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The dancing seemed born of the music; the coordinated costumes and stage decor set the proper mood-it was "total theater," the dream of _____ brought to reality by a company of young Russians.
Michel Fokine
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At the helm of this historic troupe was _____, artistic director and impresario extraordinaire.
Serge Diaghilev
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Heading the list of ballerinas was _____, who seemed to epitomize the Fokine philosophy.
Anna Pavlova
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Igor Stravinsky, commissioned to compose music for _____, became famous as a result and began his close association with the Diaghilev Ballet.
The Firebird
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His four ballets, notable Afternoon of a Faun and The Rite of Spring, seemed ____; their angular , "primitive" movements and rhythmic motivation anticipated a vocabulary later developed by such modern dancers as Mary Wigman and Martha Graham.
a denial of classical ballet
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____ was engaged to guide these young talents in daily classes of strict technique.
Cecchetti
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In 1928, __ and __ began a collaboration that extended to more than forty years.
Stravinsky and Balanchine
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The constant touring of these companies during the 1930s and 1940s produced ____.
a new generation of ballet fans
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The role of Princess Aurora in the ballet [Sleeping Beauty] has been indelibly associated with _____, a product of the de Valois school, who became one of the world's truly exquisite ballerinas.
Margot Fonteyn
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The company was awarded a royal charter in 1956, thus becoming ____ and fulfilling the de Valois dream.
the Royal Ballet
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A young Harvard graduate, ____, envisioned an American ballet company and fortunately had the financial means to implement his plans.
Lincoln Kirstein
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Impressed with the neoclassical style of ____, Kirstein invited the young choreographer to the United States to found a company.
George Balanchine
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After periods of little activity and several reorganizations, the company finally in 1948 found a performing home, the New York City Center, and a new name, _____.
New York City Ballet (NYCB)
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But unlike most ballets from the Diaghilev years, the Balanchine selections seldom have ____.
a story line or elaborate decor
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Balanchine ballerinas perform with _____ and limber, over-the-head extensions, technical attributes now expected by most companies.
pistonlike pointe work
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____ has followed quite a different path.
American Ballet Theratre (ABT)
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At the invitation of Ballet Theatre, _____ moved to America and brought a new dimension for ballet .
Anthony Tudor
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ABT continued to encourage _____, as in, for example, its sponsorship of modern dance renegade Twyla Tharp's witty, unconventional compositions.
choreographic innovation and technical expansion
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The American West was the inspiration for another popular work, ____, _by Agnes de Mille_.
Radeo (1942)
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Jerome Robbins, like de Mille, brought ballet choreography a varied background-ballet, modern, jazz, tap-that he brilliantly wove into a little masterpiece, ____, the saga of three sailors on leave in Manhattan, set to a new jazz score by Leonard Bernstein in 1944.
Fancy Free
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Beginning in 1954 with six dancers, ____ toured in a station wagon, presenting a repertory of four Joffrey works that were performed in borrowed costumes to taped music.
the Robert Joffery Ballet
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____ is always on a company's agenda .
Surviving financial crises
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Finally, aid began to come from the government through ____ and from state arts councils.
the National Endowment for the Arts
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____ was perhaps the most eagerly awaited visitor, making an enormously successful New York debut in 1959.
Moscow's Bolshoi Ballet
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____ are always in demand, crisscrossing the globe from one assignment to another.
Good choreographers
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One of the aspiring choreographers in the project, NYCB dancer ____ _, later was appointed resident choreographer with the company.
Christopher Wheeldon
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The ____ are expanding also, for although ballet still is identified as a youthful occupation, the talents of mature dancers are gaining recognition.
boundaries of age
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Pierre Lacotte has mounted a number of ballets from the romantic era, in one case bringing back to the stage of the Paris opera much of the long-lost choreography of _____.
Filippo Taglioni's La Sylphide
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