BalletHistory-part-2.txt

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.

At the helm of this historic troupe was _____, artistic director and impresario extraordinaire.

Heading the list of ballerinas was _____, who seemed to epitomize the Fokine philosophy.

Igor Stravinsky, commissioned to compose music for _____, became famous as a result and began his close association with the Diaghilev Ballet.

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.

____ was engaged to guide these young talents in daily classes of strict technique.

In 1928, __ and __ began a collaboration that extended to more than forty years.

The constant touring of these companies during the 1930s and 1940s produced ____.

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.

The company was awarded a royal charter in 1956, thus becoming ____ and fulfilling the de Valois dream.

A young Harvard graduate, ____, envisioned an American ballet company and fortunately had the financial means to implement his plans.

Impressed with the neoclassical style of ____, Kirstein invited the young choreographer to the United States to found a company.

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, _____.

But unlike most ballets from the Diaghilev years, the Balanchine selections seldom have ____.

Balanchine ballerinas perform with _____ and limber, over-the-head extensions, technical attributes now expected by most companies.

____ has followed quite a different path.

At the invitation of Ballet Theatre, _____ moved to America and brought a new dimension for ballet .

ABT continued to encourage _____, as in, for example, its sponsorship of modern dance renegade Twyla Tharp's witty, unconventional compositions.

The American West was the inspiration for another popular work, ____, _by Agnes de Mille_.

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.

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.

____ is always on a company's agenda .

Finally, aid began to come from the government through ____ and from state arts councils.

____ was perhaps the most eagerly awaited visitor, making an enormously successful New York debut in 1959.

____ are always in demand, crisscrossing the globe from one assignment to another.

One of the aspiring choreographers in the project, NYCB dancer ____ _, later was appointed resident choreographer with the company.

The ____ are expanding also, for although ballet still is identified as a youthful occupation, the talents of mature dancers are gaining recognition.

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 _____.