Reading...
Play button
Play button
Use LEFT and RIGHT arrow keys to navigate between flashcards;
Use UP and DOWN arrow keys to flip the card;
H to show hint;
A reads text to speech;
33 Cards in this Set
- Front
- Back
|
Upper Paleolithic/Neolithic
Dance Rituals |
to pray for favor from the gods, to portray activities, to connect spiritually with ancestors, train warriors, heal the sick, ensure fertility of the fields, commemorate life events.
|
|
|
Ancient
India |
Bharata Natyam
|
|
|
Ancient
China |
Dance dramas based on mythology.
|
|
|
Ancient
Greece |
Dance as part of Greek theatre.
Dance, poetry, and education part of daily life.
Also participatory group dances.
|
|
|
Medieval
Why was dance banished? Black Plague created what dance? |
Church suppressed dance
Dance of Death |
|
|
Renaissance
What dance style formed? |
Court Ballet and the rise of ballet as a professional art form.
|
|
|
ART AND AESTHETICS
Dance as an art form: |
The desire to express something, either literal or abstract.
The audience often challenged to think about what the dance is trying to express. The need to view dance with an open mind in order to make intelligent critical assessments. |
|
|
THE PARTICIPANTS
Choreographer |
Desire to communicate something to the audience.
Choreographic elements: time, space, energy.
|
|
|
THE PARTICIPANTS
Dancer |
Years of training.
Like an athlete, but with the added dimension of communication to the audience.
|
|
|
THE PARTICIPANTS
Audience |
An equal partner in the event.
Should keep an open mind.
Understanding and appreciating dance is a learned process, and requires seeing as much dance as possible.
|
|
|
Catherine de’Medici
|
brings dancing masters with her from Italy to France, and Court Ballet starts.
|
|
|
Louis XIV
|
king of France, a dancer himself. Establishes the Royal Academy of Dance. Court ballet reaches its peak during his reign.
|
|
|
ROMANTIC BALLETS
|
La Sylphide
Giselle Copéllia |
|
|
CLASSICAL BALLET
Starts with PETIPA in RUSSIA. CHARACTERISTICS OF CLASSICAL BALLET: |
Performed on a proscenium stage with spectacular scenery filling the upstage.
Dancers are dressed in elaborate costumes typical of the characters they are portraying. The storyline is usually a fairy-tale or fable. The choreographer brings the music to life by creating steps to “move along” with the music. Large orchestral pieces of music are the norm. |
|
|
CLASSICAL BALLET
2 Classical ballets |
Swan Lake (Petipa)
The Sleeping Beauty (Petipa and Ivanov) |
|
|
IMPERIAL RUSSIAN BALLET
Two main companies: |
The Kirov or Mariinsky, of the Mariinsky Theatre, and Vaganova Academy in St. Petersburg.
The Bolshoi in Moscow. |
|
|
BALLETS RUSSES
Formed by? Choreographers for company? |
Diaghilev
FOKINE NIJINSKY NIJINSKA MASSINE BALANCHINE |
|
|
CONTEMPORARY BALLET
CHARACTERISTICS OF CONTEMPORARY BALLET: |
Classical steps are reshaped to fit the theme of the dance.
Pantomime is not used. The corps is an important part of the dance. Sometimes uses music that is abstract. |
|
|
AMERICAN BALLET
2 major companies |
American Ballet Theatre
New York City Ballet |
|
|
AMERICAN BALLET
NYC Ballet Formed by? Master in chief? dedicated to? |
Formed by BALANCHINE and KIRSTEIN.
Current ballet master in chief is PETER MARTINS. Dedicated to preserving and presenting works of George Balanchine, and presenting works by new contemporary choreographers. |
|
|
AMERICAN BALLET
ABT 1st artistic director? current artistic director? dedicated to? |
MIKHAIL BARYSHNIKOV was artistic director 1980-1990.
KEVIN McKENZIE is current artistic director. Dedicated to presenting the best ballets of the past, and encouraging new works from the most gifted contemporary choreographers. |
|
|
MODERN DANCE
common concerns |
The common concern of modern dancers:
Not to be bound by any previously set rules or traditions. Began in the late 1800s as a reaction against the perceived restraints of ballet. Many founders were American. |
|
|
MODERN DANCE
Forerunners: Loie Fuller |
Dance Serpentine, costume made from yards of silk
|
|
|
MODERN DANCE
Forerunners: Isadora Duncan |
Dancing based on Greek aesthetic. Free spirit. An early feminist. Life of many tragedies.
|
|
|
MODERN DANCE
Forerunners: Ruth St. Denis and Ted Shawn Denishawn company and school |
“Exotic” dances, many based on Eastern cultures.
After Shawn and St. Denis split, she focused on religious dances and he formed a company with all male dancers. |
|
|
MODERN DANCE
GERMAN Modern Dancers/Choreographers: |
Mary Wigman (Witch Dance)
Hanya Holm (Trend) Kurt Jooss (The Green Table) |
|
|
MODERN DANCE
PIONEERS: Martha Graham |
Considered a female icon of the 20th century.
Began her study with Denishawn company, but broke away. Created 181 works. Technique based on contraction and release. Highly dramatic personality. The company and school she formed still exists today in New York City. |
|
|
MODERN DANCE
PIONEERS: Doris Humphrey Charles Weidman |
Also started with the Denishawn school and company, but broke away.
Established Humphrey-Weidman school and company. Technique based on fall and recovery. Humphrey went on to serve as artistic director for José Limón’s company. |
|
|
MODERN DANCE
THE SECOND GENERATION: José Limón |
Mexican-American whose heritage influenced his work.
Exceptional performer. Started with Humphrey-Weidman, went on to form his own company which still exists today. Famous work: The Moor’s Pavanne |
|
|
MODERN DANCE
THE SECOND GENERATION: Katherine Dunham |
African-American whose heritage influenced her work.
Her Negro Rhapsody was the beginning of black concert dance. Also known as a researcher and scholar. Her work had an influence on jazz dance. |
|
|
MODERN DANCE
THE SECOND GENERATION: Alvin Ailey |
Established world renowned company still in existence today: Alvin Ailey American Dance Theatre.
His choreography combined modern, world, and jazz dance. |
|
|
MODERN DANCE
THE POST-MODERNERS: Paul Taylor |
Danced with both Martha Graham and Merce Cunningham.
Considered a forerunner of the post-modern movement. His Paul Taylor Dance Company is world renowned and still in existence. |
|
|
MODERN DANCE
THE POST-MODERNERS: Merce Cunningham |
Danced for Martha Graham before breaking away to form his own company and technique.
Created dances that were “movement for movement’s sake.” Considered the “father of post-modern dance.” |
