BalletHistory-part-1.txt

Ballet began in 16th and 17th hundreds in the court of ______.

Initially, ballet was dances of ______.

The first dancers on pointe were during the _____.

Choreographer of La Sufite was ________________.

Dancer La Sufite was written for was _______.

George Balanchine was from what country?

George Balanchine started with what company in Paris?

George Balanchine co-founded what US company?

George Balanchine choreographed Argon with music by _________.

George Balanchine came to US and started school in

Sometime around the ______, a professional dancing master wrote down what to dance and how to dance it.

Western theatrical dance has reflected, from the sixteenth century onward, _____ in thematic material and in costuming

Indeed, ____, played by the dancing master himself, continued to be the instrument for accompanying dance classes and ballet lessons until the twentieth century.

This structure for _____ for a cavali�re and his lady is not unlike that of the ballet pas de deux for a danseur and ballerina.

Renaissance dancers did not ____.

Lost, too, are the genuine early folk dances of peasants, artisans, and villagers, for the material in the dance manuals reflect only the practice of ____.

Similar positions were used for ____. which, along with dancing and riding, was a requisite accomplishment for any gentleman.

The English equivalent to _______ _ was the court masque, usually based on a mythological or allegorical theme adapted to extol the virtues of the monarchy.

____ brought ballet de cour to its most brilliant phase.

In 1661, the year of Luis XIV's ascension to absolute power, the king showed his commitment to improve the quality of dancing by establishing ____.

Establishment of _____ as a stage frame enhanced the use of hidden machines to shift scenes quickly.

The establishment of the five positions for the feet, still foundational for today's ballet technique. is credited to_____.

The angle of turnout, when heels touched and toes turned outward was _____.

Fashion implemented by ____ replaced cumbersome courtly dress and rigid corsets with lighter, more flowing costumes based on Greek and Roman drapery.

But not until 1820 was there a published account of ____ as we recognize it today, including the outline of the structure of a ballet class.

Marie Taglioni epitomized a newly developing style: her delicate piqu� to _____ replaced the deliberate rise to half-toe of the previous century.

To show off his daughter's superb skills, Filippo Taglioni created many new ballets, including his masterpiece, ____.

The dual role of _____--a peasant girl in Act I, a ghostly Wili in Act II-challenges dancers to this day.

However, two male dancer-choreographers of the period deserve special mention: _____ developer of the Danish repertory, and _____, creator of Copp�lia and a system of dance notation.

In the second half of the nineteenth century, the great opera houses of Europe relied more and more on spectacular vehicles tailored for the talents of _____.

Still another Frenchman, ____, was to have the greatest effect.

His talented but humble assistant ____ was responsible for choreography of The Nutcracker and Acts II and IV of Swan Lake.

Another technical wizard from Italy, ____, became an invaluable teacher in Russia before bringing his influential method of instruction to the West.

By the end of the nineteenth century, dancers and audiences had grown accustomed to a kind of ballet ritual revolving around ____.

As it happened, a young Russian dancer and choreographer, _____, picked up the pen in 1904 and urged the ballet administration to work for more harmonious productions in which music, decor, costume, and dance would blend in a meaningful way.

Subsequently, a group of Russian artists, including Fokine, determined to bring ballet ____ and to transport their ideas and talents out of Russia for the rest of the world to appreciate.