Tfw H
O
W
A
N
D
W
H
Y
• U/orvcfoiBoo&o£
^JWhy Wonder W*
T H E
B
H O W
A N D
W H Y
W O N D E R
BOOK
OF
r
>
W r i t t e n by L E E
WYNDHAM
I l l u s t r a t e d by R A F A E L L O Editorial Production:
BUSONI
D O N A L D D. W O L F
E d i t e d u n d e r t h e s u p e r v i s i o n of D r . P a u l E. B l a c k w o o d W a s h i n g t o n , D. C .
\
T e x t a n d i l l u s t r a t i o n s a p p r o v e d by O a k e s A. W h i t e Brooklyn Children's Museum Brooklyn, New York
WONDER
BOOKS
•
NEW
YORK
Introduction The world had known many forms of the dance when ballet w a s introduced. But this was a new kind of dance that told a story in movement and pantomime, and over the years, it has b e c o m e a very highly developed and exciting art form. T h e more you k n o w about ballet, the more you can enjoy it. It helps to know how finished ballet productions depend on the cooperative efforts of many people — producers, musicians, choreographers, ballet masters, scene designers — in addition to the dancers. It helps to know that ballet is based on a few basic steps and movements with many possible variations. A n d it helps to know that great individual effort is required to become a successful dancer. Y e t one sees that in ballet, too, success has its deep and personal satisfactions. In ballet, the teacher is very important. N e w ideas and improvements have been introduced by many great ballet teachers. A n d as you will read here, "A great teacher is like a candle from which many other candles can be lit — so many, in fact, that the whole world can be made brighter." The How and Why Wonder Book of Ballet is itself a teacher, and it will make the world brighter because it throws light on an exciting art form which, year by year, is becoming a more intimate and accepted part of the American scene. Paul E.
Dr. Blackwood is a professional employee in the U. S. Office of Education. This book was edited by him in his private capacity and no official support or endorsement by the Office of Education is intended or should be inferred.
© 1961, by Wonder Books, Inc. All rights reserved under International and Pan-American Copyright Conventions. Published simultaneously in Canada. Printed in the United States of America.
Blackwood
C o n t e n t s Page
Page WHAT IS BALLET? BEGINNINGS OF BALLET How does ballet differ from other dancing? What was early ballet like? Where did ballet come from? Where was the first ballet school started? How did ballet change? What was the most important change in ballet?
4
7 7 7 8 9
EARLY BALLERINAS Who was the first leading ballerina? What contributions did Marie Camargo make to ballet? Who was Marie Taglioni? How did Marie Taglioni change ballet dancing? Which ballerinas were commanded to dance for a queen? Did male dancers perform during this period?
10 10
BALLET IN RUSSIA What contributions to ballet were made by Italian dancers? What costume was designed for the classic ballet?
13
RUSSIAN BALLET DANCERS Which ballerina got a special title from the Czar of Russia? How did Pavlova become a dancer? What was Pavlova's most famous dance? Who was the most famous male dancer of all time? How did Nijinsky manage his leaps? Who was Serge Diaghilev? How were ballets created during Diaghilev's time?
14
THE BALLET RUSSE Who were the main artists of Diaghilev's Ballet Russe? What contributions did Michel Fokine make to the ballet? Who taught the dancers of the Ballet Russe? What other ballets were presented by the Ballet Russe?
19
BALLET TODAY What is classic ballet? What are some classic ballets? What are romantic ballets? Which is the most popular of the romantic ballets? What is modern ballet?
10 10 12 12 13
13 14
15 15 17 17 17 17 18
19 70 20
How are modern ballet dancers trained to dance? What are some modern ballets? What is character dancing? PANTOMIME - A L A N G U A G E OF THE DANCE What is pantomime? PEOPLE WHO MAKE BALLET Who supports the ballet companies? Who supports ballet in the United States? What is the job of the company manager? What job does the artistic director do? What is the role of the choreographer? What is a ballet master? How does a composer serve in the ballet? What is the job of a wardrobe mistress in a ballet company? What part does a scene designer play in ballet? In what way does a costume designer aid ballet dancers? What does the stage manager do? Who are some other important backstage help? PRESENT-DAY BALLERINAS AND DANSEURS Margot Fonteyn Michael Somes Maria Tallchief Andre Eglevsky Alicia Alonso Igor Youskevitch John Kriza
26 27 30 31 31 33 33 33 34 34 34 35 35 35 36 36 37 37 38 38 38 38 38 39 40 40
WHAT IT TAKES TO BE A BALLET DANCER How old should one be to take ballet lessons? How does ballet training for boys and girls differ? What is the role of the danseur?
42 42
BALLET DRESS What is the costume for the class? How are ballet slippers made? What kind of stage costumes are used?
43 43 43 43
BALLET TALK
44
40 42
21 22 22 23 25 25 26
LABANOTATION - DANCE IN WRITING How can dance movements be written down? HOW YOU CAN ENJOY BALLET
46 46 48
The Firebird, a ballet by the choreographer Michel Fokine, was first done in Paris in 1910. The composer Igor Stravinsky wrote the music for this famous ballet.
..*
Maria Tallchief, as the magical Firebird, leaps with graceful elegance. Her power and control make her seem almost weightless in the air.
W h a t
Is
Ballet?
D a n c i n g is n o t o n l y o n e of t h e o l d e s t
stage d a n c e that tells a story in move-
arts, b u t it is a l s o o n e of o u r b a s i c in-
m e n t a n d p a n t o m i m e a n d is p e r f o r m e d
stincts, a n d a w a y t o e x p r e s s o u r feel-
by a group of persons."
ings. E v e n the smallest children d a n c e
A n y o n e w h o has seen ballet k n o w s
— for joy, or with anger, or with pain
t h a t t h i s a v e r y p l a i n d e f i n i t i o n of t h e
—
magnificent spectacle that ballet can be.
a n d so d o grownups, for the s a m e
T o d a y , almost everyone has seen ballet
reasons. B u t t h a t k i n d of d a n c i n g i s not
bal-
let! T h e d i c t i o n a r y s a y s t h a t b a l l e t is "a
either
on
television,
on
the
movie
s c r e e n , o r — l u c k i e s t o f all — o n t h e
Suit.
i l l
* 4 *
if
^#&
I
stage, performed b y living, dancers,
so
wonderfully
breathing
skilled
that
small children h a v e been heard to ask their m o t h e r s , " A r e t h o s e p e o p l e r e a l l y real?" T h e p e o p l e a r e real, i n d e e d . m o v e with lightness and
They
unbelievable
g r a c e a n d s p e e d b e c a u s e o f their m a n y years of special training in a
dance
f o r m w h i c h h a s a t e c h n i q u e all its o w n . B u t t h a t i s n o t all t h a t m a k e s b a l l e t s o The Firebird and the hunter-prince who captures her do a Pas de Deux.
Shown are the five positions of the feet and arms on which all ballet movements are based. Every movement in ballet starts and ends in one of these basic positions. "Closed" positions: feet touch. "Open" positions: feet are parted.
w o n d e r f u l t o see. T h e o t h e r p a r t s t h a t
More
than
that,
ballet
speaks
to
m a k e u p the breath-taking w h o l e are
e v e r y o n e w h o s e e s it i n t h e l a n g u a g e o f
t h e finest m u s i c i n t h e w o r l d , s p l e n d i d
movement, gesture and facial
s t a g e s c e n e r y t h a t stirs t h e i m a g i n a t i o n ,
s i o n , w h i c h all t h e w o r l d c a n u n d e r -
glittering costumes that excite our emo-
s t a n d — w i t h o u t w o r d s . T h e r e f o r e , bal-
t i o n s , t h e d r a m a o f t h e story, o r t h e
l e t i s a u n i v e r s a l l a n g u a g e w h i c h girls
h u m o r o f i t — f o r t h e r e a r e all k i n d s of
a n d b o y s in the U n i t e d States, in France,
ballets —
G e r m a n y , Spain, P o l a n d , Italy, Russia,
or the sheer b e a u t y of the
Denmark,
m o v e m e n t s of the dance.
Sweden,
Japan,
expres-
Thailand,
A l l t h e c r e a t i v e arts a r e r e p r e s e n t e d
I n d i a , A f r i c a — i n f a c t , e v e r y w h e r e in
in ballet. It portrays n o t o n l y the high-
t h e w o r l d — c a n e n j o y . E v e n if all t h e
e s t d e v e l o p m e n t o f skill, b u t i t i s a l s o a
children could b e seated into some huge
m e a n s of personal self-expression
for
theater, e a c h one, n o matter w h a t his
those before the foot-
native language, w o u l d understand the
m a n y artists —
lights as well as those behind the scenes.
Beginnings
A l t h o u g h t h e w o r d "ballet" c o m e s
story told b y the dancers.
of
Ballet
k i n d o f d a n c i n g w i t h a t e c h n i q u e all its
which means
o w n . B y " t e c h n i q u e " w e refer t o t h e
"to d a n c e , " n o t all f o r m s o f d a n c i n g a r e
things that a person needs to k n o w and
b a l l e t . T h i s is b e c a u s e b a l l e t is a s p e c i a l
p r a c t i c e i n o r d e r t o b e c o m e skillful i n
f r o m t h e I t a l i a n ballare,
a n a c t i v i t y . I t t a k e s m a n y y e a r s o f spe-
boots or shoes. O f
c i a l a n d difficult t r a i n i n g t o p e r f e c t bal-
d o w n l i k e this, t h e g e n t l e m e n h a d t o
let technique.
d a n c e slowly and sedately, in rows and in
A l l the principles of ballet m o v e m e n t are b a s e d How does ballet differ from other dancing?
plie,
on
interesting
course,
patterns.
weighted
Incidentally,
they did not dance o n a stage, but often
the
m i n g l e d w i t h their a u d i e n c e if n o s p a c e
or knee-bend,
w a s s e t a s i d e f o r t h e m i n w h i c h t o per-
t h e five f o r m a l p o -
form.
sitions of the feet,
T h e first r e c o r d o f s u c h a n e n t e r t a i n -
and o n the "turnout" of the legs from
m e n t d a t e s b a c k t o 1 4 8 9 , a little b e f o r e
the hip.
C o l u m b u s discovered America. It w a s
The
knee-bend
enables
the
d a n c e r t o s p r i n g h i g h i n t o t h e air a n d to land like thistle-down. T h e
in h o n o r of an Italian D u k e .
all-im-
portant "turnout" allows h i m to m o v e
Ballet w a s brought to France from Italy
gracefully from side to side o n the stage, while facing front. It also m a k e s pos-
Where did
sible t h e b e a u t i f u l h i g h e x t e n s i o n s o f
*come from?
t h e l e g s , a s i n t h e arabesque.
T h i s is the
foundation o n w h i c h ballet is built.
about the time Catherd e M 6 d i c i s married
i n e
King
Henry II of «* F r a n c e . S h e w a s a n ex-
pert dancer herself a n d adored ballet. A t her wish, performers were brought
B u t this w a s n o t the ballet of several hundred years ago.
What was early ballet like?
T h e n it w a s a f o r m of court entertain-
ment,
really
a
magnificent
pageant.
T h e r e w e r e n o b a l l e r i n a s , a n d all t h e parts
were
danced
by
men
wearing
masks, heavy, colorful costumes
and
from her native Italy to entertain the y o u n g q u e e n a n d t h e c o u r t . T h e entert a i n m e n t w a s a h u g e s u c c e s s . S o o n , it set a n e w fashion, a n d before l o n g the dance w a s imitated in every European c o u r t . B u t if y o u w e r e t o s e e t h i s e a r l y d a n c i n g , y o u w o u l d n e v e r r e c o g n i z e it as the ballet y o u k n o w today! In fact,
The seventeenth century court ballets were performed in a large hall, where the king and queen, seated at the head of the room, were surrounded by their household. Nobles and other members of the court sat in long galleries along the sides of the hall.
Female dancers were not permitted to perform at the time. Male dancers, dressed in the costumes of the period and wearing masks, took the assigned female roles. Male dancers of the eighteenth century, dressed as girls, performed at the court. s o m e of the extravagant performances
parts in the entertainments,
l a s t e d a s l o n g a s six h o u r s !
the role of the Sun King. H i s greatest
including
contribution to ballet, however, w a s the L o n g after C a t h e r i n e ' s t i m e , i n Where was the first ballet school started?
1645,
establishment of the R o y a l A c a d e m y of
history records that
Dancing and M u s i c in 1661. This was
Louis X I V
danced
t h e first s c h o o l i n t h e w o r l d f o r t h e in-
royal
struction of ballet dancing, and even
before
the
French
court.
w a s then seven years old! H e
He
m o r e w o n d e r f u l , it h a s c o n t i n u e d d o w n
always
to the present d a y at the Paris Opera.
loved ballet and himself danced m a n y 8
It w a s in this a c a d e m y that the
five
w e r e n e v e r i n v i t e d t o t h e p a l a c e spectacles, w e r e able t o see ballet. Although Louis X I V allowed w o m e n to study at the R o y a l What was the most important change in ballet?
Academy,
they
were
per-
not
mitted to perform. A l l t h e d a n c e r s w e r e still m a s k e d , a n d Pm i r i %
positions
of
the
classic
dance
y
were
established in 1671 b y the king's o w n dancing master, Pierre B e a u c h a m p . It is t h e s e b a s i c p o s i t i o n s , refined a n d perfected, that are taught today! N o w ballet b e g a n to improve rapidly. W i t h a training school for How did ballet change?
dancers, professionals
be-
gan to replace the nobles of the court, a n d dancing
b e c a m e m o r e lively. A n o t h e r
change
Ballet changed when women were permitted to study at the Royal Academy, and in 1681, to perform.
came when dancers were m o v e d from t h e b a l l r o o m floor t o a s t a g e . R a i s e d u p
b o y s d r e s s e d a s girls t o o k t h e f e m a l e
i n this w a y , t h e a u d i e n c e h a d a n en-
roles. B u t o n M a y 1 6 , 1 6 8 1 t h e m o s t
tirely n e w v i e w o f t h e m a n d t h e m o v e -
significant
m e n t s of t h e d a n c e r s ' f e e t b e c a m e m u c h
F o u r y o u n g ladies danced in a ballet
more important.
created b y the great composer,
N o w , along with the palace performances,
ballet
was
also performed
in
t h e a t e r s . F o r t h e first t i m e , p e o p l e w h o
c h a n g e of
all t o o k
place. Jean-
B a p t i s t e L u l l y . T h e s e f o u r w e r e h i s entire c l a s s , a n d w i t h t h e m ,
ballerinas
t o o k t h e i r rightful p l a c e i n b a l l e t .
Early
Ballerinas
T h e girls w h o s t u d i e d at t h e A c a d e m y
C a m a r g o , w h o first d a n c e d p u b l i c l y i n
wore bulky
clothing,
1 7 2 1 . S h e r e v o l u t i o n i z e d b a l l e t b y dar-
tight-boned
bodices,
i n g t o s h o r t e n h e r l o n g skirts s o t h a t
skirts t h a t r e a c h e d t o
her feet a n d lovely ankles c o u l d b e seen.
the ground and heeled
W h a t ' s m o r e , s h e h a d t h e h i g h h e e l s re-
s h o e s — all of w h i c h h a m p e r e d m o v e -
m o v e d f r o m h e r slippers. A l l this g a v e
m e n t . B u t t h e v e r y first b a l l e r i n a w a s
h e r m u c h m o r e f r e e d o m of m o v e m e n t .
Who was the first leading ballerina?
Mademoiselle Lafontaine, w h o made a
She b e c a m e quite f a m o u s for
her
triumphant debut in 1 6 8 1 . She w a s very
j u m p s i n t h e air — s o m e t h i n g l a d i e s d i d
beautiful and she h a d great charm and
not attempt before her time. S o another
g r a c e . T h e r e i s v e r y little i n f o r m a t i o n
exciting c h a n g e h a d c o m e to ballet. Be-
a b o u t her, b u t t h e g r e a t s t e p h a d b e e n
fore
taken — a ballerina w a s born.
m o v e d anything m o r e than her head
Camargo,
the
dancer
scarcely
a n d arms. S h e w a l k e d gracefully Other ballerinas followed
Lafontaine,
and when What contributions did Marie Camargo make to ballet?
retired
f r Q m d
stage taught.
the
most
famous
pupils
they ^
was
,
they
and
she glided, but n o o n e could see her feet. N o w s o m e of the ballet steps w e k n o w c a m e into being, particularly the entrechat
quatre.
T h i s is a j u m p into
of
t h e air, w i t h a q u i c k c h a n g i n g o f t h e
Marie
legs from front to back — in her case,
One
f o u r t i m e s . I t i s a t w i n k l i n g , brilliant step that is wonderful to watch. A u d i e n c e s l o v e d C a m a r g o . H e r hair dress w a s copied b y others, hats were n a m e d after her, a s w e l l a s s h o e s a n d dresses, and even court ladies imitated her w a y of walking. C a m a r g o h a d taken b a l l e t off t h e g r o u n d . A n o t h e r f a m o u s ballerina w a s
Marie
Taglioni, w h o came from Who was Marie Taglioni?
an Italian family of dancers. H e r g r a n d f a t h e r h a d been a dancer, her aunts
and
uncles
were
dancers.
And
her
father, too, w a s a dancer, as well as a great teacher. H e r mother w a s Swedish, however, and Marie w a s born in Stockholm, where her father w a s engaged as Camargo's costume and steps altered the ballet. 10
ballet master for the R o y a l Opera.
Marie Taglioni danced in La Sylphide, a ballet originally created for the ballerina by her father. The ballet, first performed in 1832, is still done today.
W i t h s u c h a b a c k g r o u n d , it i s
no
wonder that her father decided to m a k e a g r e a t d a n c e r of her, e v e n t h o u g h little M a r i e w a s t h i n a n d frail. S h e h a d r a t h e r long arms and such rounded shoulders
her. A n d t h e n a m i r a c l e t o o k p l a c e . A t
that she l o o k e d almost
s o m e time, during these lessons, M a r i e
But
none
of
humpbacked.
this c o n c e r n e d
Marie's
father, a n d h e p a c k e d h i s d a u g h t e r off
learned to like dancing! Her debut was arranged to take place after h e r e i g h t e e n t h b i r t h d a y . H e r ex-
to study with another teacher. M a r i e w a s a m o s t indifferent p u p i l
cellent training and her unique,
airy
a n d m a n a g e d t o l e a r n a s little b a l l e t a s
s t y l e of d a n c i n g m a d e h e r a n i n s t a n t
p o s s i b l e . A d r e a d f u l d a y of r e c k o n i n g
success. But, actually, the m a i n subjects
came,
o f t h e b a l l e t s of t h a t t i m e w e r e
however,
when
she w a s
sum-
not
m o n e d to d a n c e before her father. A s
s u i t e d t o her. G r e e k a n d R o m a n m y t h s
she stumbled through her exercises, h e
d i d n o t s h o w off h e r a i r y g r a c e , a n d t h e
b e c a m e m o r e a n d m o r e horrified. T h e n
costumes, cluttered with drapery
h e set u p a p l a n t o t e a c h h e r h i m s e l f .
trimmings, looked m u c h too heavy. T h e
T h i s w a s t h e e n d o f n o n s e n s e a n d skip-
ballet shoes were n o longer heeled. T h e y
ping classes for Maria.
w e r e soft slippers, b u t n o o n e d a n c e d
T h e lessons were divided into two-
and
o n the toes as yet.
hour sessions, given three times daily.
A l t h o u g h M a r i e h a d captivated her
Poor, fragile M a r i e used to collapse at
P a r i s a u d i e n c e at h e r d e b u t , s h e w a s t o
t h e e n d of t h e d a y . B u t n o t h i n g s t a y e d
e n c h a n t t h e m five y e a r s later. A n e v e n t
the d e m a n d s that her father m a d e u p o n
t o o k p l a c e o n M a r c h 12, 1 8 3 2 , w h i c h 11
It is often
said that
"comparisons are
m a d e b a l l e t different f o r e v e r after
—
Which ballerinas were commanded to dance for a queen?
It
odious." means
that
people do
not
That
like to b e com-
n i g h t , at t h e P a r i s O p e r a , s h e d a n c e d i n
p a r e d t o o t h e r s — e s p e c i a l l y if t h e c o m -
a n e w b a l l e t , La Sylphide,
p a r i s o n i s l i k e l y t o b e unflattering! W e l l ,
and
Taglioni's
dancing
d i d it.
created for
in her time, Taglioni w a s not the only
her especially b y her father.
famous Before
T h e r e were Carlotta Grisi, F a n n i e Ce-
i n h e r w h i t e , bell-
rito a n d L u c i l e G r a h n — all o f w h o m
s h a p e d dress, t i g h t
had
n e c k a n d shoulders bare. She
with looked
truly l i k e t h e n y m p h w h o s e r o l e
she
w a s performing. B u t w h a t added to the her totally
different
c o s t u m e , w a s h e r d a n c i n g . She was forming
on the
tips
of her
toes
per-
—
so
delicately, so lightly, she did n o t s e e m M a r i e Taglioni h a d darned the tips o f h e r l i m p little s l i p p e r s u n t i l t h e a r c h a n d t o e w e r e firm. W i t h this a d d e d supshe
revolutionized
earned
England
ballet
over-
night. H e r costume for that night w a s a l o n g w h i t e t u t u , w h i c h is still standard for w h a t w e call the "romantic"
in
considerable individual
acclaim
in
performances.
Q u e e n Victoria decided that she w o u l d like to see the world's four
greatest
b a l l e r i n a s p e r f o r m t o g e t h e r ! A n invitat i o n t o p e r f o r m b e f o r e r o y a l t y is c a l l e d "a c o m m a n d p e r f o r m a n c e , " a n d it i s practically unheard of for a n y o n e or any group to refuse such a c o m m a n d . But
t o t o u c h t h e earth.
port,
others
out
floated
in b o d i c e ,
besides
were
w h o m a u d i e n c e s a d o r e d just a s m u c h .
dancer
illusion,
There
tiny
a stunned audience, the
How did Marie Taglioni change ballet dancing?
dancer.
handling
four
delicately
tem-
pered ballerinas m u s t h a v e b e e n a great ordeal
for
everyone
concerned.
The
f a m o u s ladies d a n c e d just o n e performa n c e o f t h e s p e c i a l l y c r e a t e d Pas Quatre
de
— D a n c e for F o u r — before the
Q u e e n , a n d t h e n r e f u s e d e v e r t o appear together again!
ballet. H e r shoes h a v e e v o l v e d into the
B a l l e r i n a s n o w w e r e stars, w i t h de-
t o e s h o e s w h i c h are t h e d r e a m o f e v e r y
v o t e d a u d i e n c e s a n d i m p o r t a n t digni-
little girl w h o t a k e s u p t h e s t u d y o f bal-
taries v y i n g w i t h e a c h o t h e r t o b r i n g
let. T o d a y ,
t h e m t o k e n s of a p p r e c i a t i o n . B a l l e r i n a s
hardly anyone thinks
of
b a l l e t w i t h o u t this d a n c i n g o n t h e t o e s ,
were
yet not so long a g o — less than
150
b o r n e t h r o u g h t h e streets o n t h e s h o u l -
years — dancing o n the toes w a s un-
d e r s of their a d m i r e r s . C a r r i a g e h o r s e s
h e a r d o f ! T a g l i o n i w a s t h e first t o m a k e
were unhitched and the carriages drawn
toe dancing popular and a
by enthusiastic young men.
required
a c c o m p l i s h m e n t for all b a l l e r i n a s .
cheered
wildly
and
sometimes
O n e story tells of Taglioni's visit to Russia. After her performance
there,
s o m e R u s s i a n s b o u g h t her toe shoes for
L
a h u g e price. T h e y then stewed t h e m in
Ballet
in
Russia
a pot and solemnly drank the broth in T h e Russians were so impressed by
her honor!
T a g l i o n i ' s d a n c i n g t h a t t h e F r e n c h balB u t w h a t h a d b e c o m e o f t h e o n c e allimportant Did male dancers perform during this period?
dancers? time they
male
At
this
let
teachers
at
the
Russian
schools
b e g a n t o train their o w n p u p i l s t o d a n c e h e r r o l e s a n d t o d u p l i c a t e h e r style.
seemed
to have faded into
T h e n a g r o u p of I t a l i a n d a n c e r s c a m e
the scenery. A l l the public attention w a s f o c u s e d o n t h e b a l l e r i n a s . T h e magnific e n t s t r e n g t h of t h e m e n , t h e i r a b i l i t y to leap high and wide and to support
What contributions to ballet were made by Italian dancers?
to R u s s i a
and
a s t o u n d e d
the
„ audiences there by their
tre-
t h e b a l l e r i n a w h i l e s h e s h o w e d off h e r
m e n d o u s jumps and turns a n d general
v a r i e d skills, w a s s e l d o m u s e d .
air of l i v e l i n e s s a n d v i t a l i t y .
At the Command Performance for Queen Victoria of England in 1845, four leading ballerinas of the day performed in a Pas de Quatre, especially created for them. The dancers were Taglioni, Carlotta Grisi, Fannie Cerito and LucileGrahn.
Virginia
Zucchi's when
audiences
she performed
were her
breathless steps.
The
Russians promptly invited Enrico Ce-
F o r m a n y y e a r s it w a s h e l d u p a s t h e s y m b o l of b a l l e t p e r f e c t i o n t o t h e rest of t h e w o r l d .
c c h e t t i t o t e a c h t h e m t h e brilliant ItalT h i s k i n d of d a n c i n g b e c a m e k n o w n a s
i a n style o f d a n c i n g . After Zucchi c a m e Pierina Legani. S h e set t h e d a n c e w o r l d a g o g w i t h h e r performance
of
continuous
t u r n s c a l l e d fouettes.
multiple
W h a t costume w a s designed for the classic ballet?
S h e m a d e a series
t h e " c l a s s i c " bal^ T Q ft „> . t off t o i t s best adv a n t a g e , a spelet
of t h i r t y - t w o of t h e s e s e n s a t i o n a l w h i p -
cial c o s t u m e k n o w n as the classic
ping turns around the stage. T h e peo-
w a s d e s i g n e d . I t w a s c u t s o v e r y short
ple applauded so enthusiastically that
t h a t t h e d a n c e r s ' l e g s w e r e free t o exe-
s h e at o n c e r e p e a t e d t h e feat. T h e c h e e r s
cute the n e w vigorous turns and leaps
of t h a t a u d i e n c e h a v e e c h o e d d o w n t o
devised for the classic ballets.
tutu
the present time. F o r m a n y y e a r s thereafter, t h i r t y - t w o fouettes
r e m a i n e d t h e w o n d e r of
the
ballet world. T h e y were performed b y only
a
few
accomplished
Russian
Ballet
D a n c e r s
dancers.
T o d a y , h o w e v e r , this is n o l o n g e r c o n -
T h e f a m e of t h e I t a l i a n b a l l e t h a d
s i d e r e d e x t r a o r d i n a r y , t h o u g h it r e m a i n s
b e g u n to fade w h e n ballet in
a p a r t of t h e d a n c e v o c a b u l a r y of e v e r y
t o o k o n n e w life. R u s s i a n - b o r n balle-
a d v a n c e d student. Thirty-two, or even
rinas suddenly leaped to stardom in the
sixty-four fouettes
ballet world.
are still e x c i t i n g t o
see, e v e n if t h e y are n o l o n g e r a g r e a t wonder. Y o u m a y have seen a ballerina o n television or in a theater w h o spins a b o u t l i k e a t o p a n d t h e n s t o p s short, n o t e v e n o u t of b r e a t h , t o t a k e h e r b o w . W e l l , it t a k e s m o r e t h a n this w h i p p i n g about the stage without getting dizzy to m a k e a b a l l e r i n a — b u t it is s h o w y ! T h e i m p o r t a n c e of Z u c c h i a n d L e g a n i is their effect o n R u s s i a n b a l l e t . N o w the Russian teachers and composers, m a n y of w h o m w e r e F r e n c h o r Itali a n b y birth, c o m b i n e d t h e o l d F r e n c h m o v e m e n t s of slow grace a n d beauty with the vibrant Italian technique.
As
time w e n t on, this w a s blended with the native qualities of R u s s i a n ballet. N o w t h i s i s c a l l e d t h e R u s s i a n s t y l e of b a l l e t . 14
Russia
An
exquisite
prima
ballerina
Russian Which ballerina got a special title from the Czar of Russia?
of
the
Imperial
Ballet w a s O l g a Preobrajenska. B u t she was surpassed Mathilde
R e v o l u t i o n broke out, she h a d to
flee
Russia. She settled in Paris and o p e n e d a b a l l e t s c h o o l there. M a n y of t h e b a l l e t s p e r f e c t e d i n h e r
by
d a y are still p r e s e n t e d , a n d w i l l m o s t
Kchessin-
probably b e enjoyed in future genera-
s k a y a — tiny, l i g h t a s air itself,
and
tions
as well.
Giselle,
The
Sleeping
p e r f e c t . I n f a c t , b y o r d e r of t h e I m p e r i a l
Beauty,
C o u r t , s h e w a s g r a n t e d t h e title of
have qualities to k e e p them popular.
ballerina
assoluta,
prima
Coppelia,
a n d The
Nutcracker
which was another
w a y of s a y i n g , "the first a n d m o s t a b s o -
T h e Russian ballerina w h o b e c a m e the
lutely perfect ballerina." Of course, some ballerinas w h o c a m e
How did Pavlova become a dancer?
most the
famous world
Anna
after h e r w o u l d h a v e e a r n e d t h e s a m e
in was
Pavlova.
g r a n d title. B u t b y t h a t t i m e R u s s i a w a s
S h e is still a h o u s e h o l d w o r d , a n d girls
in t h e m i d s t of a terrible r e v o l u t i o n a n d
t h e w o r l d o v e r d r e a m of " d a n c i n g l i k e
the Czar h a d b e e n killed. A s the Im-
Pavlova." A n n a was only seven when
perial C o u r t n o l o n g e r e x i s t e d , n o s u c h
her mother t o o k her to a ballet perform-
title c o u l d b e g r a n t e d b y it a g a i n . T h u s ,
a n c e a s a C h r i s t m a s treat. T h e n
and
Kchessinskaya was the only dancer to
t h e r e t h e c h i l d fell i n l o v e w i t h
the
g e t t h i s title f r o m t h e C z a r .
dance. B u t she was not old e n o u g h even
She became the wife
of
a
Grand
t o try t o e n t e r t h e f a m o u s
Imperial
D u k e , w h i c h gave her added influence
School. She had to wait two long years
in t h e b a l l e t w o r l d . H o w e v e r , w h e n t h e
t o d o so. In the Imperial School the children r e c e i v e d their t r a i n i n g a n d s c h o o l less o n s free, b e c a u s e t h e s c h o o l w a s supported by the Czar. However,
appli-
cants were chosen with the greatest care a n d h a d t o p a s s a stiff e x a m i n a t i o n t o b e admitted.
This
included
appearance,
g o o d h e a l t h , n a t u r a l g r a c e , a f e e l i n g for music and rhythm, and intelligence. T h e fortunate
ones were given a year
prove themselves. T h e y had to
to
show
real p r o g r e s s t o b e a l l o w e d t o stay. H o w t h e frail little A n n a e v e r p a s s e d the health test is a mystery, but pass s h e d i d . A n d p r o g r e s s s h e did.
Her
Anna Pavlova (foreground) and other pupils took ballet lessons at the famous Imperial School in Russia. 15
Anna Pavlova performed her unforgettable role in the ballet The Dying Swan. It was choreographed by Michel Fokine to the music of French composer Camille Saint-Saens, and was the ballerina's most famous creation.
Vaslav Nijinsky was noted for his sensational leaps, which were unequaled then as now. At the top of the page are shown Nijinsky and Anna Pavlova in one of their memorable performances with the noted Ballet Russe company in France. 16
fragile, s e n s i t i v e b e a u t y c a s t a s p e l l o f
graved in the public minds, and today
enchantment wherever she danced. Peo-
ballet m i g h t just as well
p l e still s p e a k o f h e r w i t h r e v e r e n c e .
"pavlova."
be
spelled
M a n y present-day ballerinas are said to be m o r e perfect than Pavlova. In her o w n day she never performed the showy t h i r t y - t w o fouettes, ettes.
Yet
prima
ballerina
or multiple
she b e c a m e the assoluta
pirou-
unofficial
of the world.
It never mattered t o her public w h a t
V a s l a v Nijinsky also studied in the Imperial School, a n d W h o w a s the pav. h e w a s Q n e o f most famous , , * . . l o v a s s e v e r a l partr m a l e dancer , ners H l s of all time? ' dancing was
s h e d a n c e d . I t w a s how s h e d a n c e d t h a t
superb,
strong
m a d e h e r t h e s y m b o l o f b a l l e t t o mil-
a n d manly. O n stage h e s e e m e d illumi-
lions of people throughout the world.
n a t e d b y s o m e i n n e r fire. T h e m o s t diffi-
S h e h a d a p e r s o n a l m a g i c t h a t trans-
cult steps were easy for him. H i s leaps
p o r t e d h e r a u d i e n c e . S h e w a s l i g h t , airy,
were sensational. W h e n he w a s asked
a n d d a n c e d effortlessly a n d r a d i a n t l y .
h o w h e p e r f o r m e d t h e m , h e s a i d t h a t it
She could be a sylph, or a cloud or she
w a s quite simple. " Y o u merely pause a
c o u l d b e t o u c h e d w i t h fire a l m o s t r e a l
little i n t h e air — a n d t h e n c o m e d o w n
e n o u g h t o set e v e r y t h i n g a r o u n d
her
again." H e was the most famous male d a n c e r of all t i m e .
ablaze.
Of
course Nijinsky was only
E v e n r e a d i n g a b o u t t h e w a y s h e perHow did Nijinsky . . . * m a n a g e his leaps?
joking
w h e n he said h e * . ^ p a u s e d i n t h e air. * .• I t just h a p p e n e d
formed The ^ . r Dying Swan « has brought
that he possessed extraordinary physical
t e a r s t o m a n y a n e y e . S h e floated a c r o s s
strength a n d h a d splendid training. A t
t h e s t a g e i n t i n y bourres
the p e a k of his leaps, h e thrust his legs
What w a s Pavlova's xr . ^ most famous dance?
(fluttering,
weaving steps), she curved her lovely
o u t further —
n e c k , h e r b o d y t r e m b l e d , s h e s a n k *. . .
m a d e h i m a p p e a r t o p a u s e i n t h e air.
and died . . . and people wept.
H e h a d something else, too, a
A n n a Pavlova brought ballet to the
given
talent,
a n d it w a s t h i s w h i c h
that
special
God-
ingredient
whole world. She traveled everywhere,
w h i c h m a k e s p e o p l e g r e a t i n their o w n
meeting
make
s p e c i a l fields w h e t h e r t h e y b e d a n c e r s ,
s t r o n g m e n t u r n p a l e . T h i s f r a g i l e balle-
teachers, musicians, writers or baseball
rina
players.
schedules
was
made
that
of
would
something
much
s t r o n g e r t h a n steel. S h e t o o k b y s t o r m England, France, She
went
to
the United
Egypt,
South
States. Africa,
Serge Diaghilev w a s not a dancer. H e Whowas
w a s a cultured
gentle-
m a n
b a U e t
w h o
l o y e d
Burma, Costa Rica, Malay, Australia, Java. H u n d r e d s of thousands of miles, thousands
of
performances,
millions
saw her dance. H e r n a m e seems
en-
D^ghilev?
A t
t h e t u r n of t h e
twen
" tieth century h e felt that
ballet w a s n o longer m a k i n g any prog17
• i
• • •
ress. T h e s a m e t h i n g s w e r e b e i n g d o n e
tion, they vied w i t h o n e another in feats
over a n d over again — l o n g ballets in
o f t e c h n i c a l b r i l l i a n c e . N i g h t after n i g h t
lavish settings a n d complicated stories
in the f a m o u s M a r y i n s k y T h e a t e r he
of u n e a r t h l y b e i n g s .
c o u l d hear p e o p l e softly counting the
Ballet had become bogged down by
n u m b e r of pirouettes
turn o r se-
tradition. T r a d i t i o n i s a fine t h i n g t o
q u e n c e of t u r n s o n o n e f o o t ) o r
b u i l d o n , b u t c e r t a i n l y it is n o t g o o d t o
m a d e b y their f a v o r i t e d a n c e r s .
live completely in the past a n d ignore
fouettes
A l t h o u g h t o d a y w e r e a l i z e t h a t bal-
t h e n e e d s a n d d e v e l o p m e n t s of t h e pres-
let i s a c o m b i n a t i o n o f s e v e r a l arts
ent.
t e c h n i c a l b a l l e t skill, m u s i c a n d art —
T r u e , w e still k n o w a n d l o v e s o m e of t h e s e b a l l e t s a n d thrill t o t h e b e a u t i ful m u s i c of T s c h a i k o v s k y , a s i n
The
Sleeping
has
Beauty.
B u t this b a l l e t
T h e s a m e is true of Swan
Lake,
where
most usually only the second act
is
creating ballet as a c o m b i n e d w h o l e ! Ballet
creators
searched
How were ballets created during Diaghilev's time?
given. D i a g h i l e v d i d n o t l i k e t h e rivalries
—
i n D i a g h i l e v ' s d a y n o o n e t h o u g h t of
b e e n r e v a m p e d f o r t h e m o d e r n taste.
(
(a
for
suitable
stories. T h e n t h e y arranged that
steps
would
these
tell
stories.
W h e n the dancers started to learn the
t h a t e x i s t e d a m o n g t h e b a l l e r i n a s . In-
steps, c o s t u m e a n d s c e n e r y
s t e a d of c o n c e n t r a t i n g o n fine expres-
went to work. T h e y were told what the
s i o n i n their d a n c i n g a n d characteriza-
b a l l e t w a s a b o u t , b u t t h e y n e v e r discussed
any
of
their p l a n s
designers
with
the
choreographers, w h o are the creators of t h e b a l l e t steps. W h a t is m o r e , w h e n t h e l e a d i n g d a n c e r s l e a r n e d their parts, they often asked to have steps and movem e n t s left o u t , b e c a u s e t h e s e d i d n o t h a p p e n t o s h o w t h e m off t o their b e s t a d v a n t a g e . T o fill i n t h e g a p , s o m e t i m e s they w e r e a l l o w e d to put in steps they liked from s o m e other ballet. Nijinsky was the slave Zobeldas in the ballet Scheherazade, with music by Rimsky-Korsakov, done in 1910.
; w ;<*
Nijinsky's greatest leap was in Spectre of the Rose. Diaghilev did not approve of this at all. H e felt t h a t all t h e artists w h o m a d e u p a b a l l e t c o m p a n y s h o u l d w o r k tog e t h e r a n d u n i f y all their efforts i n t o one glorious whole. H e w a s not alone in this o p i n i o n . A young dancer and choreographer, Michel Fokine, w h o had created Dying
Swan
The
d a n c e for P a v l o v a in 1 9 0 5 ,
felt e x a c t l y a s D i a g h i l e v d i d . B u t w h e n he proposed n e w ideas to his superiors at t h e I m p e r i a l T h e a t e r , t h e y w e r e rejected. T h u s , w h e n D i a g h i l e v
- /
decided
to form a c o m p a n y of R u s s i a n dancers to take to Paris, F o k i n e w a s very glad t o g o a l o n g a s its c h o r e o g r a p h e r .
T h e
Ballet
R u s s e
Diaghilev w a s a great and imagina-
s i c i a n s w e r e t h e finest i n R u s s i a . E v e r y -
tive i m p r e s a r i o . A n " i m p r e s a r i o " i s t h e
o n e in his c o m p a n y contributed his or
organizer or m a n a g e r of a concert com-
h e r t a l e n t t o a final b r i l l i a n t result. N o
pany, but Diaghilev w a s m u c h
more
w o n d e r their ballet season w a s such a
t h a n that. H e w a s a g e n i u s w h o c o u l d
t r e m e n d o u s s u c c e s s . N o t o n l y t h e first
inspire g r o u p s of h i g h l y t e m p e r a m e n t a l
season, but the next and the next and
artists t o w o r k t o g e t h e r t o w a r d a c o m -
the n e x t — for twenty wonderful years!
m o n goal. H e w a s not so m u c h con-
I t w a s o n e g r e a t s p e c t a c l e after a n o t h e r . company
changed
with perfection. A n d his c o m p a n y w a s
from time to time. D a n c e r s
accepted
artistically p e r f e c t . I t w a s o n M a y
c o n c e r t e n g a g e m e n t s o r left t o
c e r n e d w i t h b o x office profits a s h e w a s
1909
that
Diaghilev's
Ballet
18,
Russe
Of
course,
the
form
c o m p a n i e s a n d s c h o o l s of t h e i r o w n . B u t wherever they went, they carried
o p e n e d f o r i t s first s e a s o n i n P a r i s .
w i t h t h e m the D i a g h i l e v influence. Diaghilev's
principal Anna
Who were the main artists of Diaghilev's Ballet Russe?
dancers
were
A m o n g the m a l e dancers in Diag-
Pavlova,
Ta-
hilev's c o m p a n y w e r e M o r d k i n ,
mara Karsavina
and
nine,
Vaslav
Nijinsky.
Massine,
Dolin,
Lifar.
Voli-
Fokine
performed as well as created, and Cec-
Young Michel Fokine
chetti
was
roles, including Charlatan in the ballet
his
choreogra-
pher. H i s d e s i g n e r s , c o s t u m e r s a n d m u -
took
on
numerous
character
Petrouchka. 19
The clown Petrouchka was one of the four principals of the production. Diaghilev constantly sought out and
i n i t i a t e t h e i d e a of u s i n g m u s i c a s p a r t
encouraged talented people. A m o n g his
o f t h e b a l l e t itself, r a t h e r t h a n a m e r e
composers —
accompaniment to the dancing.
a n d b a l l e t h a s s o m e of
t h e finest m u s i c i n t h e w o r l d —
were
A g o o d e x a m p l e of this n e w w a y to
D e b u s s y , R a v e l , R i c h a r d Strauss, Stra-
u s e m u s i c is i n t h e b a l l e t
vinsky,
w h i c h is a s t o r y of p u p p e t s c o m e t o life.
Faure,
Prokofiev
and
many
Petrouchka,
T h e m u s i c is p a r t of t h e a c t i o n itself.
others. His designers included such famous
T h e instruments s e e m to quarrel w h e n
painters as Picasso, Benois, Bakst, M a -
the characters do. T h e
tisse a n d o t h e r s .
"shrieks" w h e n t h e p u p p e t P e t r o u c h k a
A n d a m o n g his choreographers were Fokine,
Nijinsky,
Massine,
and George Balanchine, w h o
Nijinska became
orchestra
is s u p p o s e d t o shriek. T h i s m u s i c is b y Stravinsky, and the dances were created by Fokine.
t h e artistic d i r e c t o r of t h e w o r l d - f a m o u s N e w Y o r k City Ballet. It w a s F o k i n e w h o c h a n g e d the nature of t h e stories t h a t W h a t contributions u n u u J-J KA- u i c uballet told. He did Michel Fokine t % t t m a k e to the ballet? c h a n g e d t h e s t y l e of d a n c i n g , t o o , by introducing vivid, living characters to the dance. W h a t is more, he helped 20
D a n c e r s n e v e r s t o p l e a r n i n g a n d trying Who taught the dancers of the Ballet Russe?
t o p e r f e c t their art. TV U-I J Diaghilev engaged the
great
Imperial
School teacher
En-
rico Cecchetti to instruct his dancers. Although
Cecchetti
was
delightfully
s o c i a b l e i n e v e r y d a y life, i n t h e classr o o m h e w a s a strict d i s c i p l i n a r i a n . H e
• • • • • • • • i
Scenery for the ballet Petrouchka was designed by Alexander Benois and used at the 1911 Paris opening.
jjf
E g o r o v a , N i j i n s k a ( t h e sister of V a s l a v Nijinsky), and Alicia Markova, to ment i o n just a f e w . ( D i a g h i l e v e n g a g e d t h i s E n g l i s h girl f o r h i s c o m p a n y w h e n s h e w a s only fourteen years old.) O n e of t h e m o s t p o p u l a r p r o d u c t i o n s o f What other ballets were presented by the Ballet Russe?
the Ballet Russe „700 n * -.« . was, a n d s t i l l is, Firebird.
T h i s is a
v e r y c o l o r f u l ball e t of a g l o r i o u s b i r d w i t h m a g i c p o w e r s , of a wicked magician, a princess held captive and a handsome prince finally
r e s c u e s a n d m a r r i e s her.
T h e b a l l e t Le Spectre w a s n e v e r satisfied w i t h m e r e t e c h n i c a l
who
de la Rose
is
n o t so m u c h story as beautiful dancing.
p e r f e c t i o n . H e d e m a n d e d c o m p l e t e understanding
of
their
roles
from
the
dancers, coupled with an inner glow, a fire, w h i c h m a d e their d a n c i n g m e m o r able. U n d e r his guidance, the dancing reached the perfection Diaghilev
de-
m a n d e d , a n d all t h e b a l l e t s w e r e performed exactly as they were planned by the choreographers! N o matter h o w harsh Cecchetti might have
been
with
the
dancers
in
his
classes, all h i s p u p i l s r e m e m b e r e d h i m k i n d l y . H e h e l p e d d e v e l o p t h e t a l e n t s of m a n y b a l l e t stars still a c t i v e t o d a y
—
and through t h e m the talents of y o u n g e r d a n c e r s t h e y , i n turn, h a v e t a u g h t .
A
g r e a t t e a c h e r is l i k e a c a n d l e f r o m w h i c h m a n y o t h e r c a n d l e s c a n b e lit —
so
many, in fact, that the w h o l e w o r l d c a n b e m a d e brighter. Besides
those
already
Cecchetti taught Danilova,
mentioned, Sokolova,
In Fokine's Petrouchka, with music by Stravinsky, the Sorcerer (left) brings to life the puppets Petrouchka, the Ballerina, and the Moor (below).
A y o u n g girl h a s r e t u r n e d f r o m a b a l l .
Ballet
T o d a y
W h e n s h e t a k e s off h e r c a p e , w e s e e t h a t s h e is still h o l d i n g a r e d r o s e t h a t w a s
B e c a u s e p e o p l e before us had freed
given to her b y her sweetheart. H o l d i n g
b a l l e t of m e a n i n g l e s s c o n v e n t i o n s a n d
it c l o s e , s h e d a n c e s d r e a m i l y . T h e n s h e
h a d n o t b e e n afraid to experiment w i t h
s i n k s i n t o a c h a i r a n d falls a s l e e p . A t
n e w i d e a s , w e n o w c a n e n j o y all k i n d s
this m o m e n t , t h e r o s e c o m e s t o life a n d
of ballet —
executes a magnificent dance. T h e n , as
m o d e r n . T h e r e are b a l l e t s w h i c h tell
d a w n lights u p the w i n d o w , the rose says
dramatic or tragic stories as well
f a r e w e l l t o t h e girl a n d , i n w h a t s e e m s
ballets which
with
humor.
like
T h e r e are a l s o b a l l e t s w h i c h
express
a
never-ending
leap,
soars
out
romantic, classic
are
filled
and as
t h r o u g h t h e c a s e m e n t s . T h i s w a s o n e of
only a m o o d in music and m o t i o n and
Nijinsky's f a m o u s leaps, and he w a s the
b a l l e t s t h a t are r i c h i n c o l o r a n d bril-
first t o d a n c e t h i s r o l e t o F o k i n e ' s c h o r e -
l i a n c e . O f t e n y o u c a n s e e e x a m p l e s of
ography.
each o n the same theater program, as
T h e ballerina w a s
Tamara
Karsavina.
f o r e x a m p l e , Swan
T h e b a l l e t Prince
Igor
s e r v e d t o in-
troduce Western Europe to the color,
Afternoon
of
a
Lake,
Faun,
Firebird,
and
Western
Symphony.
m u s i c a n d d a n c i n g of R u s s i a . T h e m u s i c is f r o m t h e s e c o n d a c t o f a n o p e r a b y Alexander Borodin. This ballet has n o c o n n e c t i o n w i t h t h e p l o t of t h e o p e r a . I t is just w o n d e r f u l m u s i c , s e t t i n g a n d d a n c i n g , s h o w i n g d a n c e artists i n n a t i v e
A l l b a l l e t t r a i n i n g i s c l a s s i c a l . T h a t is, What is classic ballet?
it is b a s e d o n a s t a n d a r d of
rules
from Dance
which
the
evolved
Academy
established
of by
costume performing with unbelievable
L o u i s X I V . T h e student learns a basic
energy, speed a n d vigor.
" v o c a b u l a r y " of s t e p s f r o m w h i c h c o u n t -
Diaghilev toured Europe and America,
and everywhere
that his
troupe
danced, there w a s b o t h an upsurge of interest in ballet a n d a t r e m e n d o u s acclaim for his company. B y the
time
Serge Diaghilev died in 1929, the w h o l e world had been influenced by his idea of w h a t b a l l e t s h o u l d b e . T h e s e e d s f o r present-day
dancing,
which
h e l p e d t o ripen, w e r e n o w
he
had
scattered
e v e r y w h e r e i n t h e f o r m of h i s d a n c e r s , musicians and choreographers —
and
f r o m t h e m g r e w b a l l e t a s w e k n o w it today.
22
l e s s v a r i a t i o n s c a n b e m a d e s o t h a t all k i n d s of m o v e m e n t a r e p o s s i b l e .
T h e c l a s s i c d a n c e is f u n d a m e n t a l m a -
q u e e n . O n l y a t m i d n i g h t , f o r o n e brief
terial o u t of w h i c h n e w b a l l e t s c a n b e
hour, can she resume her h u m a n form.
m a d e , a n d it g i v e s t h e d a n c e r a s u r e
I t is t h e n t h a t a p r i n c e a n d h i s f r i e n d s ,
k n o w l e d g e t o d r a w o n w h e n h e is re-
o u t o n a h u n t , d i s c o v e r her. A s O d e t t e
q u i r e d t o p e r f o r m a w o r k t h a t is n e w
begs the prince not to shoot her swans,
to him.
h e f a l l s i n l o v e w i t h her. S o m e o f t h e
W h e n y o u see a ballet listed o n the
most beautiful dancing can b e seen in
p r o g r a m a s "classic," it d o e s n o t m e a n ,
this b a l l e t , a n d it is t h e a m b i t i o n
of
t h e r e f o r e , t h a t t h i s is g o i n g t o b e s o m e -
every ballerina to dance the role
of
t h i n g o l d . W h a t it r e a l l y m e a n s is t h a t
Odette.
h e r e is a n e x a m p l e of t h e finest o f its kind.
That
is p r e c i s e l y
what
A m o t i o n picture, in color, w a s m a d e
classic
of this b a l l e t b y T h e R o y a l B a l l e t C o m -
m e a n s : "a w o r k o f t h e h i g h e s t c l a s s a n d
p a n y of E n g l a n d , a n d it affords a m a g -
acknowledged excellence."
nificent v i e w of c l a s s i c d a n c i n g . O d e t t e
Therefore, ballets can be and
classic
classic,
as well
because
romantic
as modern
they
combine
and the
k n o w l e d g e a n d skills d e v e l o p e d o v e r t h e centuries
which
have
been
handed
is d a n c e d
here
by
Margot
Fonteyn,
p r i m a b a l l e r i n a of t h e c o m p a n y .
The
p r i n c e is M i c h a e l S o m e s , a l s o o n e of England's greatest dancers. The Sleeping
Beauty
is a c l a s s i c bal-
d o w n , teacher to pupil, to our o w n time. Probably the most popular a m o n g the What are some classic ballets?
classic Swan
ballets
Lake.
formed
by
is
I t is peralmost
every c o m p a n y in the world. T h e story is a b o u t a b e a u t i f u l girl, O d e t t e , w h o i s transformed by a magician into a swan
The bar helps dancers keep their balance when they learn and practice. Pupils of a present-day ballet school exercise at the bar — or barre. 23
l e t w h i c h is b a s e d o n t h e w e l l - k n o w n
H e takes her to Fairyland, through the
fairy t a l e of t h e s a m e n a m e .
Moira
S n o w C o u n t r y a n d i n t o t h e K i n g d o m of
S h e a r e r of E n g l a n d m a k e s a b e a u t i f u l
the Sugarplum Fairy. T h e r e a grand
Princess Aurora. Perhaps y o u have seen
c e l e b r a t i o n is h e l d i n C l a r a ' s h o n o r . T h e
her dance in the m o t i o n picture entitled
s u b j e c t s of t h e Q u e e n p e r f o r m
The Red
dances toTschaikovsky's beautiful
The
Shoes. Nutcracker
is o f t e n
performed
many flow-
ing music. T h e r e are Spanish Dancers,
at C h r i s t m a s t i m e , b u t if y o u c a n ' t s e e
Candy
it o n a l i v i n g s t a g e , r e m e m b e r t h a t it is
M o t h e r G i n g e r a n d h e r d e l i g h t f u l little
often given on television
children, F l o w e r s a n d Sugar
during
the
Canes,
an
Arabian
Dancer, Angels.
holiday season. T h e ballet opens with
Finally the Sugarplum Fairy and her
a f a m i l y C h r i s t m a s p a r t y , a n d t h e r e is
P r i n c e d a n c e a grand
a large, r i c h l y d e c o r a t e d C h r i s t m a s tree
a d a n c e for t w o — a n d that is w h e n
i n t h e setting. T h e b e s t p r e s e n t , a s far
children whisper to their mothers, "Are
a s little C l a r a i s c o n c e r n e d , is a c l e v e r l y
those p e o p l e really real?"
pas
de deux
—
devised Nutcracker which looks like a
W i t h N i c h o l a s M a g a l l a n e s f o r a part-
s o l d i e r — t h e gift of h e r r a t h e r m y s t e -
ner, M a r i a T a l l c h i e f a s t h e S u g a r p l u m
rious godfather.
F a i r y e x h i b i t s s o m e of t h e finest c l a s s i c
T h a t n i g h t , w h e n t h e p a r t y is o v e r ,
dancing
for
which
George
Balanch-
Clara dreams that the Nutcracker has
ine's N e w Y o r k C i t y B a l l e t C o m p a n y
c o m e t o life a s a c h a r m i n g y o u n g p r i n c e .
is famous.
The Prince falls in love with the Swan Queen in Marius Petipa's Swan Lake. The music is by Tschaikovsky.
Clara is taken to the Kingdom of the Sugarplum Fairy in The Nutcracker. Clara dreams that the Nutcracker, a gift from her godfather, comes alive. T h e ballets w e call " r o m a n t i c " a r e a What are romantic ballets?
k i n d of They
classical
are
ballet.
romantic
in
m o o d . T h e d e s i r e t o express this m o o d
and
Giselle
is t h e s t o r y of a p e a s a n t g i r l w h o falls in love
to
g i v e t h e d a n c e r s m o r e of t h e a p p e a r a n c e of s p i r i t - l i k e c r e a t u r e s w a s r e s p o n s i b l e
Which is the most p o p u l a r of t h e romantic ballets?
D u k e f w h o
with
A l b r e c h t
h a s
t.
disguised
f o r t h e d e v e l o p m e n t of t o e d a n c i n g . I t
himself as a peas-
is i n t h e s e r o m a n t i c b a l l e t s t h a t d a n c e r s
ant. W h e n t h e girl discovers his real
first r o s e t o t h e t i p s of t h e i r t o e s .
i d e n t i t y a n d l e a r n s t h a t h e is e n g a g e d
It w a s at this time, also, t h a t w h i t e b a l l e t , o r ballet being — tutu
and
blanc,
the delicate,
came into romantic
w e k n o w in such productions
Giselle,
Swan
was created.
Lake
a n d Les
the
as
Sylphides
to m a r r y a princess, she loses her m i n d a n d d i e s of g r i e f . In
the
second act, the
remorseful
p r i n c e visits h e r g r a v e a t night.
The
c e m e t e r y is h a u n t e d b y t h e w i l i s , s p i r i t s of b r i d e s - t o - b e w h o h a v e d i e d b e f o r e 25
Alicia Markova as Giselle and Anton Dolin as Duke Albrecht dance in the ballet Giselle. The romantic ballet was originally performed in the year 1841 in Paris and is the work of the composer A. C. Adam. their w e d d i n g d a y . N o w t h e y a p p e a r ,
T h e m o v e m e n t s o f m a n y of
these
with Giselle among them, and force her
b a l l e t s , at first g l a n c e , m i g h t l o o k n o t h -
to dance with Albrecht. D a w n c o m e s in
i n g a t all l i k e t h o s e o f t h e c l a s s i c a n d
t i m e t o s a v e h i m f r o m ill f a t e .
r o m a n t i c b a l l e t s . I n s o m e of t h e s e bal-
T h i s ballet, the m o s t popular of the
lets the dancers use straight m o v e m e n t s
r o m a n t i c o n e s , w a s first p r o d u c e d i n
of t h e a r m s r a t h e r t h a n t h e r o u n d e d
Paris in 1841. It is the "Hamlet" of the
classic ones. B o d y lines are sometimes
ballet world. Just as every actor w a n t s
angular.
to play Hamlet, so every ballerina wants to d a n c e the part of Giselle a n d bring t o t h e r o l e h e r o w n p a r t i c u l a r gifts a n d
Y e t the modern ballet dancer
begins
Fonteyn,
training in exactly How are modern the same w a y as the ballet dancers earlier d a n c e r s d i d trained to dance? — with the five
Alicia A l o n s o , M o i r a Shearer, U l a n o v a ,
positions of the feet, the ninety-degree
the Russian prima ballerina and m a n y
t u r n o u t of t h e l e g f r o m t h e h i p , a n d all
others.
the other exercises which give the body
interpretation. In our time, Giselle w a s danced b y Alicia
Markova,
Margot
suppleness, grace a n d balletic ease of S o m e of the m o d e r n ballets of What is modern ballet?
today
m o v e m e n t . T h e n the acquiring of mod-
tell a story. W h e n t h e y d o ,
e r n s t e p s t o fit t h e specific n e w d a n c e s
the costumes and
is e a s y . T h e v o c a b u l a r y —
scenery
or visible
fit t h e p e r i o d a n d s e t t i n g of
l a n g u a g e of ballet — h a s b e e n used in
that
modern
e a c h era to express that particular time.
ballets express only a m o o d or a feeling.
O n c e it w a s full o f p o m p a n d c i r c u m -
In that case, the c o s t u m e s a n d settings
s t a n c e . T h e n it w a s filled w i t h t h e ro-
are d e s i g n e d f o r l i n e a n d c o l o r a n d t o fit
m a n t i c q u a l i t i e s of t h e n i n e t e e n t h cen-
the m o o d or feeling to be expressed.
tury, f o l l o w e d b y t h e realist p r e s e n t a -
26
story.
Other
wamm
t i o n s of F o k i n e a n d D i a g h i l e v . N o w it is crisp w i t h m o d e r n d e s i g n s a n d t h e d r e a m s a n d realities of t o d a y ' s w o r l d . Probably the best k n o w n modern Amer-
Some of the steps done in ballet are shown below. Their names are in French, for it was in France that ballet grew.
i c a n b a l l e t is A g n e s
What are some modern ballets?
De
Mille's
Rodeo. PIROUETTE PASSE
Set in the Southwest, o n a r a n c h , it d e a l s w i t h a t o m b o y ' s desp e r a t e efforts t o a t t r a c t t h e a t t e n t i o n of the H e a d C o w b o y . A l l her attempts to c h a r m h i m w i t h h e r c o w g i r l skills fall i n t o r i d i c u l e u n t i l s h e s e e s t h e error of her ways. Everything changes w h e n she a p p e a r s d r e s s e d a s a girl, w i t h b e c o m i n g feminine manners. N o w the H e a d C o w b o y d a n c e s right u p t o her, b u t
she
chooses the C h a m p i o n R o p e r instead. O f all t h e p e o p l e o n t h e r a n c h , h e , a l o n e , w a s k i n d t o h e r earlier w h e n s h e behaved so foolishly. Rodeo
w a s first p r e s e n t e d i n
New
Y o r k o n O c t o b e r 16, 1 9 4 2 — a n d at that m o m e n t a great A m e r i c a n choreographer w a s discovered. N o t h i n g like it h a d e v e r b e e n s e e n b e f o r e , a n d f r o m that m o m e n t ,
the particular style
of
dancing presented by A g n e s D e Mille b e c a m e part of the A m e r i c a n
dance
s c e n e . S h e , herself, d a n c e d t h e p a r t of the Cowgirl. Frederic Franklin was the Champion Roper. Other ballets designed by A g n e s D e M i l l e w e r e i n c l u d e d i n t h e m o t i o n pict u r e s Oklahoma
a n d Carousel.
These
w e r e m u s i c a l p l a y s first a n d t o u r e d t h e country,
playing
before
enthusiastic
audiences everywhere. T h e ballets were w o v e n right i n t o t h e s t o r y a n d
many
people w h o had never seen ballet before,
DEVELOPPE A LA SECONDE
d e c i d e d t h a t t h e y l i k e d it. I t w a s n ' t h i g h b r o w a n d stuffy a t all! GRAND JETE
In Agnes De Mille's American ballet Rodeo, the Cowboys try to impress the Eastern Girls at the Saturday dance.
The Cowgirl, looking like a tomboy, kicks out with displeasure when she is ignored. A m o d e r n b a l l e t t h a t is q u i t e differe n t i s Graduation
Ball.
T h i s is set in a
f a s h i o n a b l e girls' s c h o o l i n V i e n n a .
The Head Cowboy and the Rancher's Daughter.
A
gala entertainment is arranged for the graduates of a nearby military
acad-
e m y . W h e n the girls a n d b o y s
meet,
i s b a s e d o n G i l b e r t a n d S u l l i v a n oper-
t h e r e are s o m e a w k w a r d m o m e n t s . T h e
ettas. T h e s t o r y of this b a l l e t is t a k e n
b o y s are bashful,
from
t h e girls a r e
shy.
Gilbert's ballad,
The
Bumboat
S o m e b o d y f a l l s d o w n a n d is h o r r i b l y
Woman
embarrassed. B u t then the party gets
w a y , is a b o a t that carries provisions
under w a y and everyone has fun, includ-
— fruit, v e g e t a b l e s , t r i n k e t s — o u t t o
ing the headmistress and the p o m p o u s
s h i p s a t a n c h o r . P i n e a p p l e P o l l is a
old general.
pretty
T h e b a l l e t Fancy
Free is a b o u t t h r e e
s Story.
young
A
girl
a b o a r d t h e HMS
bumboat,
who Hot
by
stows
Cross
the
away
Bun,
in
in
order to be near Captain Belaye. T h e n
N e w Y o r k . It w a s c r e a t e d b y c h o r e o g -
s h e d i s c o v e r s t h a t a l s o a b o a r d are a
rapher Jerome Robbins, with composer
number
Leonard
slapstick
sailors, w h o t u r n o u t t o b e girls w i t h
humor and clever dance steps always
t h e i d e n t i c a l i d e a s h e h a s ! I t is q u i t e
h a v e a u d i e n c e s l a u g h i n g at t h e sailors'
a situation, especially w h e n the Cap-
antics.
tain brings a b o a r d his n e w bride. T h e
American
sailors
on
Bernstein.
shore
The
leave
N o t to be outdone, the British navy has t o be remembered in m o d e r n ballet, t o o . It is d o n e i n Pineapple 28
Poll,
which
of
other
very
un-sailor-like
"sailors" fall o v e r i n a m a s s f a i n t — b u t e v e n t u a l l y all e n d s w e l l . E l a i n e F i f i e l d w a s t h e first t o d a n c e
Pineapple Poll. D a v i d Blair was Captain Belaye. Serge Prokofiev, and the Wolf
who
wrote
as a musical fairy tale to
teach children the difference various instruments in the
between orchestra,
a l s o w r o t e t h e m u s i c f o r Gala ance.
Peter
Perform-
T h i s is a s p o o f o n b a l l e t ,
a
c o m e d y , involving three self-important b a l l e r i n a s f r o m t h r e e different
coun-
tries w h o c o n s e n t t o d a n c e t o g e t h e r . Just before the actual performance, t h e t h r e e stars a p p e a r o n s t a g e o n e b y one. First c o m e s the Russian, the Q u e e n of the D a n c e , a h a u g h t y
FANCY FREE
overdressed
lady. T h e n the sparkling F r e n c h ballerina r u n s o n , w e a r i n g a fluffy c o s t u m e . S h e at o n c e tells t h e c o n d u c t o r w h a t kind of t e m p o she expects from
him.
S h e s e e m s t o talk, talk, talk. N o w c o m e s the Italian ballerina, f a m e d as G o d d e s s o f t h e D a n c e . S h e is
overpoweringly
dignified, a n d w a l k s a s if n o t sure t h e floor
b e n e a t h is w o r t h y t o r e c e i v e h e r
precious footsteps.
All
this time
b o y s a n d girls o f t h e corps
de ballet
watching from the background,
the are con-
vulsed with laughter. T h e p e r f o r m a n c e of t h e trio i s i n keeping
with
their
acters — exaggerated
established and
GRADUATION BALL
char-
ridiculous.
A n d at t h e e n d , t h e l a d i e s p r a c t i c a l l y fight o v e r t h e a p p l a u s e . W h e n first g i v e n i n t h e U n i t e d S t a t e s , the cast w a s headed by N o r a Kay, N a n a Gollner, Karen Conrad, H u g h Laing, and A n t o n y Tudor, w h o also did the choreography for this ballet.
The popular, modern ballets Fancy Free, Graduation Ball and Pineapple Poll were originally performed in New York, Sydney, Australia and London, respectively.
PINEAPPLE POLL
In this scene from Serge Prokofiev's ballet Peter and the Wolf, the Wolf is shown chasing the Bird.
The Russian, French and Italian ballerinas have their "say" in the ballet Gala Performance. The music is by the composer Serge Prokofiev.
t
In ballet, roles w h i c h require dramatic interpretation are called i 0 character parts. Some-
What is , character dancing?
r t i m e s
father, D r o s s e l m e y e r , is a c h a r a c t e r — white-haired,
character dancing,
com-
pletely in keeping with the person or creature being portrayed.
sinister, with a
black
patch over o n e eye! In the magnificent Firebird,
these roles require
\
the wicked magician,
Kast-
chei, w a s played b y the f a m o u s Enrico C e c c h e t t i of t h e D i a g h i l e v c o m p a n y . I n The
Sleeping
Beauty,
Frederick
Sometimes,
A s h t o n p o r t r a y s t h e w i c k e d fairy C a r a -
n o d a n c i n g is r e q u i r e d , a n d t h e char-
b o s s e . It is a b a l l e t t r a d i t i o n t h a t t h e
a c t e r m e r e l y w a l k s a b o u t t h e s t a g e performing
his
role.
In
Coppelia,
the
o w n e r of t h e life-size d o l l is D r . C o p pelius. T h i s
character role has
been
played by the gifted R o b e r t H e l p m a n n . Perhaps y o u h a v e seen h i m in the m o t i o n p i c t u r e Tales he played
of Hoffman
in which
the character role
of
the
wicked Dr. Miracle. T h e M o t h e r i n Giselle role. I n The 30
Nutcracker,
is a c h a r a c t e r Clara's god-
roles
of
women
ugly,
grotesque
o r evil
should usually be played
old by
men. C h a r a c t e r d a n c i n g a l s o i n c l u d e s national folk dances adapted for ballet, such as the p o l k a or the Italian tella.
Taran-
S c o t t i s h , S p a n i s h , R u s s i a n , Irish
— a n y k i n d of n a t i o n a l d a n c e m a y b e a d a p t e d t o g i v e t h e flavor of t h o s e c o u n tries t o p a r t s of v a r i o u s b a l l e t s .
P a n t o m i m e — a
L a n g u a g e
T o help the audience understand e m o t i o n s in a
What is pantomime?
the
dance,
many pantomime
ges-
tures have b e e n develo p e d . T h a t is, g e s t u r e s of t h e h a n d s , f a c i a l e x p r e s s i o n s a n d t h e g e n e r a l atti-
of
the
D a n c e
A n i n v i t a t i o n t o dance
is e x p r e s s e d
by circling the hands around e a c h other above the head. F o r a kiss, the
t h e l i p s are t o u c h e d w i t h
finger.
Stop
is s u c h a u n i v e r s a l g e s t u r e , it is
t u d e of t h e b o d y . D o n e w i t h restraint,
the s a m e the w o r l d o v e r — a n d in dance,
they can express serious feeling, but a
too. Here the performer holds up the
clever character dancer can transform
hand, p a l m out.
them into anything he wants with
a
Anger
is e x p r e s s e d
b y raising
the
slight e x a g g e r a t i o n . W h e n y o u b e c o m e
arms above the head, with the elbows
familiar with the p a n t o m i m e
to the front, a n d shaking
samples
g i v e n h e r e , w a t c h for t h e m i n t h e b a l l e t
A
c o m m a n d t o obey
performances y o u see and notice h o w
pointing to the
t h e y are u s e d . T h i s a w a r e n e s s w i l l a d d
cided gesture.
greatly to your enjoyment.
floor
fists. is s h o w n
by
w i t h a v e r y de-
T o s a y no, t h e d a n c e r h o l d s t h e a r m s the
at t h e side, t h e n c r o s s e s t h e m b e f o r e t h e
d a n c e r h o l d s b o t h h a n d s o v e r t h e heart.
b o d y i n a definite g e s t u r e a s h e s h a k e s
For example, A
wish
to
t o e x p r e s s love,
marry
is e x p r e s s e d
by
p o i n t i n g t o t h e w e d d i n g - r i n g finger w i t h
his head. A dancer w h o wants to say that he forgot,
t h e i n d e x finger of t h e right h a n d . T o say /, the dancer points toward h i m s e l f w i t h t h e m i d d l e fingers of b o t h hands.
will h o l d the h a n d s out loosely,
p a l m s u p , a n d s h a k e t h e h e a d slightly. W h e n h e remembers,
he holds
the
i n d e x finger t o t h e t e m p l e .
F o r you, h e p o i n t s t o t h e p e r s o n w i t h a n o p e n h a n d . If a n g r y , t h e n h e p o i n t s w i t h t h e finger i n a v i o l e n t g e s t u r e . Beautiful
or
girl
is
expressed
T o s a y friends,
hands together on a level with the waist. F o r sadness,
by
circling t h e f a c e g e n t l y w i t h t h e b a c k
the dancer clasps the the dancer traces tears
running d o w n the face with his F o r a c t u a l weeping,
fingers.
he hides the face
of t h e h a n d . T h e b a c k of t h e m i d d l e
in b o t h hands, or rubs his eyes
finger
clenched
outlines the face.
/,-*•
with
fists.
MADGE, THE WITCH, —Sk IN LA SYLPHIDE
DR. COPPELIUS IN COPPELIA
SPANISH FOLK DANCER ASTROLOGER IN COQ DOR
31
T o beg for mercy, the
arms
out,
the dancer holds
palms
together
as
if
praying. A
blessing
is g i v e n w i t h t h e h a n d s
t o u c h i n g t h e h e a d of t h e p e r s o n b l e s s e d . Sleep
is indicated b y inclining
the
h e a d a g a i n s t t h e b a c k of t h e h a n d s . A child
is indicated w i t h the p a l m s
of t h e h a n d s . T h e d a n c e r r a i s e s
the
p a l m s i n t h r e e s t e p s , a s if m e a s u r i n g t h e h e i g h t of a g r o w i n g c h i l d . Thank
you
is s h o w n very simply b y
i n c l i n i n g t h e h e a d . O n e h a n d is b r o u g h t d o w n from a position o n the chest and extended toward the person thanked. A king
is i n d i c a t e d b y a
flourishing
gesture a n d the raising of the right h a n d above the head to indicate a feather p l u m e , w h i c h is u s u a l l y w o r n i n
the
h a t s of n o b i l i t y . A queen
is s h o w n b y t h e i n d e x
finger
o f t h e r i g h t h a n d t o u c h i n g t h e t o p of the forehead at points w h e r e a c r o w n w o u l d touch the head. T h i s t y p e of p a n t o m i m e is u s e d f o r the m o s t part in the older,
classical
b a l l e t s a n d if y o u k n o w it, y o u understand
the
stories
more
W a t c h f o r it e s p e c i a l l y o n
will
clearly. television
a n d in movies, where the dancers are brought so close to the viewer, y o u can e v e n s e e t h e flicker of a n e y e l a s h .
P e o p l e
W h o
T h e ballet productions y o u see from "out front" — in the a u d i e n c e — didn't just h a p p e n . T h e y w e r e c r e a t e d made
possible
by
people,
and
many
M a k e
Ballet
In the U n i t e d States, d a n c e . .. W h o supports ballet •in the *L United 11 •* J States? c* o
of
stu
dy
o w n
students at
their
e x pr e n s e ,
although many
w h o m are n e v e r s e e n b y t h e p u b l i c a n d
p r i v a t e l y - o w n e d s c h o o l s offer
many whose names never appear
ships to promising students. T h e
cost
o f m a n y y e a r s of s t u d y is h i g h ,
and
on
the program.
scholar-
d a n c i n g s c h o o l s are c o m p l e t e l y
sepa-
P r o d u c i n g a b a l l e t , a n d p a y i n g all t h e
r a t e f r o m i n s t i t u t i o n s of a c a d e m i c stud-
e x p e n s e s a n d sal-
ies. H o w e v e r , i n N e w Y o r k C i t y t h e r e
a r i e s i n v o l v e d re-
are t w o public h i g h schools w h i c h are
quires
vast
d e v o t e d t o t h e arts. O n e is t h e H i g h
outlay of m o n e y . In the past, kings and
S c h o o l of P e r f o r m i n g A r t s , t h e o t h e r i s
queens
the H i g h S c h o o l of M u s i c
Who supports the ballet companies?
supported
royal
a
ballet
com-
and
Art.
panies. T o d a y , m a n y ballet companies
H e r e t h e arts c a n b e s t u d i e d a n d per-
overseas are supported b y the govern-
f e c t e d w h i l e o n e i s still v e r y y o u n g .
ment.
Though
governments
in
those
M a n y people h o p e that s o m e
day
countries m a y have changed from time
the U n i t e d States will have a N a t i o n a l
to time, e a c h successive o n e has con-
Foundation
tinued to support not only the ballet
w h i c h will give qualified y o u n g p e o p l e
companies, but ballet schools also. Tal-
from even the smallest towns and ham-
ented y o u n g p e o p l e are able to get a
lets a c h a n c e to perfect their talents.
classic ballet education
arts,
I n the U n i t e d States, ballet depends
d e m i c e d u c a t i o n o n a scholarship basis.
o n private individuals to underwrite the
through
all
an
the performing
aca-
France,
and
for
her
political
h u g e e x p e n s e s of p r o d u c t i o n s . It a l s o
troubles, has continued to maintain the
depends
academy founded by Louis X I V .
contribute various sums annually
Russian Academy, Czars,
continues
founded
under
"patrons" — p e o p l e
who to-
the
w a r d t h e s u p p o r t of their f a v o r i t e c o m -
Communism.
pany. Actually, y o u also help to support
Italy, D e n m a r k , S w e d e n a n d
by
The
on
Austria
a c o m p a n y e a c h time y o u b u y a ticket.
g i v e b a l l e t official s u p p o r t . A n d r e c e n t l y
A n "angel" in theater language, is a
Great Britain has b e g u n to subsidize a
p e r s o n w h o p u t s u p all o r p a r t of t h e
national ballet.
m o n e y to m a k e a production possible.
Some
South
American
countries,
T h e greater his investment in a produc-
w h i c h h a v e t a k e n g r e a t strides f o r w a r d
tion which b e c o m e s a
in m a n y c u l t u r a l d i r e c t i o n s , n o w sup-
t h e g r e a t e r h i s profit.
financial
success,
port ballet. A n d in M e x i c o , the governm e n t n o t o n l y s u p p o r t s t h e arts, b u t pays dance students while they g o to school.
33
E v e r y c o m p a n y n e e d s a n e x e c u t i v e director — a What is t h e job of i. company r J the company manager? m a n a g e r
h u m a n e x p e r i e n c e of h i s s t o r y .
Then
he translates these movements into the m e a n i n g f u l l a n g u a g e of b a l l e t . A c h o r eographer must be a dancer — and a good one. This has always been
true.
— to supervise everything. H e usually
A l l t h e d i s t i n g u i s h e d c h o r e o g r a p h e r s of
h a s assistants, for n o o n e p e r s o n could
t h e p a s t w e r e fine d a n c e r s i n t h e i r o w n
e v e n h o p e t o t a k e c a r e of a l l t h e d e t a i l s
right. T h e y studied ballet t e c h n i q u e for
alone. Also,
many
w i t h so m a n y
tempera-
years,
joined
ballet
companies
m e n t a l a r t i s t s i n v o l v e d , it is a d v i s a b l e
a n d d a n c e d m a n y roles. T h e y
t o h a v e a c o m p a n y " S o l o m o n " w h o is
ated with designers, musicians,
tactful e n o u g h to settle noisy disputes.
d a n c e r s — l e a r n i n g all t h e while,
T h e m a n a g e r has that job, too.
s e r v i n g , a b s o r b i n g a l l k i n d s of k n o w l -
associother ob-
edge. T h e y also studied history, art a n d m u s i c a s w e l l a s t h e w o r l d of
e m o t i o n a r o u n d t h e m . W h e n e v e r pos-
cr^-*.
sible, T h e a r t i s t i c d i r e c t o r t a k e s c h a r g e of t h e W h a t job d o e s the artistic director d o ?
human
they
traveled
and
studied
d a n c e s of o t h e r l a n d s . T h e
the
choreogra-
b a l l e t a s a w o r k of ^ ^ R e b r i , t . . . . t h e beSt m hlS artlStS ' overcomes the worst
a n d d e v e l o p s all t h e p o t e n t i a l s . H e d o e s n o t s p a r e himself — o r a n y o n e else —
p h e r of t o d a y d o e s p r e c i s e l y t h e s a m e
and makes everyone work harder than
thing to p r e p a r e himself for his pro-
they t h o u g h t possible. H e "lives" each
fession.
p a r t a n d helps e a c h d a n c e r interpret his
T h e r e are n o schools in which chore-
or her role properly. T h e y m u s t perform
ography
can be
u p t o his ideals a n d s t a n d a r d s , a n d it
teach
is t h i s f a c t o r w h i c h g i v e s a p a r t i c u l a r
c o u r s e of s t u d y , b u t t h e w o u l d - b e c h o r -
c o m p a n y its distinctive c h a r a c t e r .
e o g r a p h e r h a s t o d e v e l o p h i s o w n spe-
technique,
taught. they
Schools
can
can
outline
a
cial talents. T h e c h o r e o g r a p h e r , m u s t h a v e infinite patience a n d the ability to teach others, because he h a s to show his how T h e choreographer creates the dances. W h a t is t h e cho^Igmpher?
perform
certain
movements
which he has created. H e must have a
H e is a n a r t i s t w h o
clear understanding
works with
motion.
movements a dancer can and
cannot
H e
f o r
d o . T h a t is w h y h e m u s t b e a
dancer
s e a r c h e s
basic
t h e
movements
which express the emotion behind the 34
to
dancers
of t h e s t e p s
and
himself. I n t h e c o u r s e of g a t h e r i n g h i s o w n
experience, the choreographer b e c o m e s
rapher. Either w a y , there m u s t b e close
a
association and understanding between
walking
encyclopedia
of
dances,
dance steps and m a n y ideas for using t h e m . H e is u s u a l l y a tireless perfec-
these t w o persons. T h e r e must be an orchestra to play
tionist, a s m i n o r f a u l t s c a u s e h i m a g o -
t h e m u s i c of t h e c o m p o s e r . S o
nies, e v e n t h o u g h n o o n e e l s e is a w a r e
must be musicians and a conductor to
of t h e m . B u t t h a t is h o w o n e arrives a t
s e e t o it t h a t t h e m u s i c is l e a r n e d a n d
p e r f e c t i o n — b y t a k i n g infinite
played in the t e m p o indicated by the
pains
choreographer.
o v e r t h e s m a l l e s t details. The
choreographer
there
is
a
creative
artist, a n d h e is e x p e c t e d c o n s t a n t l y t o p r o d u c e s o m e t h i n g n e w , s o m e t h i n g surprising, s o m e t h i n g b e a u t i f u l . V e r y o f t e n he does! A l t h o u g h the choreographer and What is a ballet master?
the
It is s a i d t h a t t h e w a r d r o b e m i s t r e s s w a s born with a needle
artistic d i r e c t o r c a n demonstrate steps
and
the
move-
m e n t s t h e y w a n t f r o m their d a n c e r s , it
What is the job of a wardrobe mistress in a ballet company?
and thread in her h a n d , b u t h e r feeli n g for a n d k n o w l -
is t h e b a l l e t m a s t e r — o r b a l l e t m i s t r e s s
e d g e of b a l l e t a n d
— w h o s e e s t o it t h a t t h e y l e a r n t h e m
ballet people sometimes suggests that
e x a c t l y . M a n y , m a n y h o u r s are s p e n t
there is dancer's b l o o d in her veins. In a
in such rehearsals,
b a l l e t c o m p a n y s h e is i n d i s p e n s a b l e . H e r
first
in
rehearsal
halls, t h e n i n t h e t h e a t e r itself.
r u l e is o v e r all t h e c o s t u m e s — f o r l o r d s and ladies, witches, knights, goblins and fairies, s n o w f l a k e s a n d s u n b e a m s , w a l t z i n g flowers, n u t c r a c k e r s a n d t o y s w h i c h c o m e t o life. S h e k e e p s b u t t o n s
on,
moths out,
and
s t a r c h in. S h e f o l d s
p a c k s w i t h secret tricks a g a i n s t crushA composer creates or arranges music How does a composer *u u n *o serve in the ballet?
for the ballet. ., . H o w this is
TT
worked
out
depends o n h o w the choreographer gets his i d e a f o r t h e ballet. If t h e s t o r y o r
ing. S h e l a b e l s a n d p u t s a w a y — a n d finds
what she wants w h e n she wants
it. S h e is i n g e n i o u s w h e n it c o m e s t o c l e a n i n g , p a t c h i n g o r m e n d i n g . A t perf o r m a n c e t i m e she h o o k s , zips, ties, n i p s a w a i s t in,
takes a tuck
out,
fluffs,
m o o d c o m e s first, t h e n s u i t a b l e m u s i c must either b e written or arranged from e x i s t i n g scores. If a b a l l e t is t o b e w r i t t e n t o e x i s t i n g m u s i c , t h e n this is a r r a n g e d to fit t h e s t e p s d e v i s e d b y t h e c h o r e o g 35
The scene designer builds a miniature stage for the ballet after he has drawn sketches of the scenery.
s m o o t h s d o w n . S h e s c o l d s , she
com-
costumes or c h a n g e them from beauty
forts, s h e p r a y s , t o o . O n e t h i n g is cer-
into ugliness.
t a i n — w i t h o u t her there w o u l d be c h a o s
simple backdrop curtain can b e m a d e
in t h e d r e s s i n g r o o m s .
t o look like "scenery" b y clever lighting.
T h e s c e n e r y is d e s i g n e d a n d What part does r _ . a scene designer i i L .1 .11 play in ballet?
planned
b y a n artist, first ___ ~n~**- +i^~ ™ o n paper, then o n \ . a m m i a t u r e stage. fe It is v e r y i m p o r t a n t
On
the other hand,
Costumes must be designed nize In w h a t w a y does g c e a costume designer ~ .,, „ , , fit t h e 0 aid ballet dancers? there
a
to harmowith the a n d
tQ
~ story. But J are
many
t o h a v e t h e b a c k g r o u n d suit t h e story
m o r e c o n s i d e r a t i o n s t h a n this. T o b e g i n
of t h e ballet. A t t h e s a m e t i m e , it is
w i t h , t h e d e s i g n e r m u s t r e m e m b e r that
very important to have the scenery so
a dancer has to m o v e in a costume —
designed that dancers can c o m e o n and
and n o matter h o w forcefully, costume
off t h e s t a g e a n d p e r f o r m w i t h o u t c a t c h -
and dancer must n o t part c o m p a n y .
ing
their
costumes
awkwardly.
Nor
Also, the costume must not be draped
m u s t t h e y b e c r o w d e d or o v e r s h a d o w e d
i n s u c h a w a y t h a t it b e c o m e s a trap
b y t h e sets.
— catching
L i g h t i n g effects are a l s o v e r y i m p o r t a n t a n d are p l a n n e d m o s t
carefully.
Incorrect lighting can completely spoil t h e m o o d of a b a l l e t , w a s h c o l o r o u t of 36
a foot
in
a leap,
flying
across the face and obscuring vision or t a k i n g p i e c e s of s c e n e r y w i t h it. T o guard against these
nightmares
that haunt both dancers and designers,
m a n y c o n f e r e n c e s a n d fittings t a k e p l a c e
T h e property m a n is in charge of the
with the designer, dancers, dressmaker, c h o r e o g r a p h e r a n d t h e set d e s i g n e r . T h e s t a g e m a n a g e r is c o m p l e t e l y What does the stage manager do?
re-
scenery Who are some other important backstage help?
and
the
props. H e oversees the stage manager, takes care of
the
sponsible for the
p r o p e r l i g h t i n g effects f o r e a c h
operation
of
a n d o v e r s e e s t h e m e n w o r k i n g t h e spot-
perform-
lights. T h e c a r p e n t e r is i n c h a r g e o f all
each
ance. H e has to k n o w a great
many
scene
t h e c a r p e n t r y t o b e d o n e o n t h e sets.
things in order to cue the light crew a n d
The
the curtain men. F r o m the m o m e n t h e
lowering of the h u g e backdrops for the
orders,
settings.
"Places,
everybody!"
to
the
flyman The
oversees the raising curtainman
raises
and and
e c h o of t h e l a s t a p p l a u s e , h e is l i k e a
l o w e r s t h e c u r t a i n at t h e right m o m e n t s ,
c a p t a i n at t h e h e l m , k e e p i n g e v e r y t h i n g
o n cue from the stage manager.
under control and maintaining the pace of t h e s h o w . H i s w i t s m u s t b e s h a r p a n d ever ready to cope with any emergency t h a t m i g h t arise.
Dancers wait for their cue in the wings of the stage or behind the scenery while a performance is in progress. 37
P r e s e n t - d a y
Ballerinas
T h e radiant Q u e e n of the R o y a l Ballet, Margot Fonteyn
M a r g o t F o n t e y n , is as popular in
U n i t e d S t a t e s a s s h e is i n E n g l a n d . H e r a p p e a r s effortless
and
D a n s e u r s
service in the British army — with n o i m p a i r m e n t t o h i s art.
the
ballet technique is so perfect that her dancing
a n d
spon-
taneous.
A truly A m e r i c a n Q u e e n of Ballet is Maria
Maria Tallchief
Tallchief.
She was born on an
O s a g e reservation in O k l a h o m a .
H e r father, a m i n i n g engineer, w a s a Yorkshire m a n and her mother
of
father
is
an
Indian,
her
Her
mother
of
Scottish descent. E n o r m o u s l y talented,
Brazilian-Irish extraction, w h i c h prob-
s h e first s t u d i e d p i a n o . A t t w e l v e s h e
ably accounts for Fonteyn's
b e g a n s e r i o u s s t u d y of b a l l e t w i t h t h e
exotic
beauty. A s a child she traveled
over
m u c h of the world, but the family
finally
sister o f N i j i n s k y , a n d b e f o r e l o n g , t h e dance
became
her
first
love.
Later,
settled in E n g l a n d . A t thirteen, M a r g o t
George Balanchine had m u c h to d o with
e n t e r e d t h e Sadler's W e l l s S c h o o l . H e r
perfecting her technique.
first a p p e a r a n c e o n s t a g e w a s a s o n e of t h e t h i r t y - t w o s n o w f l a k e s i n The cracker.
Nut-
She passed quite unnoticed.
Alicia M a r k o v a was her idol
and
Maria
Tallchief
has
tremendous
p o w e r a s a d a n c e r , b u t it is a l w a y s u n d e r perfect control. H e r leaps in the are p h e n o m e n a l , h e r entrechats
fabu-
ideal, and M a r g o t studied every m o v e
lous. She can beat her legs
t h e g r e a t prima
eight times in a dazzling twinkle
made, never thinking
Only
together
Nijinsky
of
she could c o m e even close to her in
perfect
p e r f o r m a n c e . W h e n M a r k o v a left S a d -
b e t t e r that, a n d h i s r e c o r d w a s ten. H e r
ler's W e l l s , h o w e v e r , F o n t e y n b e g a n t o
s t y l e is c l a s s i c e l e g a n c e t i p p e d w i t h fire;
rise
h e r p e r f o r m a n c e s are u n f o r g e t t a b l e .
rapidly. A t seventeen she d a n c e d
form.
air
could
Giselle, and her sensitive interpretation o f t h e r o l e left n o d o u b t t h a t h e r e w a s a n e w prima
ballerina.
A l t h o u g h h e is c o n s i d e r e d a n A m e r i c a n •#m . Andre Eglevsky
I t m i g h t b e s a i d t h a t M i c h a e l S o m e s is Michael Somes title i s premier
the
King
of
the
Royal Ballet.
His
danseur
noble,
and he
has b e e n M a r g o t Fonteyn's partner for m a n y y e a r s . H e w a s t h e first b o y t o w i n a
scholarship
t o Sadler's W e l l s .
His
m a n l y a p p e a r a n c e , n o b l e air a n d skill have e n h a n c e d every role he has undertaken. H i s dancing career w a s r u p t e d b y f o u r y e a r s of
inter-
distinguished
dancer, A n d r e ^ . , , Eglevsky was born
in M o s c o w . H e studied in Paris with Volinine,
one
of
Pavlova's
partners,
and in L o n d o n with N i c h o l a s a l s o of D i a g h i l e v ' s f a m o u s
Legat,
company.
H e m a d e h i s d e b u t at t h e a g e o f w i t h t h e r a n k of premier
fifteen
danseur.
E g l e v s k y is tall a n d r a t h e r h e a v i l y built, but h e has a catlike grace a n d a n e x c e p t i o n a l j u m p i n g ability. I n h i s soari n g l e a p s , h e , t o o , c a n c r e a t e t h e illus i o n of b e i n g s u s p e n d e d i n mid-air.
38
W h e n , at t h e a g e of e i g h t , little A l i c i a
S o m e years a g o she w a s threatened
ballet
w i t h b l i n d n e s s . A series of o p e r a t i o n s
s c h o o l i n H a v a n a , it
f o l l o w e d , a n d for a y e a r s h e l a y i n b e d ,
was to acquire poise and grace. T h e r e
her eyes bandaged, forbidden even to
w a s n o t h o u g h t of m a k i n g a b a l l e r i n a of
cry for f e a r of t h e effect of s u c h e m o -
her. S u c h a c a r e e r w a s c o n s i d e r e d u n -
tion o n the delicate nerves a n d tissues
t h i n k a b l e f o r t h e d a u g h t e r of a p r o m i -
that n e e d e d healing.
Alicia Alonso
w a s sent to a
nent C u b a n family. B u t Alicia's talent
Y e t s h e d i d n o t w a s t e t i m e i n self-
could not b e denied and eventually she
pity. Instead, A l i c i a visualized in her
c o n t i n u e d h e r s t u d i e s at t h e S c h o o l of
active mind every role she had danced,
A m e r i c a n Ballet in N e w Y o r k . She be-
and so clearly that she w a s able to pick
c a m e a prima
Ballet
o u t w h a t s h e r e g a r d e d a s flaws i n h e r
Theater, but she and her husband also
performances. T h e healing ordeal over,
founded the Ballet Alicia Alonso. This
t h e r e w a s t h e m a t t e r of r e s t o r i n g h e r
later b e c a m e k n o w n a s B a l l e t d e C u b a ,
flabby
which was government-supported.
flagged.
ballerina
of
H e r artistic r a n g e is a m a z i n g .
She
muscles. Alicia's courage never W h e n she returned to the stage
it w a s t o further t r i u m p h s a s a m o r e
c a n b e the glittering B l a c k S w a n or the
m a t u r e , m o r e g l o r i o u s prima,
g e n t l e h e r o i n e of Romeo
n o w a l s o e a r n e d t h e title of Dama,
and Juliet,
for
who had
s h e is a n a c c o m p l i s h e d a c t r e s s a s w e l l
highest honor bestowed by C u b a
as a dancer.
a civilian.
the on
•3 £ £ X - J $ ~ - .
^^~n *
ALICIA ALONSO and IGOR YOUSKEVITCH
MARIA TALLCHIEF
MARGOT FONTEYN and MICHAEL SOMES
The Prince dances with Cinderella while her stepsisters observe them. A
v i r t u o s o is o n e w h o Igor Youskevitch
has
special
k n o w l e d g e o r skill i n a n y field. I n b a l -
let, I g o r Y o u s k e v i t c h is c o n s i d e r e d n o t only a virtuoso but also a genius.
He
w a s trained as an athlete in Yugoslavia, b u t t u r n e d t o b a l l e t w h i l e a t t h e university in Belgrade. A l t h o u g h
usually
it t a k e s y e a r s t o p e r f e c t b a l l e t t e c h n i q u e , this y o u n g m a n w a s able t o
perform
after o n l y a y e a r of f o r m a l s t u d y . H e d a n c e s w i t h virile e l e g a n c e a n d is t h e f a v o r i t e p a r t n e r of A l i c i a A l o n s o . D u r ing the war he served with the U n i t e d States N a v y . Illinois-born J o h n Kriza studied in ChiJohn Kriza Ballet.
His
cago and m a d e his debut in the C h i c a g o first
outstanding
w a s a s o n e o f t h e sailors i n Fancy
Opera success Free.
H e is e s p e c i a l l y w e l l s u i t e d t o b a l l e t s with American themes and has danced i n A g n e s D e M i l l e ' s Rodeo L o r i n g ' s Billy
the
and Eugene
Kid.
W h a t
It T a k e s
B e
Ballet
a
to
D a n c e r
Having read about the dancers
of
y e s t e r d a y a n d t o d a y , y o u k n o w t h a t it is n o t easy to b e c o m e a great performer. S i n c e m a n y y e a r s of s p e c i a l i z e d physic a l t r a i n i n g a r e i n v o l v e d , o n e of r e q u i r e m e n t s is g o o d p h y s i c a l
the
condi-
tion. H o w e v e r , there are exceptions to all rules, a n d s o m e of o u r finest d a n c e r s b e g a n s t u d y i n g because
of handicaps.
A l i c i a M a r k o v a , o n e of the greatest John Kriza (right) dances in the ballet Billy the Kid. 40
ballerinas in the world, w a s ordered to
The slipper fits the foot of Cinderella — the Prince is overjoyed.
The story of Cinderella, Charles Perrault's beloved fairy tale, has attracted many choreographers and composers. All the ballet versions have comic and dramatic differences as well as grand classic dancing.
£ * £ > • «
take ballet lessons b y her family doctor. S h e w a s frail a n d h a d k n o c k - k n e e s . B u t ballet discipline a n d carefully
super-
vised exercises cured her ailments
—
Eugene Loring's Billy the Kid is a favorite modern American ballet.
^%
a n d h e r t a l e n t w a s u n c o v e r e d f o r all t h e w o r l d t o see. N a n a Gollner's limbs had been weak-
s o a m b i t i o u s f o r her, it m a y b e t h a t h e
ened by polio and ballet was suggested
also k n e w w h a t ballet training could d o
as a m e a n s of strengthening them. H e r
f o r a frail, u n b e a u t i f u l b o d y .
progress w a s so rapid that b y the a g e of sixteen she attained the rank of
prima
ballerina. Marie Taglioni, with long arms and
B u t t h e s e a r e t h e exceptions.
Ordi-
narily, p e o p l e d o n ' t start b a l l e t s t u d i e s with
such
handicaps.
Certainly
one
should h a v e a g o o d , strong heart,
a
a h u n c h i n h e r b a c k , w a s b u i l t all w r o n g
sense of rhythm, a feeling for music and
for a ballerina. A l t h o u g h her father w a s
an overpowering desire to dance. 41
Ballet should not be studied before the M
a g e of e i g h t . N i n e o r How old should one be to take ballet lessons?
t e n is n Q t tQO l a t e
begin work
either.
tQ
^
Toe
should
• T L - j i - ^ J
never
be attempted before the age of ten, a n d t h e n only after t h r e e y e a r s of s t u d y w i t h a c o m p e t e n t t e a c h e r . T h a t m u c h t i m e is needed to strengthen the foot, leg and b a c k m u s c l e s p r o p e r l y ; o t h e r w i s e , serio u s p e r m a n e n t i n j u r i e s c a n result. B o y s a n d girls o f t e n t a k e c l a s s e s together, How does ballet training for boys and girls differ?
are
but
some
which
are
there things
lent war records and were
decorated
a n d a c c o r d e d o t h e r h o n o r s f o r their outstanding courage.
taught
to t h e m separately.
A l t h o u g h a t o n e t i m e t h e danseur
h a d shrunk so that
Ballerinas should be light and graceful. T h e y must be supple and they do, even-
s role
What is the role of the danseur?
t u a l l y , d a n c e o n their t o e s . B o y s n e v e r
h e w a s c a l l e d "the ballerina's
third
d a n c e o n their t o e s . M a n y of t h e s t e p s
leg," times have changed. A l l he did
t h e y l e a r n r e s e m b l e t h o s e o f t h e girl
then w a s to support her and wear an
d a n c e r s , b u t t h e y are d o n e i n a m a n l y
admiring expression o n his face. There
w a y . B o y s are t r a i n e d a s p a r t n e r s f o r
is m u c h m o r e t o b e i n g a p a r t n e r t o d a y .
t h e b a l l e r i n a s . T h e i r m u s c l e s are d e v e l -
O f c o u r s e , t h e danseur
o p e d s o t h a t t h e y c a n lift a b a l l e r i n a
the cavalier and s h o w a proper
gal-
shoulder-high without apparent
lantry toward the ballerina, but
now
effort
must always be
— not an easy thing to do, for she m a y
t h e r e is f a r g r e a t e r d e p t h i n h i s roles.
weigh one hundred pounds or
more.
H e must not only be an excellent dancer,
B e i n g s t r o n g e r t h a n girls, t h e y c a n l e a p
but also a dramatic actor—as Albrecht
higher and wider.
in Giselle
T h e r e is n o t h i n g "sissy" a b o u t b a l l e t
Lake,
or Prince Siegfried in
Swan
for example.
the
S o m e of t h e m e n , i n c l u d i n g E g l e v -
class,
s k y a n d Y o u s k e v i t c h , h a v e s u c h out-
y o u will s e e h o w m u c h e n d u r a n c e i s
standing talent that parts are especially
required of them. Incidentally, m a n y of
written for them. A
our foremost dancers have h a d excel-
a welcome addition to any
d a n c i n g f o r a b o y . If y o u h a v e chance to observe boys taking
g o o d danseur
is
company.
Ballet
T h e s i m p l e s t c o s t u m e s a r e b e s t f o r class. Girls What is the costume for the class?
wear
jersey
tards over
their
( w i t h o u t feet, they
last
leotights
because
longer
D r e s s
into." T h e made
of
black
soft
ballet
leather,
slippers
with
are
the
toes
pleated o n the bottom, and with
flex-
i b l e , n o n s k i d soles.
that
T h e satin t o e s h o e s s h o u l d n o t b e
w a y ) , ankle socks and practice shoes.
h e a v y a n d h a r d a n d stiff. T h e well-pre-
S o m e schools favor a short tunic for
pared student can easily work in the
girls. B o y s w e a r t i g h t s a l s o a n d a j e r s e y
soft, I t a l i a n - t y p e s h o e s , w h i c h are h a n d -
shirt. T h e i r p r a c t i c e s h o e s are
some-
sewn and only lightly boxed. T h e dancer
times held over the instep by an elastic
m u s t at all t i m e s b e a b l e t o "feel" t h e
band.
floor.
T o e s h o e s are d a r n e d a t t h e tips
not only to m a k e them grip the
floor
must easily see the lines and m o v e m e n t s
better,
them
last
of t h e b o d y . Frills, b o w s , p l e a t s
l o n g e r . T o e s h o e s are e x p e n s i v e ,
and
In order to correct faults, a teacher and
but
also
to
ruffles w o u l d c o n c e a l s u c h faults. A n d
professional
tights also serve to k e e p the leg m u s c l e s
o u t s e v e r a l p a i r s d u r i n g a s i n g l e per-
w a r m . M o r e injuries r e s u l t f r o m
formance.
muscles than from
any other
cold
dancers
make
sometimes
wear
cause.
( T h a t is o n e r e a s o n w h y b a s e b a l l p l a y ers w e a r full u n i f o r m s i n s t e a d of s h o r t s and tee-shirts.) A n o t h e r reason w h y b o y s wear tights
The
stage
costumes
What kind of stage costumes are used?
of
today
vary
greatly in design. B e s i d e s t h e traditional,
long
i n s t e a d of r e g u l a r t r o u s e r s is t o g i v e
r o m a n t i c tutu a n d t h e s h o r t c l a s s i c
tutu,
them unhindered movement.
t h e r e are h u n d r e d s o f v a r i a t i o n s , l i m i t e d only b y the subject of the ballet a n d the
T h e dancer's feet are her m o s t precious How are ballet slippers made?
equipment,
and
so
designers' imagination. C o s t u m e s f o r t h e danseurs
are varied,
d a n c e s h o e s m u s t al-
too, from the accepted classic
ways
perfectly.
and velvet jerkin to anything the part
T h e y must never be bought to "grow
m a y c a l l f o r — a R o m a n t o g a , a full-
fit
tights
COPPELIA A light-hearted story and an excellent example of ballet pantomime is Coppelia. It involves a romance between Franz and a life-like doll which almost ends his courtship of Swanilda, a very real young lady. All the difficulties get solved, however, and the ballet closes with a divertissement or a sequence of steps.
•' ' ' .. : '...:••.. d r e s s suit, a b u s i n e s s suit, o r a b a t h i n g suit a s i n t h e b a l l e t Jones National
costumes
Beach. for
character
d a n c i n g are a d a p t e d f o r b a l l e t u s e a l s o . T h e i r p u r p o s e is o n l y t o g i v e a n a u t h e n tic flavor, a n d t h e y are n o t i n t e n d e d t o b e r e p l i c a s of n a t i v e dress.
Ballet
Talk
S i n c e b a l l e t , a s w e k n o w it, c a m e t o us from France, m o s t of the l a n g u a g e o f t h e b a l l e t is a l s o F r e n c h . B u t s o m e o f t h e t e r m s are d e r i v e d f r o m t h e I t a l i a n , b e c a u s e t h e e a r l y f o r m s of b a l l e t w e r e brought to F r a n c e from Italy. Inevitably, the country w h e r e ballet h a p p e n s t o b e s t u d i e d , a d d s its o w n v o c a b u l a r y . I n the main, however, students everyw h e r e in the world learn the s a m e terms. 44
ON STAGE! The one-act modern ballet On Stage! will give you a behind-thescenes glimpse of a rehearsal and an audition. There is a very grand ballerina in it and several young hopefuls, including the one who is not hired at first, but who finally wins a place in the company, too.
COQ D'OR, OR THE GOLDEN COCKEREL The ballet Coq D'or, or The Golden Cockerel, is based on a poem by the Russian writer Aleksander Pushkin. Old King Dodon is given a marvelous golden cockerel which always warns him of coming danger. Along with the superb dancing, there are beautiful costumes and scenery; the whole is a spectacle.
45
Therefore,
German,
Italian,
Danish,
country and proceed with the lesson in
Swedish, Russian and English dancers,
progress without too m u c h
a s w e l l a s p e r f o r m e r s f r o m o t h e r na-
s t a n d i n g . T h e t e a c h e r w i l l call f o r t h e
tions, can step into class in any other
steps
in
L a b a n o t a t i o n — D a n c e
which
are
to
be
Writing
Head
Arm
Body
Body
Arm
Head
performed.
Steps
part is t o m o v e .
Leg Gesture
ments
language.
in the proper c o l u m n to s h o w which
w r i t i n g m u s i c , b e c a u s e a staff a n d s y m b o l s a r e u s e d t o "spell o u t " t h e m o v e -
universal
Steps
is a m e t h o d f o r w r i t i n g down dance moveH o w can dance m e n t s , o r i g i n a t e d b y movements b e ~> , i r T t J o Rudolf Laban. It written d o w n ? can be compared to
in
Leg Gesture
Labanotation
ballet's
misunder-
T h o s e w h o understand this m e t h o d c a n read and study dance scores n o matter what language they speak. A n y a n d all m o v e m e n t s c a n b e recorded — fingers.
even the
fluttering
of
the
I t is h o p e d i n t h e n e a r f u t u r e
t o h a v e a w h o l e g e n e r a t i o n of
Right
Left
ballet
s c o r e r e a d e r s . T o t h a t e n d , y o u n g children in England, Holland, Brazil, Chile,
2 . Directions:
I n t h e m i d d l e , at y o u r
c e n t e r is " p l a c e " ( n o d i r e c t i o n ) . T h i s is s h o w n b y a r e c t a n g l e : | B y c h a n g i n g t h i s s h a p e , t h e s y m b o l is
United
m a d e to point to the directions around
S t a t e s are b e i n g t a u g h t t o r e c o n s t r u c t
y o u — f o r w a r d , b a c k w a r d , right, left
d a n c e s f r o m L a b a n o t a t i o n . H e r e is a
and the four diagonal directions that
s a m p l e of h o w it w o r k s :
are i n b e t w e e n .
Australia,
1. Body:
Iceland
and
the
A v e r t i c a l staff is u s e d t o in-
dicate the body. It represents you, the d a n c e r . T h e c e n t e r l i n e i s your
center
l i n e , s o t h a t t h e right l e g , a r m , s h o u l d e r , e t c . , a r e w r i t t e n o n t h e right s i d e o f t h e staff. T h e left p a r t s of y o u r b o d y a r e s h o w n o n t h e left s i d e o f t h e staff. T h e r e is a c o l u m n for e a c h part of the b o d y , a n d t h e d i r e c t i o n s y m b o l is p l a c e d 46
l i n e of t h e staff a l s o r e p r e s e n t s
time
g o i n g b y a s y o u r e a d it g o i n g u p t h e page, and so a slow m o v e m e n t will take I 3. Levels:
B
I
a l o t of s p a c e o n t h e t i m e line.
T h e level, meaning
how
h i g h o r h o w l o w , is s h o w n b y s h a d i n g t h e s y m b o l . B l a c k is l o w ( d o w n t o w a r d the e a r t h ) ; a dot m e a n s horizontal or " m i d d l e " l e v e l ; a n d stripes m e a n h i g h , upward (toward the s k y ) . 4 . Timing:
H o w long a
movement
lasts is s h o w n b y t h e l e n g t h of t h e m o v e ment symbol. A slow m o v e m e n t will b e written with a long symbol, a fast move-
w
ment with a short symbol. T h e center
Slow
0 Fast
• s*&
)
'
I
^-as-*-**.
// i / 1 1X2 • • X Thefivebasic ballet positions, and all other dance movements, can be recorded in written form by Labanotation. 47
H o w
Y o u
C a n
Enjoy
Ballet
T o help y o u b e c o m e even m o r e famil-
possible for y o u to borrow a recording
iar w i t h this d a n c e f o r m , r e a d i n g o t h e r
a s y o u w o u l d a b o o k . S o m e libraries
b o o k s about ballet, f a m o u s ballet danc-
a l s o h a v e f a c i l i t i e s f o r l i s t e n i n g t o rec-
e r s o r s t o r i e s a b o u t girls a n d b o y s i n
ords in a music room.
ballet can be a worthwhile experience.
H o w e v e r , nothing can take the place
S e v e r a l g o o d b o o k s a r e p r o b a b l y avail-
o f a real l i v e b a l l e t p e r f o r m a n c e . G o o d
a b l e at y o u r l o c a l l i b r a r y a n d
your
ballet schools in your vicinity m a y give
librarian will b e g l a d to h e l p y o u in
p u b l i c recitals. O r t h e r e m a y b e a col-
m a k i n g a selection.
lege near you with a dance department
S o m e o f t h e finest m u s i c i n t h e w o r l d
that schedules regular concert perform-
h a s b e e n written for the ballet, includ-
a n c e s . B e s t of all, if a b a l l e t c o m p a n y
ing Tschaikovsky's
c o m e s to your town, or nearby, see the
Sleeping
Beauty
Swan
Lake,
a n d The
Nutcracker;
R i m s k y - K o r s a k o v ' s Scheherazade Snow
Maiden;
noon
of a Faun;
chka;
p r o d u c t i o n if y o u c a n .
and
B u t b e f o r e y o u g o , find o u t w h i c h
The
After-
ballet will be performed. T h e n look u p
Stravinsky's
Petrou-
t h e s t o r y of t h a t p a r t i c u l a r b a l l e t i n a
Parisienne;
b o o k . K n o w i n g the plot in a d v a n c e will
Debussy's
Offenbach's
The
Gaite
C h o p i n ' s Les Sylphides;
Sylvia
h e l p y o u t o u n d e r s t a n d t h e a c t i o n s of
Pizzicato
t h e d a n c e r s . T h u s p r e p a r e d , y o u will
T h i s m u s i c is a v a i l a b l e o n p h o n o -
really b e able to enter the wonderful
g r a p h r e c o r d s , a n d s i n c e m a n y libraries
w o r l d of b a l l e t — a w o r l d of magnifi-
n o w h a v e r e c o r d c o l l e c t i o n s , it m a y b e
cent music,
a n d Coppelia; Polka.
Delibes'
a n d Strauss'
drama,
art a n d
magical
d a n c i n g that will h o l d y o u spellbound. WESTERN SYMPHONY There is no story in the ballet Western Symphony. Rather, it is a Western scene depicting cowboy life. Brilliant color, brilliant costumes and catchy music give it a special quality.
" A r e t h o s e p e o p l e r e a l l y real?" y o u , too, m a y feel like asking. A n d
who
k n o w s — s o m e d a y a b o y o r girl m a y b e asking his mother or father the same question about
you!
\
g
f
t
r
'
HOW
AND
WHY
WONDER
BOOKS
Produced and approved by noted authorities, these books answer the questions most often asked about science, nature and history. They are presented in a clear, readable style, and contain many colorful and instructive illustrations. Readers will want to explore each of these fascinating subjects and collect these volumes as an authentic, ready-reference, basic library. 5001 5002 5003 5004 5005 5006 5007 5008 5009 5010 5011 5012 5013 5014 5015 5016 5017 5018 5019 5020 5021 5022 5023 5024 5025 5026 5027
DINOSAURS WEATHER ELECTRICITY ROCKS AND MINERALS ROCKETS AND MISSILES STARS INSECTS REPTILES AND AMPHIBIANS BIRDS OUR EARTH BEGINNING SCIENCE MACHINES THE HUMAN BODY SEA SHELLS ATOMIC ENERGY THE MICROSCOPE THE CIVIL WAR MATHEMATICS FLIGHT BALLET CHEMISTRY HORSES EXPLORATIONS AND DISCOVERIES PRIMITIVE MAN NORTH AMERICA PLANETS AND INTERPLANETARY TRAVEL WILD ANIMALS
5028 5029 5030 5031 5032 5033 5034 5035 5036 5037 5038 5039 5040 5041 5042 5043 5044 5045 5046 5047 5048 5049 5050 5051 5052 5053 5054
SOUND LOST CITIES ANTS AND BEES WILD FLOWERS DOGS PREHISTORIC MAMMALS SCIENCE EXPERIMENTS WORLD WAR II FLORENCE NIGHTINGALE BUTTERFLIES AND MOTHS FISH ROBOTS AND ELECTRONIC BRAINS LIGHT AND COLOR WINNING OF THE WEST THE AMERICAN REVOLUTION CAVES TO SKYSCRAPERS SHIPS TIME MAGNETS AND MAGNETISM GUNS THE MOON FAMOUS SCIENTISTS OLD TESTAMENT BUILDING RAILROADS TREES OCEANOGRAPHY WL 4
WONDER BOOKS 1107 Broadway, New York 10, N. Y.
-, •*•"*™ , ^^E^»v^ B r * '
