Classical Ballet Technique
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|Author||: Gretchen Ward Warren,Susan Cook|
|Editor||: University Press of Florida|
Aimed at advanced dancers, this book discusses classical ballet's basic concepts, techniques, and movements
|Author||: Agrippina Vaganova|
|Editor||: Courier Corporation|
Discusses all basic principles of ballet, grouping movement by fundamental types. Diagrams show clearly the exact foot, leg, arm, and body positions for the proper execution of many steps and movements. 118 illustrations.
|Author||: Gail Grant|
|Editor||: Courier Corporation|
From adagio to voyage, over 800 steps, movements, poses, and concepts are fully defined. A pronunciation guide and cross-references to alternate names for similar steps and positions also included.
|Author||: Cyril W. Beaumont,Stanislas Idzikowski|
|Editor||: Courier Corporation|
A complete beginning course in classical ballet, this volume is based on the teachings of the celebrated instructor, Enrico Cecchetti. Features a numbered series of instructions for each exercise, plus 109 detailed illustrations.
|Author||: Maricelle Peeters|
|Editor||: Balletstudio Le Reve|
With a generous dash of posture, 500 grams of muscle tension, 4 tablespoons of turnout, 2 teaspoons of weight transfer, a clove of placement and a pinch of lengthening, this book contains all the ingredients of classical ballet technique. An activity book that involves you right from the first lesson, through doing and feeling every movement for yourself. There are no ready meals. Instead, there are kitchen cupboards filled with ingredients you need for preparing and making the best ballet recipes. Once you've understood and mastered the ingredients from part 1 of the book, part 2 teaches you how to apply them to the principles of classical ballet technique. And once you've discovered this 'secret', you'll be able to improve your ballet technique time after time and get lots of enjoyment and satisfaction from this never-ending voyage of discovery! "This book has all the ingredients you need for beginning ballet. Ballet Recipes explains classical ballet technique in a clear, fun and visual way, and the metaphors used in the book will stay in its readers' minds for years to come."Ernst Meisner, Artistic coordinator of the Dutch National Ballet's Junior Company.Artistic director of the Dutch National Ballet Academy
|Author||: Rhonda Ryman|
This work picks up where The Foundations of Classical Ballet Technique left off, so where, for example, you would find a single pirouette in the first book, this develops into a double pirouette, an embellished pirouette, or a more complex turn like fouette rond de jambe en tournant.
|Author||: Jennifer Jackson|
|Editor||: The Crowood Press|
Ballet is a detailed guide to creative practice and performance. Compiled by ten leading practitioners, each chapter focuses on an aspect of ballet as a performing art. Together they outline a journey from the underpinning principles of ballet, through an appreciation of different styles and schooling, into the dance studio for practice in class and beyond. With additional insights from highly acclaimed dancers, choreographers and teachers, this practical guide offers advice on fundamental and advanced training and creative development. As well as providing information from dance science research into training well-being, this book supports the individual dancer in their artistic growth, offering strategies for exploration and discovery. Topics include: principles, styles and schooling of classical ballet; fundamental technique and advanced expression; developing versatility and creative thinking; advice on injury management, nutrition and lifestyle; choreography and music and, finally, best practice in the rehearsal studio is covered. 'A wonderfully accessible and comprehensive resource about the individual disciplines involved in ballet', Leanne Benjamin OBE, former Principal of The Royal Ballet and international coach.
|Author||: Lincoln Kirstein,Muriel Stuart|
The late co-founder of the School of American Ballet and the New York City Ballet offers a broad introduction to the history, techniques, movements, and nomenclature of ballet in a volume that includes nearly six hundred drawings illuminating proper body position, balance point, movement, and attitude of every step in the classical repertory. Reprint.
|Author||: Vera Kostrovitskaya,Alexei Pisarev|
'School of Classical Dance' is the official textbook of the Vaganova School in St. Petersburg, and takes the student and teacher from the basic concepts of the syllabus to the most complex exercises taught at the end of the eight-year course. A thorough and logical presentation of the classical vocabulary, from its basic forms to advanced variations, is followed by a sample lesson for a senior class. The eight-year syllabus of the Vaganova School, now adopted by almost all Russian ballet schools, is then given in full. The authors were both long-time teachers at the Vaganova School. "A book which is to be treasured, one of the great technical manuals of our time" - the Dancing Times.
|Author||: Rory Foster|
There are many different methods for teaching classical ballet - Bournonville, Vaganova, Cecchetti, and Royal Academy of Dancing being the most widely known. All of these methods are effective tools for presenting the technique and art of ballet. Knowing how to use these tools successfully requires more than being a devotee of the technique; it also requires the mastering of various skills. In Ballet Pedagogy, Rory Foster aims to share his extensive knowledge of how to teach rather than focus exclusively on what to teach.
|Author||: John White|
"Every commercial ballet teacher should have a copy. . . . offers solid self-evaluation to every teacher--it separates 'the mice and the Nutcracker'!"--Richard J. Sias, dancer, choreographer, and associate professor of ballet, Florida State University "The contribution to the dance world is immense. . . . should be read by all teachers of dance as well as students in preparatory schools and colleges. . . . Mr. White challenges us to reexamine what we have accepted as excellence in the past and to push beyond that to find what is possible."--Patricia Walker, founder and director, Children's Ballet Theatre of New Hampshire "A service of great importance for any artist wishing to pursue a career in dance. . . . applicable to both experienced and inexperienced dancers and teachers. It gives guidelines to the art of teaching ballet where none existed before."--Charles Flachs, principal dancer, Nashville Ballet From his experience of 40 years in ballet as a student, performer, ballet master, and dedicated teacher, John White offers this work of inspiration and step-by-step instruction on the art and craft of teaching classical dance. Stressing excellence in both the creative and the practical aspects of teaching, White discusses what it means to be a "master teacher"--someone with both a deep love for dance and an appreciation for the grandeur of the human spirit. Good art is usually uncomplicated, he says. Illustrating with 97 photographs, he presents a method of study that includes such aspects of teaching as constructive warm-up exercises, when to begin pointe shoes, the beneficial aspects of pain, and appropriate music for the classroom, as well as elements of the basic lesson. He discusses how to recognize talent and to refine and develop it. He offers guidelines for establishing and organizing a well-run studio. And he presents his personal insights into the art of classical ballet pedagogy--shaped in particular by his study with ballet masters from the Kirov and Bolshoi ballet companies and by concepts from the famous Vaganova Choreographic School in St. Petersburg. The book also confronts the controversial issue of the widespread mediocrity that is notorious in dance schools. Poor training often brings about the loss of talented students and the premature forced retirement of professional artists from unnecessary injuries. By contrast, White says, good teaching can be an exhilarating challenge and a profound joy. John White is codirector of the Pennsylvania Academy of Ballet, located in a Philadelphia suburb, which he opened with his wife in 1974. He has been a soloist and the ballet master of the Ballet Nacional de Cuba and the head instructor and interim ballet master of the Pennsylvania Ballet Company. Since 1980 he has conducted seminars for dance teacers, training more than 400 teachers during this time. In addition, he was a contributing editor and writer for Ballet Dancer Magazine.
|Author||: Marilyn Z. Gaston|
|Editor||: Createspace Independent Publishing Platform|
Dance teachers, both experienced and aspiring, will find this book to be an in-depth source of original choreographed center floor combinations for a ballet class. Each chapter presents detailed explanations arranged by "difficulty level" (beginner through advanced) as well as categorized by various areas of center floor work, including: Center Floor Barre, Adagios, Warm-up Jumps, Petit Allegro, En Diagonale (across-the-floor), Grand Allegro, Port de Bras, and so on. These teaching enchainements can be adapted to, or used to supplement, any style (syllabus) of classical training. The book also includes a collection of sample lessons for each difficulty level that can be used to create a full program of classes. As the combinations progress they build the technical expertise of students and give teachers "tools" to use to keep their students interested and challenged. Written by a former professional ballet dancer with an extensive national and international performing and teaching background, and an M.F.A. in Dance completed after her lengthy dancing career, this is the third volume in a series, following Vol. 1, "Building Ballet Technique, A Practical Guide for Teaching All Levels" and Vol. 2, "Building Ballet Technique, A Self-Improvement Guide for Dancers." It belongs on every dance teacher's bookshelf."
|Author||: Agrippina Vaganova|
The definitive guide to the Russian Method of ballet, this complete, unabridged original version is the basis for all other classical ballet textbooks. It contains expanded text, entirely new sections, and corrections. Agrippina Vaganova articulates her own role in the rebirth of Russian ballet, discusses the body and its expressive capabilities, and explains how to attain a harmonious totality in dance. With additional documentation, photos, and contextual analysis, this edition contains a new biographical essay, a comprehensive summary of Vaganova’s lifetime achievements, photos of her as a dancer in some of her greatest roles and as a teacher with her students, and important new research into the influence of the Italians, led by Enrico Cecchetti, on the development of Russian ballet. Penetrating, insightful, and authoritative, this is much more than a textbook; it is the best guide available to Russian ballet technique and the Vaganova Method.
|Author||: Asaf Messerer,Oleg Briansky|
|Editor||: Hal Leonard Corporation|
A teaching manual from the founder of the Bolshoi school of Ballet, contains instructions for six advanced classes of ballet.
|Author||: Anna Paskevska|
For nearly a century, the training of ballet and modern dancers has followed two divergent paths. Modern practitioners felt ballet was artificial and injurious to the body; ballet teachers felt that modern dancers lacked the rigorous discipline and control that comes only from years of progressive training. Ballet Beyond Tradition seeks to reconcile these age-old conflicts and bring a new awareness to ballet teachers of the importance of a holistic training regimen that draws on the best that modern dance and movement-studies offers.
|Author||: Vanina Wilson|
Offers thirty-three weeks of lesson plans of classic French poses and sequences in the order in which a ballet teacher or master would present them.