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T H E

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W O N D E R

BOOK

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W r i t t e n by L E E

WYNDHAM BUSONI D O N A L D D. W O L F

I l l u s t r a t e d by R A F A E L L O Editorial Production:

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. Blackwood

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.

C o n t e n t s 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? 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? BALLET IN RUSSIA What contributions to ballet were made by Italian dancers? What costume was designed for the classic ballet? 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? 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? 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? 4 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 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? BALLET DRESS What is the costume for the class? How are ballet slippers made? What kind of stage costumes are used? BALLET TALK 22 22 23 25 25 26 LABANOTATION - DANCE IN WRITING How can dance movements be written down? HOW YOU CAN ENJOY BALLET Page 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 40 42 42 42 43 43 43 43 44 46 46 48

7 7 7 8 9

10 10 10 10 12 12 13 13 13 14 14 15 15 17 17 17 17 18 19 19 70 20 21

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? stage d a n c e that tells a story in movem 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 by a group of persons." A n y o n e w h o has seen ballet k n o w s 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. T o d a y , almost everyone has seen ballet either on television, on the movie

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 arts, b u t it is a l s o o n e of o u r b a s i c instincts, a n d a w a y t o e x p r e s s o u r feelings. E v e n the smallest children d a n c e for joy, or with anger, or with pain a n d so d o grownups, for the s a m e B u t t h a t k i n d of d a n c i n g i s not balreasons. 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

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.

* 4 *

i l l

if

^#&

stage, performed b y living, dancers, so wonderfully

breathing that

skilled

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 dance

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 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 m a k e u p the breath-taking w h o l e are 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 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 , glittering costumes that excite our emot i o n s , t h e d r a m a o f t h e story, o r t h e 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 ballets or the sheer b e a u t y of the m o v e m e n t s of the dance. 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 in ballet. It portrays n o t o n l y the highe 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 m e a n s of personal self-expression m a n y artists for those before the foot-

More

than

that,

ballet

speaks

to

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 movement, gesture and facial express 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 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 , ball 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 a n d b o y s in the U n i t e d States, in France, G e r m a n y , Spain, P o l a n d , Italy, Russia, Denmark, Sweden, Japan, Thailand, 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 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 children could b e seated into some huge theater, e a c h one, n o matter w h a t his native language, w o u l d understand the story told b y the dancers.

lights as well as those behind the scenes.

Beginnings

of

Ballet

A l t h o u g h t h e w o r d "ballet" c o m e s f r o m t h e I t a l i a n ballare, which means "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 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

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 o w n . B y " t e c h n i q u e " w e refer t o t h e things that a person needs to k n o w and 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

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 spec i a l a n d difficult t r a i n i n g t o p e r f e c t ballet technique. 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 the or knee-bend,

boots or shoes. O f

course,

weighted

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 d a n c e slowly and sedately, in rows and in interesting patterns. Incidentally, they did not dance o n a stage, but often 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 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 perform. 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 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 C o l u m b u s discovered America. It w a s in h o n o r of an Italian D u k e . Ballet w a s brought to France from Italy Where did *come from?
i n e

t h e five f o r m a l p o sitions of the feet,

and o n the "turnout" of the legs from the hip. 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 all-important "turnout" allows h i m to m o v e gracefully from side to side o n the stage, while facing front. It also m a k e s possible 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 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. B u t this w a s n o t the ballet of several What was early ballet like? ment, parts really were a hundred years ago. T h e n it w a s a f o r m of court entertainmagnificent by men pageant. wearing and 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 danced masks, heavy, colorful costumes

about the time Catherd e M 6 d i c i s married 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 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 l a s t e d a s l o n g a s six h o u r s ! 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? Louis X I V before French the 1645, danced royal He always parts in the entertainments, including

the role of the Sun King. H i s greatest contribution to ballet, however, w a s the establishment of the R o y a l A c a d e m y of Dancing and M u s i c in 1661. This was 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 instruction of ballet dancing, and even 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 to the present d a y at the Paris Opera. It w a s in this a c a d e m y that the five

history records that

court.

w a s then seven years old! H e

loved ballet and himself danced m a n y 8

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, were not they per-

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 % y

positions

of

the

classic

dance

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 began 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 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 i n this w a y , t h e a u d i e n c e h a d a n entirely n e w v i e w o f t h e m a n d t h e m o v e 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 more important. 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 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 roles. B u t o n M a y 1 6 , 1 6 8 1 t h e m o s t significant c h a n g e of all t o o k place. JeanF o u r y o u n g ladies danced in a ballet created b y the great composer, tire c l a s s , a n d w i t h t h e m , 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 enballerinas t o o k t h e i r rightful p l a c e i n b a l l e t . Ballet changed when women were permitted to study at the Royal Academy, and in 1681, to perform.

Early

Ballerinas 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 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 dari 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 her feet a n d lovely ankles c o u l d b e seen. 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 rem o v e d f r o m h e r slippers. A l l this g a v e 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 . She b e c a m e quite f a m o u s for her 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 not attempt before her time. S o another exciting c h a n g e h a d c o m e to ballet. Before Camargo, the dancer scarcely and m o v e d anything m o r e than her head a n d arms. S h e w a l k e d gracefully 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 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 legs from front to back in her case, 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 Who was Marie Taglioni? and uncles Marie

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 wore bulky Who was the first leading ballerina? tight-boned clothing, bodices,

skirts t h a t r e a c h e d t o the ground and heeled

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 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 Mademoiselle Lafontaine, w h o made a triumphant debut in 1 6 8 1 . She w a s very beautiful and she h a d great charm and 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 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 taken a ballerina w a s born. Other ballerinas followed What contributions did Marie Camargo make to ballet? the most famous Lafontaine,
f r Q m d

and when
retired

they ^ , of

stage taught. was

they One Marie

pupils

Taglioni, w h o came from 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 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 that she l o o k e d almost But none of humpbacked. Marie's this c o n c e r n e d 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 s o m e time, during these lessons, M a r i e 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 excellent training and her unique, airy 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 success. But, actually, the m a i n subjects 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 not 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 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 costumes, cluttered with drapery and trimmings, looked m u c h too heavy. T h e ballet shoes were n o longer heeled. T h e y w e r e soft slippers, b u t n o o n e d a n c e d o n the toes as yet. A l t h o u g h M a r i e h a d captivated her 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 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 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

father, a n d h e p a c k e d h i s d a u g h t e r off to study with another teacher. M a r i e w a s a m o s t indifferent p u p i l 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 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 came, however, when she w a s summ o n e d to d a n c e before her father. A s she stumbled through her exercises, h e b e c a m e m o r e a n d m o r e horrified. T h e n 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 . 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 skipping classes for Maria. T h e lessons were divided into twohour sessions, given three times daily. Poor, fragile M a r i e used to collapse at 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 the d e m a n d s that her father m a d e u p o n

It is often

said that

"comparisons are odious." means that not It

m a d e b a l l e t different f o r e v e r after and Taglioni's dancing d i d it.

Which ballerinas were commanded to dance for a queen?

people do

That

like to b e comp 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 p a r i s o n i s l i k e l y t o b e unflattering! W e l l , in her time, Taglioni w a s not the only famous dancer. There were others

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 a n e w b a l l e t , La Sylphide, her especially b y her father. Before a stunned audience, the dancer How did Marie Taglioni change ballet dancing? floated tiny out created for

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 . T h e r e were Carlotta Grisi, F a n n i e Cerito a n d L u c i l e G r a h n all o f w h o m had earned in considerable individual acclaim in England performances. greatest

i n h e r w h i t e , bells h a p e d dress, t i g h t in b o d i c e , with looked she

n e c k a n d shoulders bare. She

Q u e e n Victoria decided that she w o u l d like to see the world's four 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 ordeal handling for four delicately concerned. temThe de pered ballerinas m u s t h a v e b e e n a great everyone 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 D a n c e for F o u r before the

truly l i k e t h e n y m p h w h o s e r o l e illusion, forming besides on the her totally tips of her

w a s performing. B u t w h a t added to the different perso c o s t u m e , w a s h e r d a n c i n g . She was toes

delicately, so lightly, she did n o t s e e m t o t o u c h t h e earth. 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 support, she revolutionized ballet overnight. 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" ballet. H e r shoes h a v e e v o l v e d into the 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 little girl w h o t a k e s u p t h e s t u d y o f ballet. T o d a y , hardly anyone thinks of 150 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 , yet not so long a g o less than years dancing o n the toes w a s unh 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 toe dancing popular and a 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 .

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! B a l l e r i n a s n o w w e r e stars, w i t h dev 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 dignitaries 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 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 were cheered wildly and sometimes 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 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 were unhitched and the carriages drawn by enthusiastic young men. 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

a h u g e price. T h e y then stewed t h e m in a pot and solemnly drank the broth in her honor! B 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 At male this seemed let

Ballet

in

Russia

T h e Russians were so impressed by 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 balteachers 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. 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 to R u s s i a What contributions to ballet were made by Italian dancers?
a s t o u n d e d

to have faded into 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 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 v a r i e d skills, w a s s e l d o m u s e d .

and
the

audiences there by their tre-

m e n d o u s jumps and turns a n d general air of l i v e l i n e s s a n d v i t a l i t y . Virginia

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.

Zucchi's when

audiences

were her

breathless steps. The

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 . T 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 W h a t costume w a s designed for the classic ballet? 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

she performed

Russians promptly invited Enrico Cec c h e t t i t o t e a c h t h e m t h e brilliant Itali 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 multiple t u r n s c a l l e d fouettes. S h e m a d e a series

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 ping turns around the stage. T h e people applauded so enthusiastically that 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 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 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 only a r e m a i n e d t h e w o n d e r of few accomplished the ballet world. T h e y were performed b y 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 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 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 a d v a n c e d student. Thirty-two, or even sixty-four fouettes 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

cial c o s t u m e k n o w n as the classic

tutu

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 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 execute the n e w vigorous turns and leaps devised for the classic ballets.

Russian

Ballet

D a n c e r s

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 b e g u n to fade w h e n ballet in Russia t o o k o n n e w life. R u s s i a n - b o r n ballerinas suddenly leaped to stardom in the ballet world.

An

exquisite

prima

ballerina

of

the

R e v o l u t i o n broke out, she h a d to a b a l l e t s c h o o l there.

flee

Russian Which ballerina got a special title from the Czar of Russia?

Imperial

Russia. She settled in Paris and o p e n e d 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 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 probably b e enjoyed in future generations Beauty, as well. Coppelia, Giselle, The Sleeping Nutcracker a n d The

Ballet w a s O l g a Preobrajenska. B u t she was surpassed Mathilde by and prima Kchessin-

s k a y a tiny, l i g h t a s air itself, C o u r t , s h e w a s g r a n t e d t h e title of ballerina assoluta,

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 which was another

have qualities to k e e p them popular. T h e Russian ballerina w h o b e c a m e the How did Pavlova become a dancer? most the Anna famous world in was

w a y of s a y i n g , "the first a n d m o s t a b s o lutely perfect ballerina." Of course, some ballerinas w h o c a m e 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 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 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 the Czar h a d b e e n killed. A s the Imperial 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 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 , Kchessinskaya was the only dancer to g e t t h i s title f r o m t h e C z a r . She became the wife of a Grand D u k e , w h i c h gave her added influence 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

Pavlova.

S h e is still a h o u s e h o l d w o r d , a n d girls 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 Pavlova." A n n a was only seven when her mother t o o k her to a ballet performa n c e a s a C h r i s t m a s treat. T h e n t h e r e t h e c h i l d fell i n l o v e w i t h t o try t o e n t e r t h e f a m o u s 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, applicants 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 to prove themselves. T h e y had to show and the

dance. B u t she was not old e n o u g h even Imperial School. She had to wait two long years

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 enchantment wherever she danced. Peop 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 . 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. prima Yet ballerina or multiple piroushe b e c a m e the assoluta unofficial

graved in the public minds, and today ballet m i g h t just as well "pavlova." 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 superb, strong a n d manly. O n stage h e s e e m e d illumin a t e d b y s o m e i n n e r fire. T h e m o s t difficult steps were easy for him. H i s leaps were sensational. W h e n he w a s asked 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 w a s quite simple. " Y o u merely pause a little i n t h e air a n d t h e n c o m e d o w n again." H e was the most famous male d a n c e r of all t i m e . Of course Nijinsky was only How did Nijinsky . . . * m a n a g e his leaps? joking be spelled

of the world.

It never mattered t o her public w h a t 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 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 millions of people throughout the world. S h e h a d a p e r s o n a l m a g i c t h a t transp 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, a n d d a n c e d effortlessly a n d r a d i a n t l y . She could be a sylph, or a cloud or she 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 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 ablaze. 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 perWhat w a s Pavlova's xr . ^ most famous dance? formed The ^ . r Dying Swan has brought (fluttering, her

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

that he possessed extraordinary physical strength a n d h a d splendid training. A t the p e a k of his leaps, h e thrust his legs o u t further a n d it w a s t h i s w h i c h Godm 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. H e h a d something else, too, a given talent, that special ingredient

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 t h e s t a g e i n t i n y bourres weaving steps), she curved her lovely 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 *. . . and died . . . and people wept. A n n a Pavlova brought ballet to the whole world. She traveled everywhere, meeting rina was schedules made of that would make much States. Africa, 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 ballesomething 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 South Egypt,

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 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 , teachers, musicians, writers or baseball players. Serge Diaghilev w a s not a dancer. H e w a s a cultured Whowas D^ghilev?
m a n w h o l o y e d

gentleb a U e t

Burma, Costa Rica, Malay, Australia, Java. H u n d r e d s of thousands of miles, thousands of performances, millions ensaw her dance. H e r n a m e seems
A t

" tieth century h e felt that

t h e t u r n of t h e

twen

ballet w a s n o longer m a k i n g any prog17

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 over a n d over again l o n g ballets in lavish settings a n d complicated stories of u n e a r t h l y b e i n g s . Ballet had become bogged down by tradition. T r a d i t i o n i s a fine t h i n g t o 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 live completely in the past a n d ignore 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 present. 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 Sleeping Beauty. B u t this b a l l e t Lake, The has

tion, they vied w i t h o n e another in feats 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 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 c o u l d hear p e o p l e softly counting the n u m b e r of pirouettes (a turn o r sefouettes q u e n c e of t u r n s o n o n e f o o t ) o r m a d e b y their f a v o r i t e d a n c e r s . 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 ballet i s a c o m b i n a t i o n o f s e v e r a l arts 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 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 creating ballet as a c o m b i n e d w h o l e ! Ballet creators searched for suitable steps tell

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. T h e s a m e is true of Swan given. D i a g h i l e v d i d n o t l i k e t h e rivalries ( 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 . Ins t e a d of c o n c e n t r a t i n g o n fine express i o n i n their d a n c i n g a n d characterizawhere is most usually only the second act How were ballets created during Diaghilev's time?

stories. T h e n t h e y arranged that these would

stories. designers

W h e n the dancers started to learn the steps, c o s t u m e a n d s c e n e r y went to work. T h e y were told what the 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 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 imaginative 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 organizer or m a n a g e r of a concert company, but Diaghilev w a s m u c h more 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 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 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 m o n goal. H e w a s not so m u c h conc e r n e d w i t h b o x office profits a s h e w a s with perfection. A n d his c o m p a n y w a s artistically p e r f e c t . I t w a s o n M a y 1909 that Diaghilev's Ballet 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 . Diaghilev's principal Anna Who were the main artists of Diaghilev's Ballet Russe? dancers Pavlova, were Taand 18, Russe

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 o n e in his c o m p a n y contributed his or 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 w o n d e r their ballet season w a s such a 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 season, but the next and the next and the n e x t for twenty wonderful years! 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 . Of course, the company changed accepted form from time to time. D a n c e r s

c o n c e r t e n g a g e m e n t s o r left t o

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 w i t h t h e m the D i a g h i l e v influence. A m o n g the m a l e dancers in Diaghilev's c o m p a n y w e r e M o r d k i n , nine, chetti Massine, took on Dolin, Lifar. VoliFokine character

mara Karsavina Vaslav was his

Nijinsky. choreogra-

performed as well as created, and Cecnumerous roles, including Charlatan in the ballet Petrouchka. 19

Young Michel Fokine

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 -

The clown Petrouchka was one of the four principals of the production. Diaghilev constantly sought out and encouraged talented people. A m o n g his composers a n d b a l l e t h a s s o m e of were many t h e finest m u s i c i n t h e w o r l d vinsky, others. His designers included such famous painters as Picasso, Benois, Bakst, M a tisse a n d o t h e r s . A n d a m o n g his choreographers were Fokine, Nijinsky, Massine, Nijinska became and George Balanchine, w h o 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 Faure, Prokofiev 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 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 accompaniment to the dancing. A g o o d e x a m p l e of this n e w w a y to u s e m u s i c is i n t h e b a l l e t Petrouchka, 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. T h e m u s i c is p a r t of t h e a c t i o n itself. T h e instruments s e e m to quarrel w h e n the characters do. T h e orchestra "shrieks" w h e n t h e p u p p e t P e t r o u c h k a 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. 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 EnSchool teacher Although Cecchetti was

D e b u s s y , R a v e l , R i c h a r d Strauss, Stra-

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

rico Cecchetti to instruct his dancers. 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

Scenery for the ballet Petrouchka was designed by Alexander Benois and used at the 1911 Paris opening. <L t 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. de la Rose is T h e b a l l e t Le Spectre who

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 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 dem 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 d a n c e r s t h e y , i n turn, h a v e t a u g h t . m a n y o t h e r c a n d l e s c a n b e lit b e m a d e brighter. Besides those already mentioned, Sokolova, Cecchetti taught Danilova, A so and through t h e m the talents of y o u n g e r 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 many, in fact, that the w h o l e w o r l d c a n

n o t so m u c h story as beautiful dancing.

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 . 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 given to her b y her sweetheart. H o l d i n g 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 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 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 executes a magnificent dance. T h e n , as d a w n lights u p the w i n d o w , the rose says 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 like a never-ending leap, soars out 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 Nijinsky's f a m o u s leaps, and he w a s the 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 ography. T h e ballerina w a s Igor Tamara Karsavina. T h e b a l l e t Prince s e r v e d t o introduce Western Europe to the color, 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 costume performing with unbelievable energy, speed a n d vigor. 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 he had h e l p e d t o ripen, w e r e n o w scattered and

Ballet

T o d a y

B e c a u s e p e o p l e before us had freed 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 h a d n o t b e e n afraid to experiment w i t h 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 of ballet romantic, classic and 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 dramatic or tragic stories as well ballets which are filled with T h e r e are a l s o b a l l e t s w h i c h humor. express

only a m o o d in music and m o t i o n and 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 brill 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 each o n the same theater program, as f o r e x a m p l e , Swan Afternoon Symphony. 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 the which evolved of by from Dance Academy of a Lake, and Firebird, Western Faun,

established

L o u i s X I V . T h e student learns a basic " 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 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 .

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 today. 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

22

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 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 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 k n o w l e d g e t o d r a w o n w h e n h e is req 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 to him. W h e n y o u see a ballet listed o n the p r o g r a m a s "classic," it d o e s n o t m e a n , 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 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 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 classic 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 acknowledged excellence." Therefore, ballets can be and classic as well classic, centuries because which they have romantic and the as modern combine been

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 hour, can she resume her h u m a n form. 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 , 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 begs the prince not to shoot her swans, 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 most beautiful dancing can b e seen in this b a l l e t , a n d it is t h e a m b i t i o n every ballerina to dance the role Odette. A m o t i o n picture, in color, w a s m a d e 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 p a n y of E n g l a n d , a n d it affords a m a g 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 is d a n c e d here by Margot Fonteyn, The 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 . England's greatest dancers. The Sleeping Beauty is a c l a s s i c balof of

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

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 handed 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 formed ballets by is Lake. 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 fairy t a l e of t h e s a m e n a m e . Moira 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 Princess Aurora. Perhaps y o u have seen her dance in the m o t i o n picture entitled The Red The Shoes. Nutcracker is o f t e n performed

H e takes her to Fairyland, through the 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 the Sugarplum Fairy. T h e r e a grand 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 s u b j e c t s of t h e Q u e e n p e r f o r m dances toTschaikovsky's beautiful Candy Canes, an Arabian many flow-

ing music. T h e r e are Spanish Dancers, Dancer, Angels. 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 children, F l o w e r s a n d Sugar P r i n c e d a n c e a grand pas Finally the Sugarplum Fairy and her de deux a d a n c e for t w o a n d that is w h e n children whisper to their mothers, "Are those p e o p l e really real?" 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 partner, 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 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 dancing for which George Balanchine'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 is famous.

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 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 often given on television during the holiday season. T h e ballet opens with 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 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 i n t h e setting. T h e b e s t p r e s e n t , a s far 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 devised Nutcracker which looks like a 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 rious godfather. 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 , Clara dreams that the Nutcracker has 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 .

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 ballet. in 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 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

are

romantic and

m o o d . T h e d e s i r e t o express this m o o d to

with

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 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 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 first r o s e t o t h e t i p s of t h e i r t o e s . 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 Giselle, and blanc, the delicate, Lake a n d Les the came into romantic as Sylphides

A l b r e c h t

h a s

disguised

t.

himself as a peasant. W h e n t h e girl discovers his real 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 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 The p r i n c e visits h e r g r a v e a t night.

w e k n o w in such productions Swan

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

was created.

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 , with Giselle among them, and force her to dance with Albrecht. D a w n c o m e s in t i m e t o s a v e h i m f r o m ill f a t e . T h i s ballet, the m o s t popular of the 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 Paris in 1841. It is the "Hamlet" of the ballet world. Just as every actor w a n t s 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 interpretation. In our time, Giselle w a s danced b y Alicia Markova, Margot Fonteyn, Alicia A l o n s o , M o i r a Shearer, U l a n o v a , the Russian prima ballerina and m a n y others. S o m e of the m o d e r n ballets of What is modern ballet? the costumes and that story. Other today Y e t the modern ballet dancer begins 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 positions of the feet, the ninety-degree 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 the other exercises which give the body suppleness, grace a n d balletic ease of m o v e m e n t . T h e n the acquiring of mode r n s t e p s t o fit t h e specific n e w d a n c e s is e a s y . T h e v o c a b u l a r y or visible l a n g u a g e of ballet h a s b e e n used in e a c h era to express that particular time. O n c e it w a s full o f p o m p a n d c i r c u m s t a n c e . T h e n it w a s filled w i t h t h e rom 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 century, f o l l o w e d b y t h e realist p r e s e n t a tell a story. W h e n t h e y d o , scenery modern fit t h e p e r i o d a n d s e t t i n g of T h e m o v e m e n t s o f m a n y of these

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 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 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 ballets the dancers use straight m o v e m e n t s 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 classic ones. B o d y lines are sometimes angular.

ballets express only a m o o d or a feeling. In that case, the c o s t u m e s a n d settings 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 the m o o d or feeling to be expressed.

26

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 AmerWhat are some modern ballets? i c a n b a l l e t is A g n e s De Mille's Rodeo. P I R O U E T T E P A S S E 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 country, playing a n d Carousel. before 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 enthusiastic many D E V E L O P P EA L A S E C O N D E 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 people w h o had never seen ballet before, 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! G R A N D J E T E Some of the steps done in ballet are shown below. Their names are in French, for it was in France that ballet grew.

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 A The Head Cowboy and the Rancher's Daughter. 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 . graduates of a nearby military e m y . W h e n the girls a n d b o y s b o y s are bashful, t h e girls a r e

gala entertainment is arranged for the acadmeet, shy.

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 operettas. T h e s t o r y of this b a l l e t is t a k e n from Woman Gilbert's ballad, s Story. A The Bumboat by the bumboat,

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 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 embarrassed. B u t then the party gets under w a y and everyone has fun, including the headmistress and the p o m p o u s old general. T h e b a l l e t Fancy American sailors Free is a b o u t t h r e e on shore leave in

w a y , is a b o a t that carries provisions fruit, v e g e t a b l e s , t r i n k e t s o u t t o 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 pretty young girl who Hot stows away in a b o a r d t h e HMS Cross Bun,

order to be near Captain Belaye. T h e n 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 number of other very un-sailor-like sailors, w h o t u r n o u t t o b e girls w i t h 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 a situation, especially w h e n the Captain brings a b o a r d his n e w bride. T h e "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

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 rapher Jerome Robbins, with composer Leonard Bernstein. The slapstick humor and clever dance steps always 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' antics. 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

Pineapple Poll. D a v i d Blair was Captain Belaye. Serge Prokofiev, and the Wolf who wrote Peter as a musical fairy tale to between orchestra, Performa

teach children the difference various instruments in the a l s o w r o t e t h e m u s i c f o r Gala ance.

T h i s is a s p o o f o n b a l l e t ,

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 countries 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 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 floor overpoweringly dignified, a n d w a l k s a s if n o t sure t h e 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 All this time de ballet the are conprecious footsteps. FANCY FREE

b o y s a n d girls o f t h e corps vulsed with laughter.

watching from the background,

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 established and charPINEAPPLE POLL GRADUATION BALL acters exaggerated 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.

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.

In ballet, roles w h i c h require dramatic What is , character dancing? interpretation are called i 0 character parts. Somer 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, Firebird, sinister, with a black Kastpatch over o n e eye! In the magnificent the wicked magician, 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 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 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 roles 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. TaranS c o t t i s h , S p a n i s h , R u s s i a n , Irish of ugly, grotesque o r evil old by women should usually be played

these roles require com-

character dancing, creature being portrayed.

pletely in keeping with the person or Sometimes, n o d a n c i n g is r e q u i r e d , a n d t h e chara 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 been 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 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 of the the character role

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-

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 T o help the audience understand What is pantomime? e m o t i o n s in a many pantomime

L a n g u a g e the ges-

of

the

D a n c e is e x p r e s s e d

A n i n v i t a t i o n t o dance above the head. F o r a kiss, the finger. Stop

dance,

by circling the hands around e a c h other t h e l i p s are t o u c h e d w i t h

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 attit u d e of t h e b o d y . D o n e w i t h restraint, they can express serious feeling, but a clever character dancer can transform them into anything he wants with familiar with the p a n t o m i m e a 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 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 performances y o u see and notice h o w 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 greatly to your enjoyment. For example, A wish to t o e x p r e s s love, is e x p r e s s e d the by 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. marry 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 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. 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 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 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 finger outlines the face.

is s u c h a u n i v e r s a l g e s t u r e , it is

the s a m e the w o r l d o v e r a n d in dance, too. Here the performer holds up the hand, p a l m out. Anger is e x p r e s s e d b y raising fists. is s h o w n by the arms above the head, with the elbows to the front, a n d shaking A c o m m a n d t o obey floor pointing to the cided gesture. 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 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 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 his head. A dancer w h o wants to say that he forgot, will h o l d the h a n d s out loosely, he holds the 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, T o s a y friends, F o r sadness, i n d e x finger t o t h e t e m p l e . the dancer clasps the the dancer traces tears fingers. with he hides the face hands together on a level with the waist. running d o w n the face with his F o r a c t u a l weeping, clenched fists. in b o t h hands, or rubs his eyes

w i t h a v e r y de-

/,-* D R . C O P P E L I U S IN COPPELIA

MADGE, T H E WITCH, Sk IN LA SYLPHIDE

SPANISH F O L K D A N C E R A S T R O L O G E R IN C O Q DOR

31

T o beg for mercy, the A arms out, praying. blessing

the dancer holds together as if

palms

is g i v e n w i t h t h e h a n d s the

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 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 the of t h e h a n d s . T h e d a n c e r r a i s e s 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 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, understand the stories more classical will clearly. television b a l l e t s a n d if y o u k n o w it, y o u W a t c h f o r it e s p e c i a l l y o n 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

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

M a k e

Ballet students at their

r ense, exp

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, many and of on

In the U n i t e d States, d a n c e . .. W h o supports ballet *L United 11 * J States? c* o in the

stu

dy

o w n

although many p r i v a t e l y - o w n e d s c h o o l s offer scholarcost and sepaships to promising students. T h e o f m a n y y e a r s of s t u d y is h i g h , 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

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 many whose names never appear the program. 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 Who supports the ballet companies? e x p e n s e s a n d sala r i e s i n v o l v e d requires queens supported royal a vast com-

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 studies. 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 are t w o public h i g h schools w h i c h are d e v o t e d t o t h e arts. O n e is t h e H i g h 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 the H i g h S c h o o l of M u s i c and Art. H e r e t h e arts c a n b e s t u d i e d a n d perf 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 . M a n y people h o p e that s o m e Foundation for the performing day arts, the U n i t e d States will have a N a t i o n a l w h i c h will give qualified y o u n g p e o p l e from even the smallest towns and hamlets a c h a n c e to perfect their talents. I n the U n i t e d States, ballet depends o n private individuals to underwrite the 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 depends on "patrons" p e o p l e who tocontribute various sums annually

outlay of m o n e y . In the past, kings and ballet panies. T o d a y , m a n y ballet companies overseas are supported b y the government. Though governments in those countries m a y have changed from time to time, e a c h successive o n e has continued to support not only the ballet companies, but ballet schools also. Talented y o u n g p e o p l e are able to get a classic ballet education France, through all and her an acad e m i c e d u c a t i o n o n a scholarship basis. political The the troubles, has continued to maintain the academy founded by Louis X I V . Russian Academy, Czars, continues founded by under

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 pany. Actually, y o u also help to support a c o m p a n y e a c h time y o u b u y a ticket. A n "angel" in theater language, is 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 m o n e y to m a k e a production possible. T h e greater his investment in a production which b e c o m e s a t h e g r e a t e r h i s profit. financial success,

Communism. Austria

Italy, D e n m a r k , S w e d e n a n d

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 Great Britain has b e g u n to subsidize a national ballet. Some South American countries,

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 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 support 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 to supervise everything. H e usually h a s assistants, for n o o n e p e r s o n could 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 alone. Also, w i t h so m a n y temperam 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 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 tactful e n o u g h to settle noisy disputes. T h e m a n a g e r has that job, too.

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. 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 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 right. T h e y studied ballet t e c h n i q u e for many years, joined ballet companies associother oba n d d a n c e d m a n y roles. T h e y ated with designers, musicians,

d a n c e r s l e a r n i n g all t h e while,

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 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 human the

cr^-*. 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 ? 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

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 possible, they traveled and studied d a n c e s of o t h e r l a n d s . T h e choreogra-

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 and makes everyone work harder than they t h o u g h t possible. H e "lives" each p a r t a n d helps e a c h d a n c e r interpret his or her role properly. T h e y m u s t perform u p t o his ideals a n d s t a n d a r d s , a n d it 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 m p a n y its distinctive c h a r a c t e r . 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 thing to p r e p a r e himself for his profession. T h e r e are n o schools in which choreography teach can be taught. they Schools can a technique, can outline

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 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 special 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 to perform certain dancers movements and

T h e choreographer creates the dances. H e is a n a r t i s t w h o W h a t is t h e cho^Igmpher? works with

H e s e a r c h e s

which he has created. H e must have a clear understanding of t h e s t e p s movements a dancer can and d o . T h a t is w h y h e m u s t b e a 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 cannot dancer

motion.
f o r t h e

basic

movements

which express the emotion behind the 34

experience, the choreographer b e c o m e s a 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 perfectionist, a s m i n o r f a u l t s c a u s e h i m a g 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 of t h e m . B u t t h a t is h o w o n e arrives a t p e r f e c t i o n b y t a k i n g infinite o v e r t h e s m a l l e s t details. The choreographer 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? demonstrate steps and the the pains

rapher. Either w a y , there m u s t b e close association and understanding between these t w o persons. T h e r e must be an orchestra to play t h e m u s i c of t h e c o m p o s e r . S o there must be musicians and a conductor to 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 played in the t e m p o indicated by the choreographer.

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 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 e d g e of b a l l e t a n d ballet people sometimes suggests that there is dancer's b l o o d in her veins. In a 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 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 moths out, s t a r c h in. S h e f o l d s on, and

artistic d i r e c t o r c a n 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 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 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 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 in such rehearsals, first in rehearsal halls, t h e n i n t h e t h e a t e r itself.

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?
TT

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,

for the ballet. ., . H o w this is 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 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 into ugliness. On the other hand, a simple backdrop curtain can b e m a d e t o look like "scenery" b y clever lighting.

forts, s h e p r a y s , t o o . O n e t h i n g is cert a i n w i t h o u t her there w o u l d be c h a o s in t h e d r e s s i n g r o o m s . 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

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

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 of t h e ballet. A t t h e s a m e t i m e , it is very important to have the scenery so designed that dancers can c o m e o n and 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 ing their costumes awkwardly. Nor 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 b y t h e sets. 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

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 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 a dancer has to m o v e in a costume and n o matter h o w forcefully, costume and dancer must n o t part c o m p a n y . Also, the costume must not be draped i n s u c h a w a y t h a t it b e c o m e s a trap catching 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 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? operation each reof many

T h e property m a n is in charge of the scenery Who are some other important backstage help? and the props. H e oversees the stage manager, takes care of p r o p e r l i g h t i n g effects f o r e a c h the scene

sponsible for the perform-

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 spotlights. T h e c a r p e n t e r is i n c h a r g e o f all 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. The flyman The oversees the raising curtainman raises and and lowering of the h u g e backdrops for the settings. 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 , o n cue from the stage manager.

ance. H e has to k n o w a great

things in order to cue the light crew a n d the curtain men. F r o m the m o m e n t h e orders, "Places, everybody!" to the 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 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 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

a n d

D a n s e u r s

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 the

service in the British army with n o i m p a i r m e n t t o h i s art. A truly A m e r i c a n Q u e e n of Ballet is Maria Tallchief Maria Tallchief. Her of She was born on an her mother

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 ballet technique is so perfect that her dancing taneous. H e r father, a m i n i n g engineer, w a s a Yorkshire m a n and her mother ably accounts for Fonteyn's m u c h of the world, but the family of Brazilian-Irish extraction, w h i c h probexotic over finally beauty. A s a child she traveled a p p e a r s effortless and spon-

O s a g e reservation in O k l a h o m a . father is an Indian,

Scottish descent. E n o r m o u s l y talented, 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 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 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, George Balanchine had m u c h to d o with perfecting her technique. Maria Tallchief has tremendous air 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 lous. She can beat her legs perfect form. Only fabutogether of could

settled in E n g l a n d . A t thirteen, M a r g o t 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 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. Alicia M a r k o v a was her idol t h e g r e a t prima Nutand She passed quite unnoticed.

ideal, and M a r g o t studied every m o v e made, never thinking she could c o m e even close to her in 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 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 rise rapidly. A t seventeen she d a n c e d 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.

eight times in a dazzling twinkle Nijinsky

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 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; 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 . 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 dancer, A n d r e ^ . , , Eglevsky was born Pavlova's partners, Legat, fifteen company.

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 danseur King noble, of the His Royal Ballet. Volinine, one of

in M o s c o w . H e studied in Paris with 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 w i t h t h e r a n k of premier H e m a d e h i s d e b u t at t h e a g e o f danseur.

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 38 interdistinguished

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.

W h e n , at t h e a g e of e i g h t , little A l i c i a Alicia Alonso w a s sent to a ballet s c h o o l i n H a v a n a , it

S o m e years a g o she w a s threatened 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 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 , her eyes bandaged, forbidden even to cry for f e a r of t h e effect of s u c h e m o tion o n the delicate nerves a n d tissues that n e e d e d healing. Y e t s h e d i d n o t w a s t e t i m e i n selfpity. Instead, A l i c i a visualized in her active mind every role she had danced, and so clearly that she w a s able to pick 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 performances. T h e healing ordeal over, 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 flabby flagged. muscles. Alicia's courage never W h e n she returned to the stage who had the on

was to acquire poise and grace. T h e r e 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 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 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 nent C u b a n family. B u t Alicia's talent could not b e denied and eventually she 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 A m e r i c a n Ballet in N e w Y o r k . She bec a m e a prima ballerina of Ballet Theater, but she and her husband also founded the Ballet Alicia Alonso. This 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 , which was government-supported. H e r artistic r a n g e is a m a z i n g . g e n t l e h e r o i n e of Romeo as a dancer. and Juliet, She for c a n b e the glittering B l a c k S w a n or the 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

it w a s t o further t r i u m p h s a s a m o r e m a t u r e , m o r e g l o r i o u s prima, n o w a l s o e a r n e d t h e title of Dama, highest honor bestowed by C u b a a civilian.

3 X - J $ ~ - .

^^~n *

ALICIA ALONSO and I G O R Y O U S K E V I T C H

MARIA T A L L C H I E F

M A R G O T F O N T E Y N and M I C H A E L S O M E S

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 He

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. 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 this y o u n g m a n w a s able t o usually perform 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 , 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 Opera success Free.

w a s a s o n e o f t h e sailors i n Fancy

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 Kid. and Eugene

W h a t B e a

It T a k e s Ballet

to

D a n c e r of

Having read about the dancers

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 John Kriza (right) dances in the ballet Billy the Kid. 40 of handicaps. A l i c i a M a r k o v a , o n e of the greatest 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 w o r l d t o see. N a n a Gollner's limbs had been weakened by polio and ballet was suggested as a m e a n s of strengthening them. H e r progress w a s so rapid that b y the a g e of sixteen she attained the rank of ballerina. Marie Taglioni, with long arms and 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 for a ballerina. A l t h o u g h her father w a s prima 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 also k n e w w h a t ballet training could d o f o r a frail, u n b e a u t i f u l b o d y . B u t t h e s e a r e t h e exceptions. with such handicaps. Certainly Ordione a 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 should h a v e a g o o d , strong heart, an overpowering desire to dance. 41 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

sense of rhythm, a feeling for music and

Ballet should not be studied before the 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 tQ

M ^ T L - j i - ^ J

begin work

either. should

Toe 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 which but are there things taught A l t h o u g h a t o n e t i m e t h e danseur What is the role of the danseur? s role h a d shrunk so that h e w a s c a l l e d "the ballerina's third some lent war records and were standing courage. 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 out-

to t h e m separately. Ballerinas should be light and graceful. T h e y must be supple and they do, event 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 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 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 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 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 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 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 shoulder-high without apparent weigh one hundred pounds or higher and wider. 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 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 the class, effort more. not an easy thing to do, for she m a y 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

leg," times have changed. A l l he did then w a s to support her and wear an admiring expression o n his face. There 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 . O f c o u r s e , t h e danseur must always be galnow the cavalier and s h o w a proper lantry toward the ballerina, but

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. H e must not only be an excellent dancer, but also a dramatic actoras Albrecht in Giselle Lake, or Prince Siegfried in Swan for example.

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 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 outstanding talent that parts are especially written for them. A g o o d danseur is a welcome addition to any company.

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 required of them. Incidentally, m a n y of our foremost dancers have h a d excel-

Ballet

D r e s s

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 their longer leotights that tards over they last

into." T h e made of

black

ballet

slippers the

are toes flex-

soft

leather,

with

pleated o n the bottom, and with i b l e , n o n s k i d soles.

( w i t h o u t feet,

because

T h e satin t o e s h o e s s h o u l d n o t b e h e a v y a n d h a r d a n d stiff. T h e well-prepared student can easily work in the 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 sewn and only lightly boxed. T h e dancer m u s t at all t i m e s b e a b l e t o "feel" t h e floor. better, T o e s h o e s are d a r n e d a t t h e tips floor last and wear but also to make them not only to m a k e them grip the l o n g e r . T o e s h o e s are e x p e n s i v e , professional formance. The stage costumes of today vary dancers sometimes

w a y ) , ankle socks and practice shoes. S o m e schools favor a short tunic for 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 shirt. T h e i r p r a c t i c e s h o e s are band. In order to correct faults, a teacher must easily see the lines and m o v e m e n t s of t h e b o d y . Frills, b o w s , p l e a t s and ruffles w o u l d c o n c e a l s u c h faults. A n d tights also serve to k e e p the leg m u s c l e s w a r m . M o r e injuries r e s u l t f r o m muscles than from any other cold cause. sometimes held over the instep by an elastic

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-

( 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 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 them unhindered movement. T h e dancer's feet are her m o s t precious How are ballet slippers made? equipment, ways fit and so d a n c e s h o e s m u s t alperfectly.

What kind of stage costumes are used?

greatly in design. B e s i d e s t h e traditional, long tutu,

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

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 designers' imagination. C o s t u m e s f o r t h e danseurs are varied, tights too, from the accepted classic

and velvet jerkin to anything the part m a y c a l l f o r a R o m a n t o g a , a full-

T h e y must never be bought to "grow

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 for Beach. 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 progress without too m u c h steps in ballet's universal misunderlanguage. 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

Swedish, Russian and English dancers, 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 nations, can step into class in any other

L a b a n o t a t i o n D a n c e Labanotation 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

Writing

in the proper c o l u m n to s h o w which part is t o m o v e .

Head

Steps

Body

Steps

b o l s a r e u s e d t o "spell o u t " t h e m o v e ments which are to be performed. 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 ballet

Left 2 . Directions:

Right I n t h e m i d d l e , at y o u r

t o h a v e a w h o l e g e n e r a t i o n of

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 m a d e to point to the directions around y o u f o r w a r d , b a c k w a r d , right, left and the four diagonal directions that are i n b e t w e e n .

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, Australia, Iceland and the United 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 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 s a m p l e of h o w it w o r k s : 1. Body: A v e r t i c a l staff is u s e d t o incenter 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 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

Head

Body

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 Arm

Leg Gesture

Leg Gesture

Arm

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 how 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

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 movement with a short symbol. T h e center Slow w 0 Fast

s*&

'

^-as-*-**.

/ / i / 1 1 2 X 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 familiar 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 b o o k s about ballet, f a m o u s ballet dance 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 ballet can be a worthwhile experience. 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 availa b l e at y o u r l o c a l l i b r a r y a n d m a k i n g a selection. 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 h a s b e e n written for the ballet, including Tschaikovsky's Sleeping Snow noon chka; Beauty Maiden; of a Faun; Offenbach's Swan Lake, The and AfterPetrouParisienne; Sylvia Pizzicato a n d The Debussy's Gaite Nutcracker; The your librarian will b e g l a d to h e l p y o u in

possible for y o u to borrow a recording a s y o u w o u l d a b o o k . S o m e libraries 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 records in a music room. H o w e v e r , nothing can take the place 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 ballet schools in your vicinity m a y give p u b l i c recitals. O r t h e r e m a y b e a college near you with a dance department that schedules regular concert performa 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 c o m e s to your town, or nearby, see the p r o d u c t i o n if y o u c a n . B u t b e f o r e y o u g o , find o u t w h i c h ballet will be performed. T h e n look u p 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 b o o k . K n o w i n g the plot in a d v a n c e will 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 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 really b e able to enter the wonderful w o r l d of b a l l e t a w o r l d of magnificent music, drama, art a n d magical d a n c i n g that will h o l d y o u spellbound.

R i m s k y - K o r s a k o v ' s Scheherazade Stravinsky's Delibes'

C h o p i n ' s Les Sylphides; a n d Coppelia; Polka.

a n d Strauss'

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 -

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 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

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!

'

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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 * '