – gurzuf, Russia, 1910). Son of art, the father was the dancer Jean Petipa, the mother victorine actress grasseau. Artist endowed with a strong personality, was he who with his activities tireless led the ballet Russian into the glory that will have in our century. Its long and successful career alloy is directly the name of Diaghilev to that of A. Vestris. of the great Vestris, after being dancer to Nantes, P. followed in fact the courses in the Paris where you was the Brother Lucien Petipa and where Marius be rebooked all'opéra in quality of dancer demi-caractère. It was then in Bordeaux in response to the theatre circus of Madrid as long as in 1847 was invited in St. Petersburg as the first dancer. dancer excellent, P. had however waiting several years before to dominate even as choreographer and this is for the presence in that period in imperial theaters of other distinguished his fellow countrymen, namely Jules Pierrot and Arthur Saint-Léon. Leaving of scene the two big rivals, following P. will be for about half a century, you can say until his death, the dictator absolute in the theaters this, master of creations, of filming, promotions and new Scriptures of artists. For decades the destiny of Russian Ballet were exclusively in his hands. His first compositions of relief were PAQUITA (1847) and satanella (1848), which, although well accepted, as subsequent, not the paid that fame which acquiring. The success the arridesse, he had to wait to 1862 where the imperial Theatre of Petersburg found himself in to solve the problem of setting a new Ballet for the ballerina Italian Carolina rose invited in Russia. P. accepted task and in the six weeks concessegli mise in scene the Pharaoh's daughter (DOC guinea-fowl) (theatre marinski, 1862), great ballet in three acts and seven scenes with a prologue and an epilogue stretch from Roman d’une momie by T. Gautier adapting scene of verony de Saint Georges and of the same P. In reality, were now two years that P. worked to hone its whose music was left to Caesar fists and that it was ready in all its detail. With its four hours of duration and its 1400s musicians, the ballet went encounter one resounding success and this Valse A P. the appointment as Maître de Ballet at the same marinski. After the Pharaoh's daughter (also a success for the rostai in the role of aspicia, a role which then will be other very large étoiles: from kschesinska to Pavlova), P. will give to the scenes Roi candoule (MS minkus 1863) and that Don Quixote (MS minkus, int. sobenshanskaja Anna and Sergei Soklov, Moscow, Bolschoi 1869) that in our time, thanks mainly to Nureyev, restored its renewed luck. To notify but as the "pas de deux" classics of this ballet in which the figure of the famous Hidalgo very is by no means the role terms, ALTHOUGH TAKEN AS pieces of skill isolated, are he still part of the Directory must of dancers more equipped with the plan virtuosity. tribly will or the Devil in the foyer (1869), the Camargo (marinski, 1872), ballet whose historical story was widely welcomed both with the public that the critics also thanks to superb interpretation of grantzow in the role of famous French of dancer 1700s. tepid instead the success which went the adventures of Peleus (1875) and robbers (1875) while ROXANA or the beautiful Montenegrin (1878) was the ballet that imposed definitively its name. And the imposed also because, as will subsequently with the halte de knight (Petersburg, marinski, 1896), P., l'inesausto researcher of historical bases and precise preparer of plans of composition, also influenced by the style of saint.l éon whose ballets contained great variety of whose and of ballabili, "farcì" its work of many dances National wisely "ballettizzate". But, this part, the influence of P. In the course of evolution from the Russian ballet, is also translated or, in particular introduction increasingly frequent action to only and of the pas de deux in the Assemblies constituents together on the role of the first time the dominant dancer of the choreography. With P. the pure dance ended with the prevail, as well as the virtuosity of the actors. While not possessing the fantasy of already mentioned Pierrot and Saint-Léon, he was, however incomparable creator of steps new and very original. Its variations took to make text. must not however escape as the "was Petipa" opened thanks also to some events to external which could at first sight seem even be unfavourable. And it was the arrival for example in the 1980s in imperial theaters of stars Italian of great value which the Zucchi, the Legnani, Brianza, including Enrico Cecchetti, dancer of technical and prodigious acrobatics, which created the ballet Russian a real shock. educated at French school, P., it could also him, that assimilate little by little the spirit and the Brio typically Italian. It was the fusion of French elegance of ardent fire Italian favorites also by physical skills of artists Slav, which, thanks to P., fathered The style that Russian subsequently Diaghilev would's all over the world. It should we ignore yet, as in a highlight of his career, P. found himself at work (and here it should be recalled as he was always the choreographer French to provide its composers a plan rhythmic) with a musician of talent and the size of Tchaikovsky. From their positive meeting, were born masterpieces never come from the register of all time. and are the sleeping beauty in the woods (Petersburg, marinski, 1890) and the Swan Lake (Petersburg, marinski, 1895), the latter in cooperation with Ivanov. Belonging to late-romanticism, the sleeping beauty in the woods (spiascaja krasavitsa) is perhaps the ballet that more than any other sets the style and the formal structure of classical ballet. hand of the most pure technical merges here absolute balance a style. What that must be repeated even Swan Lake (lebedinoe ozero), ballet that with its main-beam virtuosity and the expressive intensity his will be allocated to become one of the titles more famous of all the history of ballet and endlessly executed in all the theatres of the world, intended to give glory to the most famous étoiles. very elderly, P. give still to literature ballettistica, in addition to Barbabl, another title still today very attended especially in Russia: raymonda (Petersburg, marinski, 1898, Ms A. Glazunov). Ballet by the events complex, with a background more exotic than historical, where the action is particularly the service of a long chain of whose intended to highlight the qualities and the virtuosity of soloists famous. Its last three ballets-miniature, d'amour ruses, les millions d'arlequin and Les Saisons, will be not more than a colourful collection of dances from Arcadia fantasy spazianti, to the Commedia dell’Arte, the scenes. All this, though with great wisdom composing.

Roland Petit: choreographer (villenoble, France 1924). Just sixteen, P. was hired in the body of dell'opéra dance of Paris where he found the protection of lifar and where he created the role of Carmel it love sorcerer (1943). The country’s choreographic its apprenticeship happened next to J. CHARRAT with which in the course of the war he realized the recital in the Paris region. At the time the lierazione of the capital, in 1944, leaves Opéra and the end of the year gives life to soirées de la Danse that were the seeds of future Venetian des Champs-Elysées of which, by the audience for her courage and his youth courage, headed by said at the end of '47. The first important Ballet born within the company and that gave him immediate popularity was les forains on a libretto by B. kochno and sets and costumes by C. Bérard (1945). The following year will create les Amours de Jupiter, the rendez-vous and the bal des balanchisseuses, but the masterpiece of those years is le Jeune homme et la mort on text for Cocteau and music by Bach. Founded in 1948 les Venetian de Paris to which achieves les Demoiselles de la nuit. In 1949 are born Carmen and Oeuf à la coque. In 1950 is the time of lacroquese de diamants while in 1952 P. leaves "contaminate" by American film for which creates some tasty choreography for films like the glass slipper and Dad gamalunga with F. films and L. Caron. 1954 bride Zizi in both. The long list of his creations continues with titles such as the chambre, the Rose de vents, Cyrano de Bergerac. The most prestigious theatres of the world the call, INCLUDING THE SCALE FOR WHICH PRODUCES THE FOUR SEASONS. 1965 is the year important Notre-Dame de Paris by Hugo. In 1967 is invited to Covent Garden Of London where creates paradise lost for the couple Konrad-Nureyev but is still the scale for Poème de l'extase (MS Scriabin, starring svignano-Nureyev). In 1970 B. nominated Director of the dance dell'opéra Paris but experience is very short and immediately after the choreographer pass to direct the Casino de Paris. 1972 was born in the ballet de Marseille, then B. National de Marseille-Roland Petit, and continues its fertile production. Between the titles more significant: Proust ou les intermittences du coeur (1974), l'arlesienne (1974), coppélia (1975), Nutcracker (1976), Nanà by Zola (1976), the phantôme de Opéra (1980), the Marian du CIEL et de l'enfer (1984, for the scale), l'ange BLEU (for the work of Berlin and dedicated to Marlene Dietrich, 1985), but Pavlova (1986), the chat Botté (1986), le Diable Amoureux (1989), the beautiful au Bois dormant (1990). Always, in the course of its prestigious and Lucky career dotted by the most different meetings, the dance to P. has been a very, though certainly the most important all theatrical ready to confused with the pantomime, music and yet the song. For him has been spent more times, to characterize his style precisely, the term "style au Champagne" for that that of effervescent dominates in it, as it is spoken of his strong taste for the drama. The fact that the art of P. is made often of contrasts, just as man who is at a time frivolous and serious, passionate and cynical. His apprenticeship to Opéra Parisian did a solid technical knowledge but the rest, you must say, has taken from the very life. Son of the people, feels him l'autodidatta even in designing its ballets entirely even for the case of the musical choices. IT SHOULD BE ADDED THAT, FOR P., the dance is never a language abstract, but with the gesture and movements he has always tried to express very clearly, sometimes perhaps with some easily, the wishes, the suffering, love and hopes man. Also, for this, to the grammar academic has often mixed gestures and signs taken from the road. In his ballets has always tried to reinforce the effects as to highlight the low found. admirable manufacturer of Adagio, and of "pas de deux", often in them was almost eroticism without ever fall into vulgar. Its audacity and its freshness perennial were able to build a solid job and a strong experience. Although P. cannot pass through a revolutionary of dance, but through it has managed to express a personality strong and interesting using all means that a choreographer of our time has had available. Main choreography: Les forains (MS Sauguet, SC. and cost. Bérard, T. des Champs-establishment, Paris, 1945), le Jeune homme et la mort (MS Bach, stay. Cocteau, SC. wakhevitch, T. des Champs-Elysées, Paris, 1946), Carmen (MS Bizet, Prince Theatre, London, 1949); the croquese de diamants (MS J. M. damase, SC. and cost. wakhevitch, " lyrics R. Queneau, New York, 1950); DEUIL en 14 heures (MS M. thiriet, T. de l'empire, Paris, 1953); the Loup (MS H. works, SC. and cost. Carzou, T. de l'empire, Paris, 1953); la chambre (MS auric, SC and cost. B. buffet, T. des Champs-Elysées, 1955); Cyrano de Bergerac (from character, Ms constant, T. des Champs-Elysées, Paris, 1958); NOTRE DAME DE PARIS (by Hugo, Ms M. Jarre, SC. A. allio, cost. Y. SAINT-LAURENT, Opéra, Paris, 1965); Paradise Lost (MS constant, booklet Jean Cau, Covent Garden, London, 1967); the rose on (MS Mahler, cost. Y. SAINT-LAURENT, Palais des sports, Paris, 1973); Les intermittences du cœur (from Proust, Ms various authors, SC. allio, cost. Christine Laurent, Opéra, Monte-Carlo, 1974); the Lady of Spades (MS Tchaikovsky, SC. A. Beaurepaire, T. des Champs-Elysées, Paris, 1978); the Mariage du CIEL et de l'enfer (MS group rock art zoyd, Palasport, Milan, June 1984); l'ange Bleu (from S. Zweig, work in Berlin, 1985); but Pavlova (Opéra de Marseille, 1986); le Diable Amoureux (J. Cazotte, Festival villas Vesuvian, Ercolano, summer 1989), the beautiful au Bois dormant (Opera de Marseille, October 1990); Charlot Danse avec nous (Marseille, 1991).

pistons Mario: dancer and choreographer (Rome, 1933 – Milan 1992). Made studies at the work of Rome, entered the body of dance of the same Theater becoming first dancer. Office will be later also to La Scala in Milan where in 1962 his also as choreographer with an updated version of the prodigal son of Prokofiev. Ballet to which will follow other ready to disclose its extreme caution and sensitivity to the problems of our time. Between them, spirituals for orchestra (MS Morton Gould), mutations (MS V. fellegara). The most successful P. The collected however with the road (scale, 1966, Ms N. Rota) deduced from film of Fellini and with Carla Fracci protagonist (in successii years always presented with extremely favourable outcome Arena of Verona). Other work of relief: singing the praises (Ms A. Ambrosi, on poetic texts of R. Alberti), the macbeths (Ms A. Strauss), Adagio (MS Albinoni) and still The Betrothed (Ms F. Hazon).

plissetskaja Maja: (Moscow 1925). Exit from the school of Bolschoi s'impose soon for the beautiful security of its interpretations from Nutcracker in the Lake of the swans. In the 1950s and 60 considered crown of ulanova, was one of the most beloved ballerinas USSR not only for its technical impeccable (memorable its Swan black) but for its elegant and majestic stage presence. In addition to more classics of the tradition, the P. has enriched his repertoire of certain titles modern linked to his personality interpretative as the fountain of bacisarai and laurencia. It was guest artist in the major theatres of the world. With her husband, the composer music scedrin, has cooperated on three ballets referred if it is made sensitive protagonist: Anna Karenina (1971), the Gabbiano (1972) and Bolero (1976). Béjart for you, in 1976, created Isadora. The P. has direct for some years even the Corps de Ballet work of Rome then to move, always in the same capacity, the ballet Nactional de Espana.

preobrajenska Olga osipovna: (Petersburg 1871 – Paris 1962). was one of the greatest dancer of his were. Not only shone in Russia (in 1900 was appointed First dancer, marinski), but in the most important capital of the dance West not excluding Milan where the scale was performing in the old repertoire of BY, Pratesi and others but also of Foucault. In 1911 it was with the Venetian Russian and in 1912 his in the USA. The scale was also director of the school of dance. Great teacher, exercised its activities before (from 1917 to 1921) in Leningrad, subsequently to Paris. By the school had to leave many of the stars of the century tumanova, baranova, hightower, stibine, golovine.

 

R

Rosé wines Carolina: dancer (Bologna 1826 – Cannes 1923). It was one of the large "Stars" dell'opéra Parisian during the Second Empire. With great charm and lively temperament. Student of an the scale in this theatre, after having already danced in other Italian cities, his in sardanapalo and in Manon Lescaut of Casati. lumely soon as dall'impresario English was for three seasons acclamatissima all'her majesty's Theatre by participating in important shows including the replica of the renowned pas de quatre of Pierrot alongside the Taglioni, Cerrito and the grisi. With these last two interpreted another work of Pierrot les elements (1847) and the following year les quaitres Saisons. In London became the protagonist preferred by Paolo Taglioni for its air ballets, including théa ou la fête au Fleurs. all'opéra in 1851 is to Paris where dance in's of mazilier, which with great success will later create the role of Medora nor the surface (1856) (teachers programs, according to the chronicles of the time, thanks to you were the scène du sëduction, the pas de l'éventail and the pas des odalisques). Other its triumph, next to ferrarsi, reported in Marco Spada (Opéra, 1857) always of mazilier where once again pleased his style Terre à lands which in part referred to that of elssler and where its with the pas de time that executed with perfect, "rondes des Jambes de retour". left Paris will run into another successful season in St. Petersburg where over the surface INTERPRETED THE WORK OF SAINT-Léon. As the protagonist in La fille du Pharaon of Petipa gave goodbye in January 1862 to the scenes Russian. Since then retired to Cannes.

Royal Ballet: was the most famous resort of dance English. "recognition real" received this title only in 1957 but its origin can be traced back to the time Ninette de Valois made its debut as choreographer all'old Vic theatre (Les Petits Riens), popular theatre situated in the area south of London and specialized drama scespiriana. When administrators of the same decided the purchase in the north of the capital of sadler's wells Theatre was founded the Camargo society whose purpose was to create Dance with the participation of former dancers of Venetian Russian of Diaghilev and with the best pupils in schools of the same de Valois and Marie Lambert. 1931 was born in the sadler's wells school. In the first years, tragedies, operas and ballets were represented alternately sadler's wells and all'old Vic, hence title "Vic-wells ballet". The last years that preceded the World War were certainly the most fertile for activities and creations. To operate above all, the formula of ballet in an act. From the ranks, young dancers soon intended and become the star, Margot Konrad Robert helpmann. closed its doors in 1940, the company was to make long tour especially in the province, until after the war is accattata to Covent Garden that will soon be the "House mader". Since then will be called in honour the old formula of ballet in three acts. Of course the success and the development of such a complex and important were due to a variety of figures. The DE Valois in head, but also Marie Lambert, Frederick Ashton, the musician constant Lambert and dancers of the class of Margot Konrad.

Rubinstein Ida: dancer and actress (Petersburg 1885 – veneca 1960). Student of Foucault, IDA R. felt especially influenced by dance of Duncan. with the Russian of Venetian Diaghilev in 1909 revealed himself to Paris as the protagonist in CLÉOPÂTRE of Foucault, role in which also will highlight its exceptional beauty. The same success will the next year in shéhérzade. In 1911 sparked scandal for his interpretation of the character also in martyre de Saint Sébastien of D’Annunzio-Debussy. After the war he worked mostly all'opéra and 1928 formed its own company that acted until 1935 with colleagues who were at the side of Diaghilev which Massine and the nijinska. were born in that moment masterpieces as th of Ravel, the Kaiser de la Fée, La Valse of Ravel.

S

Saint-Léon Arthur: dancer, choreographer and violinist (Paris 1821 – including 1870). In part Marius Petipa whose career was most in Russia, is the last, great exponent of the prestigious season of French Ballet 1800s. A pupil of the Father for the dance and Paganini for violin, as a musician his in Germany, Stuttgart and Munich, in 1835. Gradually, however he abandoned the activity of violinist to devote himself exclusively to Ballet so to become an elegant dancer with a technical spectacular. In the first years 40, was among other things to Brussels, at the Regio of Turin and Milan to scale (1842). In those years it also knew Fanny Cerrito, designed in 1845 to become his wife. together formed one of the most applauded couples of that period contentions by Italian theatres but also from London and Paris. In London reported great success especially with the vivandière (HER majesty's Theatre, 1844), ballet that bears the name of S. L. even for the choreography even if in fact almost wholly owned by the same Cerrito. Entirely of S. L. turned out instead the ballet pantomimico in two acts and three scenes on music of Cesare fists La fille du Marre (1847), presented at the time of the debut of its season Parisian, with its blows of scene, and its romanticism led to the extreme, presented many similarities with Alma of Pierrot. WORK WHICH, set in a Spain Arab exotic at the time, was built to highlight the particular qualities of Cerrito. Man very dynamic and great ingenuity from that moment S. L. will dominate in the maximum theatre French for intense season that will last until 1852 but that will be repeated to the end of the 1960s. The important his second title of this period was the Violon du Diable (1849). In reality it was the revival of a previous Ballet presented year before in Venice in the Teatro la Fenice: Tartini violinist. Then, however the ballet was as the "retrieved from a work of gavarini and written by Arthur Saint-Léon and with music of Saint-Léon and fleis with the exception of the second act of which the author is Cesare fists", whereas for the "first" Parisian subject and choreography were exclusively of S. L and the music of fists. important is the fact that, in it, the S. L. over that as dancer also appears in the violinist in the role of the musician precisely urban that to obtain the woman loved, Hélène de vardeck (Fanny Cerrito), is getting a sort of PACT type with his master, Dr when (Eugénie corals). The Ballet pleased to the public, but the criticisms were rather need start from that of Gautier who found the Cerrito not sufficiently dramatic, except her in the large "pas de deux" final. But soon it its link with the great Dancer is for breaking definitively, however S. L. has still way to create for you two new ballets not exciting. contrabandiers star ou les (Opéra, 1850), which set in a picturesque Naples and so that does not know the transfiguration of an artistic bournonville concludes with a unleashed Tarantella. Once again here, the music is punch, perhaps the most prolific composer of Ballet of that period. The second Ballet is paquerette (1851) on a libretto by Gautier. In 1852 S. L. Opéra will leave to return only after several years. After a stop to San Carlos of Lisbon, his star will shine from 1859 in St. Petersburg where it is called to replace in quality of Maître de Ballet the countryman Pierrot. Also here does not lack successes and esteem, both as a teacher strict and prestigious that as choreographer of talent and beautiful fantasy. Its last season but this will be still for his beloved and Christmas Paris and its loved and venerated Opéra. It is also the mpmento of his masterpiece, the hour in which the coppélia (books. of Charles nuitter and Arthur S. L., SC. of despléchin, and trucks, lavastre, costumes of Albert, Prot. bozzacchi Giuseppina, Luise fiocre and the dauty MIME, Opéra, 1870). That ineffable kind derived from E. T. A. Hoffman which revolves around two young lovers, swanilda and Frantz, which play a very cruel to shooting old manufacturer of coppélius dolls, suited to perfection to be translated in ballet. Someone, in the future, will support that the different characterization of the executives, from Ballet framework at the end of mere divertissement is also delicious, will lose quell'unità stylistic so skilfully reached from the ballet romantic but coppélia will continue to vevere unswerving in time, continually recovery and subject to different versions. Certain to contribute to the success was also the music of Delibes so congenial to the subject and ready to characterize the characters. Was the swan song of S. L. The which a few months after it would be dead in fact one of the most glum of History of Paris and dell'opéra. As few its colleagues their realized that it was the work of ephemeral choreographer whose survival depends solely on the human memory. For this, perhaps, he himself had been among the first to provide and to explore a method of notation of dance. It was called "sténochoreograaphie". Not used much more, just far enough but for having left transcribed a much detailed the pas de deux of vivandière, including changes its and the Cerrito. Even with this, it gave for posterity.

Salvioni at number Wilhelmina: dancer (Milan 1847-?). student of the school of dance of the scale, S. received teaching also by Maria Taglioni WHICH WAS SAID assimilated grace and "ballon". 15-year old to his maximum Milanese Theatre in count of Montecristo Rota next to POCHINI and to hares. Not yet twenty as all'opéra of Paris, was the first player in the role of naila alongside fiocre, of the source of Saint-Léon. In reality the part was intended for the grantzow that he did n't live danzarla for an accident. The S., to which the character was taught by lights Petipa which Saint-Léon from Russia sent by letter, the indications choreographic, not sparked moreover great enthusiasm. of the same choreographer however was entitled to interpret the poison d’Or in St. Petersburg. The S. was part of his career in Vienna.

samtsova Galina: dancer (Stalingrad 1937). student of the Ballet of Kiev, in this same complex reached the rank of soloist. obtained citizenship English in response to his first marriage was star in the 1960s and 70’s, especially in Ballet festival where often appeared alongside the second husband, André (dancer French student of Egorova) forming a couple very applauded.

svignano Luciana: dancer (Milan 1943). student of the school of dance to the scale, in 1962 is invited to Moscow to improve the Bolschoi. soloist, then first dancer, finally Étoile of Italian theatre maximum, in 1975 were its first real statement interpreting the mandarin of bartòk in the version of choreographic Mario pistons. Is it really the choreographer Romano, which also will interpret the S. contagion, concert dell'albatro, mirror at three lights, which will identify its true path. That is to be a dancer capable, even with his strictly classical training, to be in the service of modern ballet. Someone, and in other words, thanks to its sinuous body and to his muscles steel, the long legs and arms d'acrobata serpentine, able to face with strong drama and feeling every type of directory. With the contribution of his art, modern in the basic concepts and the steps, many choreographers have been able to innovate and to renew them formulas academic content expressive new neighbours and the sensitivity of our time. Even if the parable of S. it is held almost always, except that in recent years, between the walls of golden scale, essential experience was that, while short term, alongside Béjart. For you, the choreographer French has created some of its most evocative titles such as the moon and ce que l'amour me dit, but also its hugely Bolero found in svignano one of its best musicians.

set design of the 1900s: The Evolution of the Ballet of the 1900s may not be fully included if not taken into account input visited also from the figurative arts and in particular to Stage Design. The growth of the phenomenon dance is linked to strettemente names of the most important painters and set which have operated "vis à vis" with the choreographers and the musicians and most important. A contribution, to well view, much more singular and crucial that not in the theatre. And this even if it is just observing this what happened on the scenes theatrical already at the end of last century that you can assess the scope, that you can feel the profound change that has come to implement, in other words revolutionary work set in motion by a series of extraordinary artists. It was in reaction to the realism that prevailing was born in the modern design, the shift to which it found its first modest but incisive sign in Paris, the Théâtre Art related to the name of Paul fort, over the last decade of the last century called beside it painters of hardening of the Bonnard or of Toulouse Lautrec one. A second and no less significant moment also it can identify, always in Paris, in the reaction Symbolist by lugné-PoE to its thèâtre de l'oeuvre. These, of course are not that aspects of break with the past but that allow you to better understand just how much of a few year, will in the field of the ballet; when that Diaghilev to the head Deo Venetian Russian will be allocated to revolutionize very aesthetic concepts. It was linked to the painters Venetian Russian, which the their "patrons" some year before HAD ENGAGED another its extraordinary adventure, that foundation of important magazine Mir iskusstva (the world of art), which, bringing in the West "The Grand sunset scene painted", made school and opened roads until then unusual. Artists in head to which are the names of Léon bakst and of Alexandre Benois. As already in the past the Italians Bibiena, bakst (1866 – 1924) was the brilliant painter who owned the taste of the sumptuous prospects, the fantastic architecture which refuse the rigidity of classical structures. Was the artist whose columns appear in attorcigliate as many ballets, whose decorations multiple avviluppano forms and give them the sense of movement. With bakst, develops also all the sensitivity of Eastern all'orgia through colors that for the first time find explosion on the scene (t5 was the setting of shéhérzade, 1910). All this even if its parable artistic slowly will tend to evolve owards ever more simple, almost family (see the spectre de la Rose, 1911), arriving almost essentials in the case of the examination and strict space done for l'après MIDI d’un faune (1912). Similar revolution was that operated by Benois (1870 – 1960), i.e. any person who, at least in the first and dazzling stage of Venetian Russian, acted almost by Father-Master (" The idea of entertainment brilliant belongs to us painters "). Benois in reality it was "revolutionary" renouncing but little or nothing of the tradition in what the belonged to valid and permanent. his masterpiece, seemed Petruska (1911) of Stravinskij scenes in which the zone was real the wonderful; the popular tradition towards ethics. also ready to discuss the themes more different, was to Benois to evoke and impose a cohesion always greater among the various elements of the show and this in time when, after a long period of decadence, the dance was coming to find out which modest handmaid work lyric. If the work, bakst and Benois (but not be neglected the name of N. K. shrine author of the scenes of sacred du Printemps, 1913) characterized in full the first period of Venetian Russian, Diaghilev he realized that that trend down, the time that the color and complexity decorative, could not last more than that. So the Venetian Russian entered a second not less original era in which, reacting precisely island, is moving also in the construction pure. If the main Director choreographer OF THAT PERIOD WAS Massine Diaghilev was thought to have work to the scene who, until then, had ignored. If not by the futurists obtained nothing (low also in Italy the attention paid to dance, if you remove the ballets plastic Depero), he presided over with the advent of scenic dancers. Pulcinella (1920) and Parade (1917) were the typical achievements of this second period came integration of the new Russian art with the pas d'acier (1927). If I may say, the transaction between the two decorative Successie trends took place mainly by Natalia gonciarova, Le Coq d’Or (1914), Triana (1916), les noces (1922). beside it, had great influence Mikhail Larionov with histories naturelles (1916), chout (1921) and the Renard (1922). But the highlight of those years was ardent and tumultuous entry in scene of Picasso (1881 –1973) with Parade (1917), the credo (1919), Pulcinella (1920) and Mercuri (1927). between the other set, important or even unexpected, that Diaghilev called to his side, stand out Matisse (the chant du Rossignol, 1920), Braque (Les facheux, 1924), dérain (the boutique cafe, 1919), De Chirico, Rouault, survage, Pruna, jaculov (the pas d'acier, 1927) and, finally, Marie Laurencin (Les Biches, 1924) and urtillo (barrabu, 1925). As you see, the effort of Diaghilev was far from static and its universal vision if between the collaborators was inscribed the name dell'americano Edmund Robert Jones, which was request in New York software plastic till Tod (1916). Since then, after l'effervescente season of Venetian Russian, about the ways to their draw, you will move more or less all of the most important formations of dance. First the same Venetian Russian de Monte-Carlo which under the direction of René Blum, gathered the glorious teaches and the dangerous legacy of their precursors. a meaningful name to join their history: that of Christian Bérard. But, apart from the patronage of IDA scenic Rubinstein, on the streets apertw to Diaghilev you submit and the Venetian suedois linked to the name of Jean boerlin whose adventure Parisian left significant trace thanks to artists qiali Léger (La Création du Monde, 1923), Bonnard (the boîte à joujoux) not less that Cocteau (1889 – 1963), which with its imagination and its great sensitivity went a sign unmistakable development of the ballet in this century. Its parable year unleashed in the days of Venetian Russian, no less brilliant suedois at the time of Venetian (Les mariés de la Tour Eifel, 1921), not yet exhausted in the second post-war when delivery to a young and brilliant Roland Petit scenes of Le Jeune homme et la mort (1946). Perhaps more of other artists, Cocteau was he who testified in a strict and consistent as often be unbreakable the relationship between choreographer and set designer. Relationship intuition by Serge lifar all'opéra of Paris in its work of renewal of the ballet French between the wars and over, although the same declaration in his obvious du choréographe (1935) the supremacy of dance on the other arts, but perhaps even more insight from Aurel Milloss intended to turn to become architect of the rebirth of the ballet in Italy. For its refined choreography, Milloss indeed, it was almost always served as collaborators exceptional: from De Chirico to castrated, from De Pisis to Severini, from Cagli to Guttuso. But if you let us cross the Channel, it has been found as well as another personality relevant as Ninette de Valois, in the course of its fruitful work to sadler's wells, then Royal ballet, it is often made use of artists not devoid of talent. Located along the names of Roger Furse and of whistel Rex that in the scenes of the regular rake's progress (1935) managed seek with hand happy a real atmosphere the Hogarth eighteenth century. The names of William Chappel and John Armstrong associate instead to certain glittering choreography of Ashton, often, this artist, brilliant illustrator of his works. not negligible even the names of osbert Lancaster and Barry Kay which does the merit of re-read with taste and sensitivity modern the large romantic ballets of the century, among which Giselle. other prominent figures those Peter decherty and, in more recent times, Nadine baylis that morrice has gone with Norman sign singular universe country’s choreographic Glen Tetley. Among the many set area aglosassine, emerges l'americano E. MC knight knauffer while the more well known Cecil Beaton it should be recalled at least for the splendid vocation of medieval world and legendary of King Arthur on the occasion of picnic Tintagel (1952) of the previously mentioned de Valois. The hand delicate Jacques doupont has instead given precious fruits by evoking a Paris nineteenth-century in the case of Les deux pigeons in the version of Ashton while Jean Denis macée has chosen an décor iridescent for Cinderella. Other titles classics has instead lent his pencil robust Nicholas, also on the staff of Nureyev. Brilliant but more decorative, ready to respond by so much juice Renaissance painting, the brush of Jurgen rose, known for being the main set designer John skull especially when this illustrious choreographer has worked at Stuttgart Ballet (Romeo and if, Onegin, etc.). passing in the Netherlands, stands out Teer van schayck that at the Nederlands dans Theater has married his work as choreographer with that of scenographer working in the service of Rudi van danzting. It is the name of Jean Paul vromm that binds more frequent work of Hans van MANEN. More homely the panorama Russian. Between the two wars and in time to us closer, only honest craftsmen linked to a traditional décor and most monumental in the case of certain works in the system, have worked at the maximum theatres Soviet (Bolschoi, Kirov, etc.). Among the names most significant, those of T. starzhentisky so they are the scenes of the flower of stone (1954) of Prokofiev and that of Simon virdaladze operating at the Bolschoi and recalled including for the scenes of Spartacus (1956) of Jakobson-kaciaturian and Ivan the terrible (1975) of grigorovic. The Kirov the same its artistic director and choreographer Oleg vinogradov IN MORE THAN A CASE IT IS MADE illustrator of his works (jaroslavna, etc.). More interesting, very faceted, the American situation where the modern dance with all its various developments up to our years has been made possible the emergence of concepts unknown in part already present in long parable of Balanchine. Even if for its bright and abstract masterpieces has preferred the more often than rely on fundamental neutral (the same thing will happen with Béjart that only in rare cases it will use for the aspect scenographic of artists of value), fishing grounds on which better may further the gaudiose geometries of its dancers, has used often to the name extremely significant of 1933 2b-artunian which in more of a masterpiece of choreographer has conferred attraction semirealistica. Well deeper still relations with the world of the figurative arts operated by the "great Vestale" of the ballet American, Martha Graham that during his career has made use long from the 1930s of the collaboration of artists intelligently capable of "interpreted" with the sign attentive and original the sense of its work. The parable of Graham not only is dotted with meetings and partnerships with large American art, in head the names of geoegia o'keefe and Alexander Calder (although the personality with which the fellowship has been closer was the sculptor isami Japanese Noguchi with very simple but "strong" to give wise sign evocative; frontier perhaps the masterpiece) but its own dance over the decades has reflected the changing attitudes contemporary art. Certainly the binomial art and dance was not prerogative of the great lady of modern dance. Enough to mention the collaboration of merca Cunningham with Roy Lichtenstein, Jaspers Johns, Robert Morris, Neil., with the same Andy Warhol and even more and more long with Robert rauschemberg which drew up between the other the bold get in magical relationship with the music of Martin Feldman of summerspace (1958). The name of rauschemberg but also about return Trisha Brown in time d’Oro i.e. of post-modern dance when it is also all the flower of performance of dance in art galleries of New York and other American cities. And I cannot forget how the vanguards artistic produce their effects on other choreographers important and particularly on Alwin him even if certain its initial search volumetric ago thinking and certain to inspire the theatre triadico of the German Schlemmer and to that (that adding on stage extraneous material to dance, made the process more boldly expressive. you think of the white cloth that enters into action and produces suggestive effects in tent (1968). As an absolute value new and provocative damage the large beams of light used with great wisdom in choreography of Murray Louis. But here the speech you change it and traslitterà in luminoteca. The luminoteca that while already tried sometimes in a surprising way also in the past (the same Alessandro Sanquirico can be seen as a precursor) becomes true protagonist in so many ballets and in both Theater-dance of our time. We cannot conceive for example the parable of expressive Lucinda childs without the abstract play of light involved in his scores: just think of cooperation between the great choreographer and a "artist" of genius as soll Levitt (in dance, 1970), the best result. but decisive are the lights endeavours Carolyn Carlson that in the "employer lamps" Peter Voss found often its excellent partners. Not less marginal the luminoteca is presented in the work of an Bausch although here other signs symbolic seemed prevail and just think of the famous "chairs" already appear in his work now classical Café Muller (1978) and so in many works of choreographers who also operating on the edge of a territory yet academic. An example "strong" is in ballets of Jiri kylian where light dialogues in permanently with the choreography. Among the many ITS WORK TO MENTION (brilliant employer of lights also in this case Joop caboort) no more play (1988) to music of weben that has down sculpture of Alberto Giacometti its paradigm. In an even more significant, the lights, animate and occupy space, support and increase the expressive possibilities of the body in dramaturgy of William Forsythe the great architect of the Theatre-Dance today, he himself (from artifact, 1984 in big white baby dog, 1987) splendid designer of many of its work.

 

TONNES

Taglioni Filippo: dancer and choreographer (Milan 1777 (or perhaps after) – Como 1871). of the most important personalities 1800s Dance, was he who with imagination and great intelligence led to long aging, the ballet romantic. pioneer of the ballet blanc, his masterpiece was the Sylphide. Father of the famous Maria Taglioni. Born in a family of dancers, received the first lessons of the Father Carlo Taglioni Torinese, dancer and choreographer. Sixteen his to Pisa alongside the sisters Giuseppina and Luisa. His traineeship took place in various Italian theatres including the Regio in Turin and the Scala in Milan where he was performer also of coreodrammi of Vigano. In 1799 is perfected in Paris with Coulon and in the same year all'opéra it appeared the caravans du Caire. In 1802 he moved in Sweden, where he was appointed "first dancer" The Royal Theatre. Here he married the young Anna Karsten, daughter of a playwright, who gave him two children: Maria (1804) and Paul tagliono (1808) and he intended to become a major choreographer. In 1808 was hired as Maître de ballet to Vienna, a city where born in the guise of choreographer riallestendo among other things dansomanie by Gardel but also by presenting its work that have left no trace. In Vienna for some years after will prepare the debut of daughter Maria that now when he was eighteen and already rich of talent which until then he had followed with great care but also severity preparation. The "launching" happened in 1822 to karnterthortheater with the réception d’une Jeune nimphe à la cour de Terpsichore in which danzò beside her in the role of Zefiro. It was the first great witness of its genuine momentum creative, always at the service of the daughter, express then more deeply in the work to come. The years that followed was still dedicated the extraordinary daughter was often FOLLOWED IN THE COURTS TO GERMAN (Munich, Stuttgart, etc.). Towards the end of the 1920s, earned Paris always near the joint In the meantime had its debut all'opéra even if not in roles capable of enhance it fully. The Dieu et la bayadère (Opéra, 1830) marked the beginning of his fruitful and great period of maximum theatre French. On subject Treaty by a Ballad of Goethe from the famous librettist E. Scribe, the work, while this is a "Opéra-ballet", figure of law in the great book of the history of Ballet as the party choreographed found wide extension and great artistic. danced with enamel from Maria Taglioni that force the soprano Laure cinti-damoreau and the content Adolphe C, it already found himself in fact, widely developed the elements ideals and stylistic that soon would have characterized its best creations. elements which appear to be better carried out in there to a year in the famous Ballet des nonnes, focal point of Robert le Diable of Meyerbeer. will tell you the levinson, "was the cradle of an art New". Those 16 minutes of dance preparations in a few weeks (three only for the creation of the role of héléne of which the abbess Taglioni was extraordinary protagonist), interpolated in the end of the third act and executed the first time all'opéra on 21 November 1831 (also the Dr Véron was her debut as Director all'opéra) were not the usual divertissement inserted in strength in a great Opéra but an subject. With the gem heated far "pas Seoul" d'héléne, the dance of the nuns, where eroticism and the "demonic" were closely connected (and the décor, the cloister dilapidated drowned in Moon light, done brilliantly by day on idea of duponchel, contributed its part) was a true revolution in under dell'inedita atmosphere expressed through a series of singolarissimi movements. The choreography of T. was in perfect agreement with the environment of romantic productions and the grim story. FOUR MONTHS AFTER with the Sylphide (Opéra, 1832), T. will create his masterpiece. A masterpiece intended to never run out even if will come to us above all in the version that will subsequently, and with other music (not more than schneizhoeffer but of lovenskjold), A. bouronville. La Sylphide, danced in a ineffable by Maria Taglioni, appeared immediately as the pure image of the romantic ideal Femminino and the custodian of the exclusive style that should characterise absolutely the country’s choreographic Romanticism. What it called the ballet, The subject was born from folklore Nordic (C drew this subject but with far-reaching changes from a novel of C. Nodier released in 1822 tribly ou le Lutin d'argueil), was his couple binary. Action fact develops on two subsequent plans but with intersecazioni among them: the one land, the first act; the other ideal, populated by supernatural creatures, the second act from which life will draw the "Ballet-blanc. In the first act, in the episodes land, there is the picturesque, décor (also here to day) and costumes to create an atmosphere exotic and the dance remains more "Terre à Terre" even if l'élevation already takes momentum, lives also and gladly of "Danse de caractère", i.e. Inspired by the folklore. In the second, is the world supernatural, domain of the SPIRITS, THE KINGDOM OF WHAT WILL BE INTENDED PRECISELY TO BE CALLED, since then, the "Ballet-Blanc, is the triumph that dell'etereo is also given or, in particular conferred by those grass of mussolina (the famous tutù) designed by Lami, is therefore, the jubilation of pure dance and the whole air. When the technique, goes even said that Maria Taglioni in "Tips" is all his reason and sublimation, more became a means of expression through which all the character of See became apparent and modelled. The goal of Sylphide will not be reached by T. although most its vein of Creator was far dall'esaurirsi after that triumph. The success, even higher, even for the splendour of productions, to that of Robert le Diable, the arrise also addressed the following year with the AU sérail (MS of T. the bar, SC. Day, Opéra, 1833), whose original title was in fact the addressed des femmes changed only at the last time so that there was n't much time to correct it on the programme already printed. This was the only Ballet 1800s that was emancipation and women, until 1840, was well 81 replies, although weak at. The title is indicative of a picturesque its ambience in a world populated by Arab bangles that from Zulma player (one Taglioni that had the backing mazilier but in the "pas de deux" of the first act also a Pierrot that triumphed for skill), are requested to the rebellion. Nearest atmosphere of Sylphide appears instead La fille of danuble (Ms A. Adam, books. of E. desmarès, scenes of day and others, Opéra, 1836) but the criticism, except Jules S., judged strictly saving only for the country’s choreographic CALOP of the first act and the great with the final pas. Given in London in 1837 collected here too enormous success, as will a short distance even in St. Petersburg, on the occasion of the first and triumphant Russian concert tour of Maria Taglioni. And it was in St. Petersburg (T. Bolschoi, 1838) that T. sought to create another of those of its grandiose and Romance ballets (action divided between Russia and Spain) in which Mary Taglioni was giganteggiare. It was the Gypsy (Petersburg, Bolschoi, 1838, Ms Schmidt and Auber) that the next year will be imitated by mazilier with its gipsy. The period aureus of T. as well as that of his frande daughter, but had not yet concluded. A new, bright chapter was to be written with l'ombre (Petersburg, Bolschoi, 1839). Also in this case the spectator ran across the typical "Ballet Blanc" inspiration fantastic encoded in all its delicate characters. Shadow here is no longer a see but a ghost of a woman poisoned as Adrienne Lecouvreur from a bouquet of flowers. was invented for the evening farewell of the season 1839 in St. Petersburg but was resumed in 1842 from the same Taglioni before its final departure from Russia. enthusiasm was to the stars. The centerpiece of the choreography divided in three acts, was the "pas de l'ombre" that then was placed in other ballets including wavelets of Pierrot danced by Cerrito in London in 1843. The recovery of Parisian work (opèra, June 1844), had even the title of the pas de l'ombre. conducted with extreme elegance while lowest splendour scenic but in a composition choreographed d'ardua execution, it was also agläe ou l'élève de l'amour that had his Baptism in London (HER majesty's Theatre, 1841). Defined Ballet-divertissement, was restricted to a single act, it all is focalizzava on the figure of a young dancer a small Cupid under the eyes of a Faun avid that the drag to a virtuosistic pas de deux but it ca n't rip the girl by her true love: the young that its heart has elected. agläe someone wanted it to be the swan song of T. but, even after the withdrawal of the daughter from scenes, not abandoned his work (he worked yet in Russia, Germany and Austria) which on the threshold of 80. The great season romantic which had provided the impetus and glory was now exhausted from a piece, T. died here in tardissima age in 1871 in his villa on the lake of Como where Maria Taglioni for some years would have kept alive distant memories.

Taglioni Maria: dancer French Italian origin. (Stockholm 1804 – Marseille 1884). The greatest dancer romantic whose name is entered in the legend. Grace superb, lightness and deep spirituality have distinguished Art. Equipped with an extraordinary quality of elevation, perfect in aplombs, found in Punta its reason and sublimation. Also for it by elssler (dancer pagan), Christian Gautier the defined dancer. The Father was the famous choreographer Filippo Taglioni, the Mother the Swedish Anne Karsten, daughter of a playwright. Also the Brother, Paolo Taglioni, as the uncle Salvatore Taglioni, was an eminent dancer and choreographer. As a child she received a very severe education from the parent whose presence had a role to play her training. As with many children art, his childhood was wandering. from his native Stockholm, still tiny followed his father to Vienna before in Paris is put to the school of the famous J. F. Coulon where he remained for eight years. Despite the opinion contrast to his teacher and the choreographer aumer, the Father, after having subdued with crude abruptness of which is not reason regret never to a further training course of six months, he did make its debut in 1822 in the Austrian capital. It was in the theatre of door Korinthia in a short work of an act of its composition: la réception d’une Jeune nimphe à la Cour de terpsicore. The side of Mary in addition to the Father there were two famous dancers of the time: M. LLE Millière and M. LLE heberlé. The Wiener Zeitung saw Theater debut with the happy words of great praise for the young dancer (" its beauty, its graceful movements, its technical perfection make her a dancer perfect "). After this historic beginning, the T. was as for two years in the same Vienna. Subsequently, in 1824, for a short season danzò in Munich where at the Court was well received and more times invited. Although On a next stay French hesitate many gaps in September of that same year it is more likely his in Paris to the Théâtre de la Porte Saint Martin then living in a fortunate season especially in the field of Ballet: guests prestigious dancers and choreographers not less qualified. The T. would have reported that success hoped. success that instead the arrise in Stuttgart a little later. of the initial period artistic there are a number of important coloured lithographs that represent in ballets different. According to scientists already can glimpse the blossoming of the "great line romantic" of his art, the announcement that is, of a completely new style. "It is already being immaterial of legend, the human body driven to his more abstract expression" (levinson). The season of Stuttgart is the decisive first of the great leap all'opèra of Paris. It is here that the January 1 1827 receives the writing for an engagement on six performances. The debut, remarkable but not sensational, happened on 23 July of the same year. In the evening it appeared the Sicilien the choreographer Anatole, ballet that had history but in which Mary T. danzò also added a passage from the Father. Certain parent had obtained in the writing that the daughter in the course of his performances in the maximum theatre danzasse French in steps of his invention and he adjusted. The repertoire is rather conventional but evening PDO evening, the public that attends Opéra and between the which is also not Balzac and maximum writers of the time, begins to be fascinated by the air and light style full of news but that still seems very difficult to define. April, 1828 signed with lubbert, the Director dell'opéra, a regular contract. From this period the lavish room of RUE Le Peletier, Temple of the monarchy of the bourgeoisie of July and then the Second Empire, entered in "l'âge d’Or du Chant and de la Danse" (camborieu). punctuated with some short Travel still in Stuttgart and in Karlsruhe, the season the Parisian sees often next to his brother Paul. Mostly appeared in ballets of directory or in whose works, including Guillaume tell of rossigni. In the role of naiade she amazed particularly in the past magic that aumer, while on the music not particularly successful in hérold, just for its particular quality of dancer air had expressly composed and inserted it the Belle au Bois dormant) Opéra, 1829). And yet more she amazed the Dieu et la bayadère (Opéra, 1830), grandiose Opéra-Ballet composed of Auber whose subject was scribe from the Ballad of Goethe and where the choreography of Filippo Taglioni was all in the service of bright personality of her daughter, that, alongside the content Adolphe C collected huge success. Not less intended to move in the years of history was the famous "Bal des nonnes" (dance of nuns) inserted at the end of the third act of Robert Diable (opèra, 1831) of meyebeer by many considered the true prelude to the Sylphide. It was this long sequence of dance (16 minutes of dance) that was a very significant part in the development of the ballet in the light Beauty romantic. It was a piece of extraordinary quality and beauty, of the great strength and emotional perhaps erotic that already contained basically all the elements that will be essential in Romanticism in dance. However, even for l'aridezza and in a sense the roughness of the "pas seule d'héléne" that was at the centre of the "Bal des nonnes, the T. not the danzò that few evenings and not revert wanted more. But now we are on the birth of his work more famous. centered love impossible and fatal between a human being and a creature supernatural, La Sylphide had its baptism four months later (Opéra, 1832). It was the most complete expression of Filippo choreographic Taglioni and the gem of Mary T. come at the height of his career. With the Sylphide it was identified with the most pure image of the romantic ideal Femminino. purity of line, ineffable grace, rare elevation, extraordinary lightness: all this seemed qualify its art, pure spiritual essence. From that moment, even dancing with the lightweight and soon legendary YOC of Tulle (tutù) designed by Lami, it seemed to become the custodian EXCLUSIVE OF THAT discovery technical stylistic that characterized the Romanticism country’s choreographic: the tip. Even if it was not the first to adopt this brilliant means of abstraction representative and other dancers, in the future, it will use with the result of aridezza music, but it was also her through the Sylphide to stabilizing use of, and the sense. his horse of battle, the ballet will be the T. led to the triumph in all of the maximum theatres Europe where his name taken in giganteggiare. In that same year The represented COVENT GARDEN IN LONDON (1832) and founded the Theater in Berlin. When the 6 September 1837 gave the Bolschoi of Petersburg during his first triumphant Russian concert tour, its popularity was to the stars. In 1839 the danzò in Vienna for 42 times corresponding to 42 triumphs. After the first representation at La Scala in Milan on 29 may 1841, the reception was so enthusiastic that the same Orchestra which had accompanied her in the theater a Serenade under the Windows of his hotel. The Sylphide followed, the more spectacular but certainly more weak at, the addressed au sérail (Opéra, 1833). It was the first time, to the center of a story fantastic and office of Exoticism, was perched in a ballet the theme emancipation women thanks to the character of Zulma that raises a revolt of bangles. Also this time the success was stunning for Mary T., which however it complained because equal triumphal given reported also his partner, the "Aérien" Pierrot. After that time very lucky followed a withdrawal from scenes determined by a mysterious "mal au génou'' THAT IN REALITY was but a pregnancy. 30 March 1836 The was born in fact the second Eugénie Marie Hedwig. Previously had already had a son, Paul, the fruit of his marriage with the count Gilbert de Voisins, in fact Union that is revealed far from happy and that resulted in the separation. In quell'autunno he also created a new lucky Ballet created naturally from the Father: La fille du danuble (Opéra, 1836, Ms of Adam). Before I deal with but the new character of Fleurs des Champs, trovatella discovery of a girl on the river, the T. was revived, but to the public Parisian the August 10 in the evanescent Sylphide reported that another triumph. Blind admirer of the dancer, IOL critical Jules S. wrote that the fille du danuble was "the result of Sylphide". all'opéra, it remained in repertory until 1844 36 replies. always with great success also of criticism in 1837 was given also to London. and always in that same year, it was also represented in St. Petersburg where on the occasion of the first Russian concert tour of Taglioni remained famous for its fanaticism which the "divine Maria" went meeting. Since the first day of its arrival hundreds and hundreds of people were appostata for hours before date of entry of the theatre only to see it pass. In reality, that tour party was also created for "escape" by rival Fanny elssler. dell'opéra ruler also on limelight Parisian. For long months, the T. went meeting to genuine delusions of the public and had very high awards. fruit of that stay, Fortunato also by a financial point of view, the birth of a new Ballet always expressly created to you by Filippo Taglioni. It was the Gypsy (MS Schmidt and Auber, St. Petersburg, Bolschoi, 1838). The success in this case is enormous and that the popularity of the great dancer brought a real tagliomania. There was kind of article that does not take from You: from forms of clothing to headgear, from sweet to coffee. That success would renewed later with l'ombre (Petersburg, Bolschoi, 1839) the ballet created by Taglioni father on music of Maurer for the evening farewell of the season 1839 and then yet recovered from the same T. in 1842 before its final departure from Russia. typical example of "Ballet Blanc" romantic inspiration fantastic, was one of healings creations of the great dancer. A particular suggestion was then also in dissolving and beloved in effects of mists and waterfalls created by "Director" Taglioni. Time t5 was also, to the first act, the famous scene of the mirror, where the reflection was composed appeared that message was repeated by the gestures of the protagonists. The strong piece of the refined choreography was however the "pas de l'ombre" that then was inserted in other ballets as in wavelets danced by Cerrito (1843). The Parisian recovery of l'ombre (June 1844), had even the title the pas de l'ombre protagonist always the great Maria for which even in this case it was a all'opéra farewell: although more officially had given the year before, 29 March 1843, after 21 years of reign. This time he wanted to be final and was celebrated by Alfred (" si vous ne voulez plus Danser/vou it Faites que passer/sur ce great Théâtre it sombre/it courrez pas après votre shadows/et tâchez de nous the laisser''). Only Gautier made of heavy reserves : the first time in respect of his idol. with the Italian shadow was given the scale in the season of carnival, 1841 always with the choreography of Taglioni but with music of Viviani. Exit of final scene of Mary is the next. Two important events of his career must be mentioned, and both linked to its triumphs London. The first is the baptism of yet another Ballet regulated by Filippo Taglioni FROM TITLE agläe ou l'élève de l'amour (London, her majesty's Theatre, 1841). This was once again of a ballet by the story as romantic never evanescent but, without splendour scenic, conducted with extreme elegance. Composition of choreographic demanding implementation, the T. interpreted the young agläde that is introduced by a small Cupid secrets of dance. His Art once again was admirable although had engage in real tour de force for rival the great Diva of the moment: the Cerrito. And èproprio next to Cerrito, the grisi and the grahn that the T. will participate in the celeberrimp pas de quatre (London, her majesty's Theatre, 1845) done by Pierrot that will constitute one of the moments copies of romanticism country’s choreographic. This was one of the last apparitions of Mary EVEN IF TWO YEARS AFTER was appear always to London in jugements de Paris but previously had been applauded also in the pas des déesses. In the last years of his career always with success and the Scala in Milan was presented at the Regio of Turin and the native Stockholm. Who withdraws from scenes, taken to stay long in Blevio on Como lake where it was made to construct a Villa next to that of Giuditta pasta. In 1858 Napoleon III, the man did appoint all'opéra dance of Paris Office more theoretical than real. seduced by the great quality technical and expressive of a young student, Emma Livry, which will be the tragic, for you compose only his choreography. It was the Papillon (Opéra, 1860, Ms of Offenbach, libretto by Maria Taglioni and verony de Saint-Georges). In two acts and four scenes, this "Ballet pantomimico" you could see as an extreme result of romanticism danced: once again make, girls transformed into butterflies, spells entered the subject treaty with hand very sensitive issue of T. The Livry the danzò in a superb. Then goes back up the gift all'allieva favourite in the eyes of a photograph with the famous dedication: "Let me forget, not dimenticatemi". He remained as a Teacher-man all'opéra FOR ABOUT 10 years also because ruined financially by bad speculation of the Father. then moved to London where he opened a private school. He had spent the last few years next to the Son in Marseille, where he died on 27 April 1884. In that same year in addition to his brother Paul, had disappear even its great rival, Fanny elssler. A great time of dance is concluded.

 

Taglioni Maria Junior: dancer German of Italian origin (Berlin 1830 – NEU-Agen 1891). Daughter of Paul Taglioni and grandson of the great Maria Taglioni. student of the Father, he made these old deuttare just in London in its Thea ou la Fée aux Fleurs all'her majesty's theatre. In the same Theater, l'impresario lumely he named to replace the great aunt in the last of the great divertissement of Perrot tighten the saisons (June 1848). The T., that danced it in the role winter had alongside Carlotta grisi (summer), the rose (autumn) and the Cerrito (spring). It was then "first dancer" work of Vienna from 1853 to 1857 and then next to his father all'hofoper in Berlin. Equipped with a technique less brilliant of the dell'illustre joint and homonymous, was however a dancer of beautiful temperament intended to continue the family tradition. In 1866, following a noble marriage she retired from scenes.

Taglioni Paul: dancer and choreographer of Italian origin (Berlin – including 1808 1884). Son of Filippo Taglioni and brother of Maria Taglioni. student of the Father and J. F. Coulon, next to the sister danzò in Stuttgart in 1825 in zémire at gold. together the two brothers as long until the transfer of Paolo T. all'hofoper in Berlin in quality of Maître de ballet. It was here that he even began its fortunate career of choreographer that led him to create dozens and dozens of ballets, some of which intended to become famous and very popular in the second 1800s. Also, for this, is now history with extremely of Paul Taglioni the great. In 1847 was appointed principal choreographer dell'her majesty's Theatre of London where for ten years produced work for the most qualified "Stars" of the time: in head Carolina rose. Its first jobs were Coralie and théa, the first of them of aquatic topic, the second Floral. Praised even for the perfect balance between action and whose, théa ou la Fée aux fleurs (HER majesty's, 1847), in addition to the triumph of the cited rose saw the success of the same daughter of T., Maria Taglioni Junior, made by the Father make its debut just old. Success of Paul T. was les 2002 d'hiver ou les roller (HER majesty's Theatre, 1849, Ms Meyerbeer) in which he adopted with great effect found skaters on the stage, protagonists of large scenes of mass: "pas des frileux", "pas à la hussard", "Grand Quadrille des pantineurs'. In reality, between the characteristics of his talent there was always that their ability to exploit the inventions of the moment, as happened in a brilliant with Elettra or has lost the (1849) in which exploited the maximum invention of electricity. Other titles of success of that period, were in bloom or the queen of elfridi (1848), the first dancer or l'imboscata, the metamorphosis (1850). From 1853 to 1856 was Maître de Ballet at the San Carlo in Naples and from 1861 was the scale where renewed success by presenting ballets dear to the tastes Romance of the public of the time. A real triumph reported flik and FLOK Ms Hertel, Prot. Amina groves and Efisio Call (scale, 1862) in which fact in an irrational the adventures of two eccentric characters, precisely flik and FLOK whose nimi became very popular at the time. The Ballet that already in some respects anticipated the dance of great by had wide popularity and was repeated in subsequent seasons for over a hundred times. to surprise was the final scene in which appeared one crowd of dancers in jacket and headgear from Bersagliere. For the maximum theatre Milanese part other new work and many productions of previous ballets. In 1863 he returned to Berlin where he had married the dancer Amalia GALSTER from whom he had three children (only Mary will however dancer) and where he worked still many years. Only in 1833, a year before his death, she retired from scenes after a life spent in the service of dance, as one of the Father.

Taglioni Salvatore: dancer and choreographer (Palermo 1789-Naples 1868). brother of the most famous Filippo Taglioni. Artist which, to its assets more than 150 jobs, good craftsman of the scene failed to match never great joint. Life was very turbulent and troubled and his career developed mainly between Milan and Naples. As the galzerani and others, often drew inspiration for his ballets from historical novels very famous in his time, including the betrothed Manzoni represented the scale in 1930s. His first Ballet Scaligero was but the conquest of Malacca (1820) of which was protagonist dancer French Adelaide Perrault (but in the Inn often appearing even with the name of Anna parraud) that T. had married in Lyon. First of kind, he gave to the scenes also an Ines de Castro (1827) interpreted by large celebrities of the time between which Teresa héberlé. Other of its creation of great success was romanoff that in the course of two seasons (1837 and 1840) totalizzò almost a hundred replies. In the Naples that young, alongside Hus, had seen teacher in the school of dance willed by Murat, passed the last years, almost in misery declining to teach students to spare. Its in Naples, in the riots of 1848 had happened to be was arrested and past to the arms. seriously injured was able to heal but by that time began his troubles.

talchief Mary and Marjorie: dancers (Fairfax, Oklahoma, 1925 and 1927). Maria T., after being student of Iceland and the nijinska, was a long work at the New York City Ballet revealing himself who ideal of many works of Balanchine. Marjorie T., and student of Iceland and the nijinska, was among other things Étoile of the ballet Theatre and the company de Cuevas. It was frequently partners of her husband, the dancer and choreographer gorge stibine, more times also sensitive protagonist of his version of SHALL of fire.

Technical: Arabesque: it is time-limit which shall designate the position in which the body is stretching across the board. While a leg is supported on land the other is raised and tense backwards; also the arm, when they are not both, continues the line of the leg raised. exploited largely from the ballet romantic, with the time standardised. has undergone numerous changes. In particular, it tells. benches when the body, turning sull'anca leg support, fold in forward horizontally. Attitude: is this particular position that the dancer takes according supported on one leg, or semipiegata with the foot supported on the ground or supported the toe, while the other leg is situated raised behind match up hip and folded in the knee with the tip of the foot spvente highest of the knee. Example of perfect. has always been considered the figure of mercury sculpted by Giambologna. balancé: it is the term which indicates a step balanced during which a leg comes in the open position submitting while the other the touches. ballon: it says that has "du ballon" a dancer when it is able to rise to considerable height should easily for bouncing back as high as before: all this in a very natural. battement: this means the movement of the leg that moves from one position another. battements says of those exercises frappés rather simple, that damage elasticity of the leg. Batteries: (i.e. quick succession of bars). It is the time limit which is to submit a set of steps skipped and argued, that is to say Pulteney and the beat of the legs during a jump. are called "great batteries" movements that require an particular, for example the "entrechats Six, huit" and so on. On the contrary "Petite batteries" includes the same movements earth to Earth as "the Petite cabriole". brisés volés: are the jumps during which it makes a joke. cabriole: step belonging to the batteries. Even if ALA its nature it is then amended, is ancient term Italian "somersault". To execute, the dancer tends a leg in the air while the other leg with a leap, arises in parallel with the same one back. The first after beating s'allarga slightly. The second leg, returned to earth, is reached in the first in fifth position while in the "somersault open" This leg, into the open position stands ready to another step. Tail: is to submit the last part of a movement of dance and almost always is a step of skill, to great effect. It has in particular in the "pas de deux". détire: it says that financial year assopisce the leg made with the help of the hand or of the bar. détourné: Change guidance of dancer that is carried out with a round of hand the leg, which is located behind the other leg. European: is in movement of the leg that folded develops at various heights and in different directions. ecarté: is to indicate the location of dancer respectively with a leg lift in the direction of the public or the other side while the arms get direction of the legs and the head that leg extended. echappé: it is a movement that part of a closed position of the feet to reach a open after a decline. entrechat: movement that belongs to so-called "batterieà croisement". That is that step which indicates the leap from dancer vertically on two feet with legs aimed at points facing to the low, then a GA, BA passes before another only once or more times DETERMINING THE VARIOUS TYPES OF E. that the "A" can be up to "Dix". Pas Seoul: it is that piece solo, generally virtuosistic or highly expressive, studied by a choreographer for a dancer or a dancer. Illustrious example is the death of Cogno of Foucault-Saint-Saens. Whirls: means generically Any type of Tour full that the ballerin takes on himself. are very different much "en dehors" as "en dedant". porteur: means the partners of the dancer which generally has the function of support, especially in the executions of the same air. renversé: it is the time limit which shall designate the a of the body in the course of a tour almost to the limits of the loss of balance. BAR: fixed to the wall to a short distance, is the long boom that allows the dancers to rely for their exercises. Each dance lesson begins at the bar. levé temps: it is generally that leap with thrust upward. lié temps: means that step which will tie a position another. tumanova Tamara: dancer Federation (Siberia 1919). born during the flight of his parents to Shanghai, here was the luck to see the Pavlova, which detminò its desire to become dancer. After having studied in Paris with the preobrajenska, was with the baronova and the riabuchinska one of the "BABY ballerinas" in Venetian Russian de Monte-Carlo. participated in creations of Massine and of Balanchine. While not possessing a technique infallible, T. over that for its great beauty (he was also performer of film) triumphed for its splendid stage presence. It was in the ballet Theatre, New York, all'opéra of Paris and long also in Italian theatres. Vast his repertoire including also titles classic and modern.

 

U

ulanova Galina: dancer Federation (Petersburg 1910). One of the most appreciated ballerinas of the middle of our century exits to and from great school of marinski. Daughter of art, followed the courses of Mother Maria romanova specialized in followed with the vaganova. As soon as his little girl and on the scenes of Kirov already in 1929 only 19 years was protagonist of the lake of the swans intended soon to become his horse of battle. After it appeared as also the protagonist of the sleeping beauty and of raymonda, in 1932 he made marked performer of Giselle. His star shone in the long on the scenes Republics but International, from 1944 becoming the star of absolute Bolschoi of Moscow. In the meantime in 1940 created the choreography of lavrovski one of its major characters, that of Giulietta, Romeo.

 

V

vaganova Agrippina: dancer (Petersburg 1879 – Leningrad 1951). student of the school imperial Petersburg where he had the best teachers of his time (Ivanov, guerdt, legat, etc.), after being first dancer, became in turn excellent teacher. has linked its name to a famous method, said precisely "method vaganova". Fundamental remains in the didactics choreographed his book foundations of Ballet released in 1934 and translated in different languages. Director for some years of the body of dance Kirov healed the reproduction of some classics of Russian repertoire. had students such as the ulanova and the dudinskaja.

Nikolay Vassilev Vladimir: dancer and choreographer Soviet (Moscow 1940). rebooked at the Bolschoi whose school had studied, he soon noted for its exceptional Deine obtaining only vant'anni in 1960 a part of first dancer it the flower of stone of Prokofiev. "danseur noble" of rare elegance and the prodigious technical, V. not took to become the number one of the dance Soviet serving as the "great rival" general or Nureyev. Virtuoso incomparable. Its intelligence allowed him to not just to a peculiarity purely technical always looking strong expressiveness dramatic for its characters, the great characters classics but also the protagonists of ballets contemporaries. between its horses of battle that Spartacus by grigorovic that he himself created in 1961. Great part of his career was held at the side of Ekaterina maximova (Moscow, 1939), dancer you well as beautiful personality grammar and great technique, destined to become his wife. As its other distinguished colleagues also V. was attempted by choreography. cimentatosi first with a ballet concertante on model almost balanchiniano (sounds wonderful), it is subsequently committed in subjects centred on mythological figures or tragic. It was the case of Icarus (on music of S. sloninski, Moscow, 1976) and of Macbeth (on music of ", 1976). Its other choreography of success anjuta and notes for a choreography when they arrived in Italy, the country with which V. has maintained close relations more times working with theatres which the San Carlo in Naples or Arena of Verona.

Vente Carolina: Italian dancer. Student of scale, it was claimed in full romantic period. He participated in the maximum theatre Milanese to pas de quatre (1846) of Pierrot alongside the Taglioni, the fire and the wuthier. danzò with the elssler. Was performer of dances of Casati and of polite.

Véron Louis said the Docteur Véron : Director work of Paris (1798 – 1867). It was one of personality than in view of the world artistic and literary era of Luigi Filippo. To Him as having raised Opéra from deep state of decay in which it had fallen. He graduated in Medicine, after for some year exercised the profession as "internal". But without brilliant results, in hospitals in the capital (he was also the doctor of royal museums), entered the journalism, first in the quotidienne then to Messager DE PARIS until he founded the Revue de Paris later became famous Revue des Deux mondes. enterprising, equipped with real genius of the business, Sainte-Beuve it was defined not without irony "financier artistique et Littéraire". In 1831 taken in contract the great room of RUE Le Peletier raising in a few seasons to pomp that had never known. Thanks to him, Opéra became an institution of state that since then he could be taken in rent from any entrepreneur of large capacity and good will. Important Theatre, not only improved the structures and the provided of a modern lighting, BUT IT MADE THE ACTUAL rendez-vous of the bourgeoisie of the times of the monarchy of July, the one immortalized in the novels of Balzac that among other things it was a big visitor dell'opéra, guest in the famous stage said "The pit of the Lions". V. was able to bring to the theatre to its splendour using also in great style the advertising of which he was a true champion. Point also or, better, we can say that was himself to "invented", that he had contacted in the famous Auguste its great shows, the man who knew how to distribute in room his cronies ready to applaud the signs of head. Often the success of a show and a performer, Singer or dancer that was, depended on the coalition Véron-Auguste. It was thanks also to V., at least to some part, if Maria Taglioni, reported its great triumphs and especially in Sylphide (1832). However the same V. soon to set the great rival Fanny elssler snatched the power of money to the theatres London. The "kingdom" (V. all'opéra lasted only four years (in 1835 already sold the place to Henri duponchel (as was because congedasse is a fortune and left considerable legacy to the Teatro in an enviable reputation. In 1857 gave the prints an important book of memories, (d’un bourgeois de Paris, probably by Guttuso’s friend scrittogli malitourne.

vertris or vestri: family of great dancers of French origin famous Florentine between the end of the 1700s and the early 1800s. FIRST TO HAVE TO BE REMEMBERED is Teresa V. (Florence 1726 – Paris 1808), which, already student, Dupré, thanks to his knowledge amorose and not with the great "Maître de ballet" lany, not only could make its debut all'opéra but call in Paris the Brothers Angiolo V. and, to become, it was more famous, Gaetano V. Angiolo (Florence 1730 – Paris 1809), also him student of Dupré, was also flutist and perform as an actor to comèdie italienne in Paris. all'opéra as dancer appeared for a short time around the 1753. Then it will be in Stuttgart next to noverare.

Jean Marie Vestris Auguste Augustin said Auguste V. (Paris 1760 – including 1842). natural son of Gaetano V. and the famous dancer Marie Allard was often also appointed as Vestris Allard. student of the Father, he did make its debut just these old all'opéra. Immediately appreciated by the public, he became in a short time one of the most appreciated dancers of his were also thanks to its vitality, to its extraordinary pirouettes and its Grands jétés FROM A SIZE AND FROM A elevation until then, unknown both from opinion inaugurate a new style of dance. First dancer at only 18 years, seemed not to have rival and had scriptures fabulous both to get huge profits. The same great painter Mae Lebrun the admired and told him to him to be "the danseur le plus surprenant que Hon puisse voir". dancer of the great strength acrobatics, but not yet owned balance and the nuances which will be the romantic period even if, for some towards it preceded the style. Even the famous Duport, while Bravissimo and acclaimed, succeeded in eclissarne the fame. It was also in London all'her majesty's where in 1780 interpreted with great success carry et Jason of noverare that the appreciated but also to its Lettres mise in relief the impurities techniques. as surprised as many other artists of her time by storm events decisive by the French Revolution, mediated to London where he remained for about a decade. In 1795 married the dancer Anne Augier but from which to its volatile character had to separate. fuglio you had the Auguste Armand also him dancer. Back to Paris during the Napoleonic period continued to dance all'opéra until 1816 after 44 years of career. For many years taught but still at the same Theater seeing, now old, the blossoming of a style that poetry that had not foreseen. But again, in 1835, 75 years will appear in its Theater in a "pas de deux" next to a Maria Taglioni in the splendour of his glory.

Vestris Gaetano (Gaétan Balthasar): dancer (Florence 1729 – Paris 1808). V. was one of the greatest dancers of half 1700s. nicknamed by his contemporaries "Dieu de la Danse", epithet that this will then also to the Son Auguste but of which had already benefited even his master Louis Dupré (Rouen 1679 – Paris 1774), also referred to as "Apollon de la Danse" or "the grand Dupré" because of his height but also for his talent. noverare same left written its Lettre, as V. eguagliò Dupré "en perfection" but the exceeded "en Variété et en first". Yet still youngest, his member Royale de Musique after across for Europe and soon he imposed to the public Parisian as the prototype for excellence of dancer noble in virtue of the grace and harmony of his steps. capable of achieving the "tours de force acrobatic, not abusò ever of its means preferring a dance of type slow and majestic. The "Chaconne" was one of its specialties. In 1751, 22 just, was appointed, always all'opéra, "danseur Seoul" and fame begins to when even though his character not easy and tempered the subject often serious trouble. Man of world, Florentine language ready, filled, the equal of his brothers, the chronicles especially Galanti of his time. SOME OF ITS Mottoes and certain his practical jokes passed to history. There is also in the biography form track left by Gaston capon (Les Vestris, Paris, 1908). In 1754 will perform in Berlin by then with the brothers to return to Italy, in Turin, where he worked with the Royal. The following year was, once again in Paris in creations of Lulli and of noverare. Excellent MIME, V. contributed for its part to the reform of the ballet, IN THE FIRST PLACE lightening the clothing of dancer and abandoning the mask that DENIED THE EXPRESSION gestures. What that made with the famous Ballet of noverare carry et Jason from him, next to M. LLE nency and the Brother Angiolo V., bringing in scene the first time in February 1763, the Court Theatre in Stuttgart where he was often a guest. impressed by noverriano masterpiece, V. same repeat in 1767 to Burgtheater of Vienna and then, but in reduced version as Intermezzo but in a work of the Borde, all'opéra in the Paris in 1770. And here the will and again with the original music by Rodolphe, preparing Opéra Parisian with the advent of the same noverare. In 1770, V. all'opéra was appointed "Maître de ballet" and composer of dances, positions that will overwrite until 1776 prejudice, however in quality of first dancer until his retirement in 1781. Married dancer of German origin Anne heinel, passed in history as the creator of pirouettes, but he was as natural son the great Auguste V. by even more famous dancer M. LLE Allard. The last time that appeared on stage was to 71 years, in 1800, to celebrate the debut of his nephew Auguste Armand whose career of dancer will develop especially in Italy, in Naples. mediocre teacher Gaetano V. is also choreographer little fertile and not sublime (its culture as his intelligence was rather weak) – to remember in addition to carry et Jason an endymion – was but the dancer that led all'apogeo the development of dance noble.

Vigano Salvatore: dancer and choreographer ITALIAN (Naples 1769 – Milan 1821). One of the greatest players 1800s dance. Was force of the "coreodramma". Its parable artistic is to be seen as the ring of connection between classicism and romanticism. Work of the reform initiated by hilverding, noverare and angiolini, with its many works, renown Prometheus, outlined on that line of ricreca which has the object fundamental body language considered for the purpose of dance in all its possibilities of movements, linkages gestural and of gestures. A wide artistic vision inspired l'ispirazionedi V. which second Henry prunièrs "knew how to bring together imagination of a poet to the vision of a painter and sensitivity of a musician". between its maximum estimators Stendhal that there was in a letter he wrote: "I assure you that in 1860 question of him that of M. me de stäel". Thanks to its incessant work, united with that of an, the scale became a centre country’s choreographic International. Born in Naples, but originating in Reggio Emilia, was the son of art. His father, honoured, was choreographer, the mother, Maria ester Boccherini, sister of the great epic composer. Still youngest, with the Father undertaken the study of dance and music at the same time with the famous Uncle. From self-taught cultivated also literary studies and scientific, what he will be then valuable for his work. According to the rules of the time that did not enable the women of limestone the scenes, his en again to Rome still adolescent. In 1788 is in spagan where is hired by duberval and where, in Madrid, knows Maria Madina dancer beautiful that soon marries. Together they formed a pair of dancers performing with success among other things in Bordeaux, London, Hamburg, Dresden and Prague. As also of choreographer, in 1797, V. all'opéra is located in Berlin where along with his brother Giulio compose the music for unìopera by the title tyranny repressed. His first big creative moment is however in Vienna where remains from 1799 to 1803. In the meantime had separated from Medina, with her last time appearing to Fenice in Venice in a work of its composition: the serviani. It is in the Austrian capital that elaborated the creatures of Prometheus (Die Geschöpfe des Prometheus) (1801), his first masterpiece. With the choice of the subject that moves from the concept of commercial brand view of Titano that leads to the men the light, he found the way to him congenial of the great myth heroic to play in key allegorical as a representation of content universal. The music of Beethoven, the only score of the great musician composed for the theatre of dance, although written in perfect adherence to the needs of V. certainly on the other hand it must have had a big influence on the same choreography strictly and "harmoniously" structured. defined in its commentaries (1838) from returns, maximum exegete of V., "the small Prometheus" to distinguish it from the next work Scaligero, creatures of Prometheus dance heroic-allegorical in two acts with the scenes of Plasser went on stage all'hoftheater on 28 March 1801, between the musicians was the same V. that interpreted one of the "creatures". not about the choreography and even the book in its details, the work will not be more accepted, even if in our century MORE THAN A choreographer of success will attempt a transposition scenic based on the music of Beethoven. lifar there he tried in 1929, and so long in 1933. However in the season, the ballet was resumed fifteen times and 13 in the next, sign of his great success and the extreme News made. Through it, the country’s choreographic language of V. It was specifying and enriching in all of its extraordinary imagination and expressive power. Fantasy and expressive force that will find their exaltation in the course of his long Italian season and in particular Milanese now to the doors. In 1804 is to return in the peninsula and in that same year proposes, found by Shakespeare, Coriolano (Milan, Carcano) in which its concepts merits are clarified through the historical realism. The parable artistic divides between the various Italian theatres and in particular the Fenice in Venice where in the course of the carnival of 1809 represents the streilizzi (MS various authors, SC. A. Sanquirico) based on an episode of Russian history: precisely the conspiracy of strelizzi in 1697 against the Tsar Peter I. It is with it that V. reaches the large size of what he himself is preparing to call "coreodramma", an attempt to show which is able to incorporate and merge Dance, acting dramatic and work of director. aspect is operating in another title then became famous: the knob of Benevento (Ms F. X. sussmayer, SC. A. Sanquirico, scale, 1812). This is a ballet that as the daughter air and the games were already composed during his period Viennese, V. took over the maximum Italian theatre to propose it once more in a broader and more mature. In bottom of the booklet also give us that "the title should be the fight against the mistake of reason". From that moment and to the death, will work almost exclusively for the scale, the theater where was born his masterpiece absolute, that Prometheus that finds its final version the 22 may 1813, a century exact before another work "revolutionary" Le Sacre du Printemps of nijinskij-Stravinskij. Drama epic with great commitment masses as already the strelizzi, Prometheus required a long preparation and a great apparatus scenographic cured with care also this time from Sanquirico. Between the musicians, that Antonietta dancers (eoe) favourite in the eyes by V. for its coreodrammi. The success was remarkable. It gave testimony in addition to Stendhal, Foscolo and the door that was made spokesman of his famous monologue of giovannin bongee. Dance pantomimico in six acts built with a theatre bitter, with it V. returned to the theme in him dear extending in that mythical universality of moral content metaphorically presented finding itself but in the need to integrate, on the length of work, the music of Beethoven with other compositions of Mozart and Haydn. For all that 1813 it was resumed numerous times and so in a next season in a plant scenographic renewed by Paolo landriani and between the musicians Filippo Taglioni. Still in 1844 will find a part of its recovery from Huss. In our century it will try the reproduction Ninette de Valois, London, with the sadler's wells ballet and, in Stuttgart, Marianne von Rosen. As Prometheus, software and imposing will find also the coreodrammi subsequent of V. and in particular a trilogy that gave always on the scale in 1818, trilogy composed of labyrinth, Otello and the Vestal Virgin. It is always level dancers the great protagonist and especially for the third of the work Eco aroused was resounding not only between the general public but also among intellectuals. Always Stendhal, wrote that V. "has exceeded any form of expression. His Art instinctive allowed him to discover the true nature of dance: Romantic for excellence ". It was the first time that this adjective was used for the ballet. The Vestal Virgin, which in subject traced that work homonymous snacks, as another of his great success Mirra (1817) the tragedy dell'alfieri, followed the Titans (scale, 1819). much discussed, the more than forty dances created by V. was one of the last. Still with a spectacular productions of Sanquirico, the choreographer he returned with it to themes mythical supremely dear to him. All harmony of movements and beauty of image, especially the first act, representative age Aurea dell'innocenza, belonged to its highest poetic. The creative tension and the huge waste of physical energy for the preparation of the shows in the meantime had undermined her health. After a Giovanna d’Arc not memorable, V. it could lead to term Didone that was staged posthumous the scale from his brother Giulio. prematurely, August, 1821 disappeared a few months after Napoleon his great contemporary. His name will be intended to enter in the legend even if his dances that had pale imitators disappeared from the register soon too closely tied to his Creator.

vinogradov Oleg: dancer and choreographer (Leningrad 1937). A pupil of Kirov, passed later in the Ballet of Novosibirsk, where he began his career choreographed producing versions very personal the Cinderella of Prokofiev, of Romeo and Juliet of the same, versions for some towards near to the spirit of Béjart. With its malegott's created in Leningrad will speak for itself for another Ballet that will make history in the 1970s. And that jaroslavna, inspired songs of Prince Igor Borodin, stylistically open to new experiences and spiritually attentive to great existential problems. appointed Director of Kirov for which has created other choreography, V. is between those few paintings that if they are trying to fatigue the renewal of the ballet in their country.

vladimiroff Pierre (Piotr Nikolaievich V.): dancer (Petersburg 1893 – New York 1970). Since his first appearances as a student of the school imperial Petersburg was appreciated for his skills as dancer noble and refined. Conscious of their talent (he was one of the dancers Russians best paid), rebel to the tradition, in all the classical repertory that faced introduced innovations of steps that were trying to restore a better balance with the dancer. In 1919 he left his country and had a brief experience with the company Diaghilev. karsavina was the partner but above all Pavlova. In 1934 reached Balanchine in New York in the new school of American ballet.

•  

•  

 

 

type of dance in the world

backbeat - balance - ballet - ballroom - beat - body frame - Bosa Nova - box step - break dance - brush step - celebrate - cha-cha - Charleston - clogging - Cotton Eyed Joe - country western - country western - dance step - disco - downbeat - Electric Slide - ethnic - flamenco - folk - footwork - fox-trot - grapevine - hip hop - hustle - hustle - jitterbug - Latin - lead - Lindy Hop - line dance - line of dance - mambo - measure - meringue - modern - partner - performance art - poise - polka - posture - promenade - push-off - quickstep - rhythm - rock step - rockstep - round dance - rumba - salsa - samba - shag - side step - 'skim' - slide - social - square dance - step - syncopation - syncopation - tango - tempo - two-step - walkthrough - waltz

 

 

 

This Site is owned and managed by Tech world, every effort has been made to guarantee the accuracy of the information on this site and of our tools and calculators, we cannot give a guarantee or be responsible for any errors that have been made. If you find an error on this site, would be grateful if you could report to us by writing and try to correct the whole as soon as possible.

 

1. Tags dance : classic dance , lady dance , lady gaga dance , dance 2009 , lady gaga just dance , dance school , dance remix , street dance , dance street , dance classes , mix dance , dance mix , dance lessons , dance academy , learn dance , one dance , salsa dance , dance class , salsa dancing , world dance , la dance , dance flick , learn to dance , time dance , cover dance , dancing time , dance schools , cd dance , street dancing , african dance , solo dance , justice dance , dance lesson , dance wear , s dance , film dance , make the girl dance , salmon dance , dance day , dance instruction , dancing school , body dance , face dance , dance generation , play dance , dance teacher , dance charts , american best dance , dance power , only dance , dance 09 , brothers dance , dance machine , bone dance , va dance , classical dance , weekend dance , dance station , dance store , mirror dance , classic dance , the salmon dance , dance planet , dance teachers , honey dance , dance 2001 , dance event , social dance , just dance download , dance magazine , dance mission , dancing day , dance 2003 , dance 2002 , dance 1999 , just for dance , fashion dance , dance 70 , yoga dance , dance europe , dance news , google dance , dance 08 , para para dance , only dancing , caramel dance , dance 98 , dance 1996 , lady gaga just dance download , cd dance 2009 , dance attitude , infinity dance , just dance torrent , tropical dance , dance winter 2009 , dance del momento , jast dance , telepathe dance mother , dance abc dance , international dance bassano .

1. Tags dancers : ballet dancer , dancer ballet , ballet dancers , dancer dark , we are dancers , or we dancers , are we dancers , human dancers , human or dancers , are we human or dancers , famous dancers , black dancers , mp3 dancer , black dancer , little dancer , dancer 2009 , famous dancer , dancer song , two dancers , human dancer , film dancer , line dancer , we dancer , latin dancers , we are dancer , japanese dancer , air dancer , latin dancer , human or dancer , loaded dancer , house dancer , euro dancer , robot dancers , dancer 2008 , electro dancer , dancer desktop , blue dancers , dancer photo , dancer photos , spinning dancer , tea leaf dancers , desktop dancers , humans dancers , mp3 dancers , table dancer , classical dancer , electro dancers , wanna dancer , killers dancers , mp3dancer , humans or dancers , you tube dancer , only dancers , only dancer , dancers film , killers dancer , active dancer , dancer in the rain , all we dancers , the dancer pj , the dancer torrent , killers human dancers , furry dancers , classic dancer , the dancer film , the killers dancers , golden dancers , space dancer , classic dancers , dancers fun , killer dancer , all we dancer , musica dancer , caramel dancer , every dancer , dancer answer , denser or dancer , always dancer , belli dancer , diva girls diva dancers , only human only dancer , we are the dancer , boonlight dancer , we are all dancers , hip pop dancer , flamboyan dancers , holy dancer , billie the vision and the dancer , ordinary dancers , all we human all we dancers , toples dancer , glowfly dancers , four plays for dancers , dancer in the moonlight , tree boo dancers , dancers and fun , deep impact dancers , sosa style dancers , salvatore the dancer