Artistic
Brazen
Crystal
Dour
Exuberant
F
Fleeting
G
Gregarious
H
Homophonic
Iconic
J
Joyous
K
Kinesthetic
L
Lonely
M
Multidimensional
Non-traditional
O
Overt
P
Pensive
Quixotic
R
Rapt
Sensual
Thrilling
Undulating
Vivacious
W
Wafting
Xenium (means a present given to a guest or something given to a stranger)
Y
Yearning
Z
Zonal
This dance was complex in tone yet simple in timbre. By that, I mean that the music was rather simple in terms of timbre and technique, but the movements were complex, ranging from the vivaciousness of the characters moving from stage left to right and in between, thrilling and undulating and almost becoming part of the stage floor. Glass' score was, of course, non-traditional, yet the entire effect was brazen and artistic. Emotionally, I was torn between the fleeting loneliness of the soloists and the wafting energy they expressed with their torsos. Overall, the piece left me with a sense of yearning for something more -- whether that be something joyous, or sorrowful, the characters seemed to be pensively longing for something.
Part 3 -- Millepied's approach to this solo was, as noted, a movement between longing and vivaciousness. Of course, this is not classical ballet in the sense of Nijinsky or the Kirov school; but more earthy, more in touch with the core of human emotion and far less literal in it approach to what dance has to offer humanity than classical storylines. Certainly, the grand ballets, Copellia, Romeo and Juliet, Giselle, etc. have something to offer every generation of audience. Yet Millepied's approach takes a look at the way the body can move in less traditional, or less classical, taste and more an exploration of the capabilities of the human body and what emotion this can engender. It seems as if Millepied wishes to celebrate emotional interpretation based on the way music can be interpreted through kinesthetic movement without finding a traditional or even repeatable sense -- less harsh, more evolving, and certainly more approachable to the modern audience.
Ballet NYC - History and Mission The History and Mission of the New York City Ballet Edgar Degas's painting, entitled Dance Class at the Opera, shows four women dressed in beautiful, almost ethereal looking ballet dresses, complete with sashes at the waist and perfect buns. Some of the women are waiting and others are preparing for what the viewer believes, will be a fantastic program. Degas was able to portray movement, passion, and
American-born choreographers and dancers also added to the development of American ballet. "Choreographers such as Ruth Page, Agnes de Mille, and Jerome Robbins created dances to specifically American themes. American dancers who have gained fame in the 1900's include Maria Tallchief, Suzanne Farrell, Cynthia Gregory, Edward Villella, and Arthur Mitchell" (Ballet History, 2006). Ballet became firmly established in Australia in the early 1900's soon after visits by the ballerinas Adeline
By being able to do so -- by actually doing so -- he also changed the role of ballet in society and the role of classical male dancers in society. This change was certainly not an enormous one, but in the context of gender relations and the role of high art in society during his lifetime, it was startling (Ramsay, 1995). Audiences in Nijinsky's era rejected the legitimacy of masculinity
Ballet Russe and Nijinsky influence the gendering of ballet? Consider both repertories and choreography. Today, when the average individual thinks of dance, they quite often think of ballet. But if ballet itself is a cultural stereotype of what 'dance is,' the specific art form of ballet itself has a legion of cultural stereotypes attached to it. Legendary choreographic interpreters past and present have attempted to break such ballet cliches and
Ballet George Balanchine and Serge Diaghilev were similar and yet different in various ways. For instance, both were prominent figures in the 20th century: they worked together in the Ballets Russes for five years in the latter half of the 1920s; Balanchine was the choreographer and ballet master, Diaghilev the promoter. Diaghilev had staged works, too, and is regarded as a pioneer in the field -- uniting new music and modernist
In the flower-drum dance, they performers used drums as they danced. Most Chinese dances derived from "folks" or people who danced during celebrations in communities until the Han dynasty (WorkArtsWest 2005). In the Han era, a musical entertainment court would be established for the imperial court, documented and enhanced folk songs and dances. The political stability and economic prosperity that followed during the Tang dynasty allowed the growth and flourishing
Our semester plans gives you unlimited, unrestricted access to our entire library of resources —writing tools, guides, example essays, tutorials, class notes, and more.
Get Started Now