1. 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
  2. At the helm of this historic troupe was _____, artistic director and impresario extraordinaire.
    Serge Diaghilev
  3. Heading the list of ballerinas was _____, who seemed to epitomize the Fokine philosophy.
    Anna Pavlova
  4. Igor Stravinsky, commissioned to compose music for _____, became famous as a result and began his close association with the Diaghilev Ballet.
    The Firebird
  5. 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
  6. ____ was engaged to guide these young talents in daily classes of strict technique.
  7. In 1928, __ and __ began a collaboration that extended to more than forty years.
    Stravinsky and Balanchine
  8. The constant touring of these companies during the 1930s and 1940s produced ____.
    a new generation of ballet fans
  9. 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
  10. The company was awarded a royal charter in 1956, thus becoming ____ and fulfilling the de Valois dream.
    the Royal Ballet
  11. A young Harvard graduate, ____, envisioned an American ballet company and fortunately had the financial means to implement his plans.
    Lincoln Kirstein
  12. Impressed with the neoclassical style of ____, Kirstein invited the young choreographer to the United States to found a company.
    George Balanchine
  13. 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)
  14. But unlike most ballets from the Diaghilev years, the Balanchine selections seldom have ____.
    a story line or elaborate decor
  15. Balanchine ballerinas perform with _____ and limber, over-the-head extensions, technical attributes now expected by most companies.
    pistonlike pointe work
  16. ____ has followed quite a different path.
    American Ballet Theratre (ABT)
  17. At the invitation of Ballet Theatre, _____ moved to America and brought a new dimension for ballet .
    Anthony Tudor
  18. 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
  19. The American West was the inspiration for another popular work, ____, _by Agnes de Mille_.
    Radeo (1942)
  20. 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
  21. 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
  22. ____ is always on a company's agenda .
    Surviving financial crises
  23. Finally, aid began to come from the government through ____ and from state arts councils.
    the National Endowment for the Arts
  24. ____ was perhaps the most eagerly awaited visitor, making an enormously successful New York debut in 1959.
    Moscow's Bolshoi Ballet
  25. ____ are always in demand, crisscrossing the globe from one assignment to another.
    Good choreographers
  26. One of the aspiring choreographers in the project, NYCB dancer ____ _, later was appointed resident choreographer with the company.
    Christopher Wheeldon
  27. 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
  28. 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
Card Set
later history of ballet