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Theme 1, reader 1
Ballet around the world; pg 10 - 14 (Europe (France…
Theme 1, reader 1
Ballet around the world; pg 10 - 14
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Europe
Great-Brittain
Great Britain has several companies. Foremost Royal Ballet, despite royal name it was not born in the lap of luxury: its origins were quite humble. In certain ways, the conditions of Britisch dance in the early years of the 20th century were akin to those that prevailed in America at that time. Both countries welcomed dancers from abroad, yet few attempts were made to establish native companies. Dancing, many people seemed to feel was best left to the Russians of the French. Fortunately, some determined women thought otherwise.
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Italy continues to produce fine individual dancers, but it has declined in importance as a choreographic center.
Denmark
The Royal Danish Ballet preserves its Bourninville repertoire. At the sam time, it seeks to develop new choreographers.
Although Denmark has never found another choreographer to equal Bournonville. Harald Lander, choreographed important works for the Danes during the 1930 and 1940 among them Etudes.
France
French ballet has witnessed period of triumph and travail. At the end of the nineteenth century, the Paris Opera Ballet began to decline as a center of important new choreography in comparison with the excitement of the Paris seasons by Diaghilev's Ballets Russes.
A fresh burst of excitement cane in 1929 with the arrival of Serge Lifar as choreographer for the Opera.
Like many of the early modern dances, Lifar felt that in dance productions, the choreographer could easily become subordinate to the composer or designes. He therefor proclaimed the autonomy of dance.
1935, Icare. He created this entire ballet in silence, then noted down its choreography rhythms and sent them off to be orchestrated by an obliging composer. Lifar's Parisian choreography has not always pleased ballet lovers from other countries, who may find his works mannered, rather than stylish.
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Roland Petit
Choreographed under Cocteau's supervision, became simultaneously a scandal and a triumph. 1. Choreography has combined classical steps with realistic everyday movement. 2. Petit's use of music was unconventional. He rehearsed the ballet to jazz.
Maurice Bejar, one of the most controversial of French choreographers, had directed ballet companies of his own in Brussels, Belgium and Laussane, Switzerland. Bejart's choreography is high in energy, often erotic. he also likes to tackle social and political issues.
Bejart's detractors may charge that his works lach subtlety, but no one can say that they lack impact.
Germany
John Cranko
South African choregrapher. First attracted attention in the late 1940 and early 1950 for his ballets for the Sadler's Wells Theatre Ballet. He achieved international fame when he became director of the Stuttgart Ballet in 1960.
Within a few years, it became a company of international importance .Cranko's best known productions for it were evening-longs ballets based on literary sources.
Also been accused of begin obvious and superficial. Yet everyone agreed that Cranko was a fine company director.
Stuttgart Ballet is not the only notable German ballet company. All the leading German cities have ballet companies attatched to their opera houses or municipal theatres, and although artistic standard may vary from city to city.
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Soviet Union
Soviet choreography: epic sweep, bombastic, exciting. Soviet Style stresses high elevation, a fluidity of the arms and upper body and amplitude of movement.
A standard training method now prevails throughout the Soviet Union based on the theories of Agrippina Vaganova, one of the 20th century's most important teachers.
Moscow and St. Petersburg were balletic rivals during the last century, so they remain today. Moscow's Bolshoi Ballet prides itself on its flair, whereas St. Petersburg Kirov Ballet considers itself unequaled for purity of style.
Also Soviet union has established folkloric ballet companies, which adapt the folk dances of a region so that they will be theatrically effective on stage.
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When the Soviet Union wishes to impress other countries, it often sends dancers and dance teachers there. After the Chinese Revolution in 1949, Russian ballet teachers traveled to China to stage Western classics, such as Swan Lake and Giselle.
Chinese officials allowed only a limited repertoire of ballet on Chinese historic and patriotic themes.
In more recent years China has welcomed both ballet and modern dance groups from abroad and there appears to be a genuine curiosity about the dance styles of other countries.
Cultural exchanges between East and West have often included visits by dance companies. Dancers live in a peaceful coexistence that politicians might envy. Nevertheless, dance companies continuo to be among the world's true internationalists and their world of art often recognized no boundaries.
Ballet and modern dance have taken root in nations as culturally and geographically disparate as Holland, Israel and Japan. both forms of dance developing side by side in these countries.