1. Ballet began in 16th and 17th hundreds in the court of ______.
    Louis XIV
  2. Initially, ballet was dances of ______.
  3. The first dancers on pointe were during the _____.
  4. Choreographer of La Sufite was ________________.
    Filippo Taglioni
  5. Dancer La Sufite was written for was _______.
    Marie Taglioni
  6. George Balanchine was from what country?
  7. George Balanchine started with what company in Paris?
    Ballet Russes
  8. George Balanchine co-founded what US company?
    New York City Ballet (NYCT)
  9. George Balanchine choreographed Argon with music by _________.
    Igor Stravinsky (1957)
  10. George Balanchine came to US and started school in
  11. Sometime around the ______, a professional dancing master wrote down what to dance and how to dance it.
  12. Western theatrical dance has reflected, from the sixteenth century onward, _____ in thematic material and in costuming
    Greek influence
  13. Indeed, ____, played by the dancing master himself, continued to be the instrument for accompanying dance classes and ballet lessons until the twentieth century.
    the violin
  14. 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.
    a sixteenth-century balletto
  15. Renaissance dancers did not ____.
    point their feet or turn out their legs
  16. 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 ____.
    the courts and the upper classes
  17. Similar positions were used for ____. which, along with dancing and riding, was a requisite accomplishment for any gentleman.
  18. The English equivalent to _______ _ was the court masque, usually based on a mythological or allegorical theme adapted to extol the virtues of the monarchy.
    the Italian intermezzi and the French ballet de cour
  19. ____ brought ballet de cour to its most brilliant phase.
    Louis XIV (1643-1715)
  20. 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 ____.
    the Acad�mie Royale de Danse
  21. Establishment of _____ as a stage frame enhanced the use of hidden machines to shift scenes quickly.
    the proscenium arch
  22. The establishment of the five positions for the feet, still foundational for today's ballet technique. is credited to_____.
  23. The angle of turnout, when heels touched and toes turned outward was _____.
    about 90 degrees
  24. Fashion implemented by ____ replaced cumbersome courtly dress and rigid corsets with lighter, more flowing costumes based on Greek and Roman drapery.
    the French Revolution
  25. 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.
    ballet technique
  26. Marie Taglioni epitomized a newly developing style: her delicate piqu� to _____ replaced the deliberate rise to half-toe of the previous century.
    full pointe
  27. To show off his daughter's superb skills, Filippo Taglioni created many new ballets, including his masterpiece, ____.
    La Sylphide (Paris, 1832)
  28. The dual role of _____--a peasant girl in Act I, a ghostly Wili in Act II-challenges dancers to this day.
  29. 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.
    Auguste Bournonville ; Arthur Saint-L�on
  30. 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 _____.
    a star ballerina
  31. Still another Frenchman, ____, was to have the greatest effect.
    Marius Petipa
  32. His talented but humble assistant ____ was responsible for choreography of The Nutcracker and Acts II and IV of Swan Lake.
    Lev Ivanov
  33. Another technical wizard from Italy, ____, became an invaluable teacher in Russia before bringing his influential method of instruction to the West.
    Enrico Cecchetti
  34. By the end of the nineteenth century, dancers and audiences had grown accustomed to a kind of ballet ritual revolving around ____.
    bravura technique
  35. 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.
    Michel Fokine
  36. 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.
    into the twentieth century
Card Set
early history of ballet