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Danc 101 Weeks 4,5 notes

by: paigekw Notetaker

Danc 101 Weeks 4,5 notes Danc 101

Marketplace > University of South Carolina > Danc 101 > Danc 101 Weeks 4 5 notes
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These notes cover exactly what Flach covers in class. Made an A on exam with these notes.
Dance Appreciation
Cindy Flach (P)
Class Notes
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This 8 page Class Notes was uploaded by paigekw Notetaker on Thursday September 22, 2016. The Class Notes belongs to Danc 101 at University of South Carolina taught by Cindy Flach (P) in Spring 2016. Since its upload, it has received 4 views.


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Date Created: 09/22/16
LECTURE OUTLINE - WEEKS FOUR AND FIVE Text: Chapter Five: Ballet Video: La Sylphide; Giselle; The Children of Theatre Street; Swan Lake; The Nutcracker Transition from Court Ballet to Professional Ballet Proscenium Stage The Royal Academy of Dance – L’Academie Royale de Danse o By Louis XIV Pierre Beauchamp o Five positions of the feet and arms of ballet o All feet are Turned Out Ballet terminology established Jean Georges Noverre o Wrote “Letters on Dancing and Ballet” Ballet d’Action Use of plot and emotion Pantomime made clearer and more standardized Greater unification of scenery, music and costumes with a ballet Dancing en pointe o Dancing on pointe shoes (tip­toes) o Must have a good metacarpal arch o Square foot o Who wore the point shoes?  Women o Who made the point shoes?  Men o Made to make women 3­4 inches taller and make them appear to be out of this world or spiritual  like a fairy o Men were there to help them balance and to do lifting Paris Opera Ballet o What the royal academy of dance is known as today The Romantic Era - Ballets of the Romantic Era Filippo Taglioni (1778-1871) o Choreographer o Became one of the leading choreographers in this era o Designed a way for the dancers to fly “La Sylphide” (1832) - setting, storyline, characters, innovations, techniques o "Fairy­like creature"  o Featured Marie Taglioni (prima ballerina of this ballet) o Choreographed by Flippio Taglioni ­ Marie’s father o Story was set in Scotland o Colorful costumes o Storyline: In the Court house of noble men the night before wedding. He brought friends and  family to celebrate. James is in his den of the country house and is in store chair napping. La  sylphide was there by his side (he was not sure if she is really there or not, dream­like state) didn't touch at first, but James is trying to grasp her and she disappears. The wedding party comes in  and he is still confused and can't get his mind off of the sylph.  A protagonist comes in named  Madge who reads the palms of guests. Everything was done in pantomime. The sylph gets jealous that he is engaged so she tries hard to get him. So James falls for this creature even though he is  engaged. He follows her into the forest where she lives.  Madge comes back but this time in the  forest with her witch friends.  She makes a potion with a scarf, takes it out then tells James to give it to the sylph to say how much he loves her, but she ends up dying in his arms. Wedding party  comes to the forest. James' finance and best friend have gotten married now. James lost both  women. o Characters: James, Effie (fiancé), best friend, protagonist, sylph Marie Taglioni (1804-1884) “Pas de Quatre” (1845) – setting, innovations, techniques o Used no men o No plot, no scenery, no story, just 4 leading ballerinas o No fairy creatures o Dancers were principal (small group, top company dancers) o Marie taglioni ­ good at jumping and turns o Different than the other ballets Jules Perrot (1810-1892) Jean Coralli “Giselle” (1841) – setting, storyline, characters, innovations, techniques o Most repeated ballet o Quintessential ballet of romantic era Full set plot o o Tragedies o Storyline: Giselle began as a human. She has a heart condition so she isn't supposed to exert  herself. Human dressed as a peasant comes along and they fall in love. Stranger turns out to be  royal and Giselle’s heart is broken and does the dance of death. She dies from a broken heart.   She comes back to life as a Willi (seeks revenge on who broke her heart). Stranger was promised  to another woman. He was sentenced to dance all night with no food or water by the other willies  and if he made it through the night, they would let him live. Giselle helped him through the night  and supported him.  She danced for him when he was weak and he always stayed true to Giselle.  o Giselle was a diva ballerina o Romantic tragedy dance Arthur Saint-Leon (1821-1870) “Coppelia” (1870) – setting, storyline, characters o Final ballet of romantic era o Almost considered a comedy o About a doll o Storyline: Young man falls in love with a beautiful woman who appears every day at a window.  He sites poetry to her, sings and dances to her.  There is a jealous girl who knows she is a life size doll and she has a crush on him. She thinks he's crazy. She plays a prank on him, steals his keys  and places them in the toy shop. They moved the doll he was in love with to another window and  he had to find out where she went. The girls all dress up as dolls. He sees the doll and realizes it's  that girl and then there ends up being a wedding at the end. Tutu – “Tulle” o Classical and Romantic Lengths Pointe Shoes - Construction and Purpose Premier Danseur o Lead male dancer Prima Ballerina o Lead female dancer Principal o Top of company dancers o Smallest group of dancers Soloist o Higher pay; more time off Corps de Ballet o Majority of ballet o Job was the scenery o Dressed nice o Should frame the leading dancers Pas de Deux o Dance for 2 Ballet Blanc o All dancers wore white dresses and costumes Sylph o Fairy­like creature Willi o Someone who comes back to take revenge on who broke her heart Ballet Barre o Every country around the world starts out with the knee bend (plie) and stretches at the barre o Series of warmups done at the beginning of class around the world Plie o Plie – bend at the knees Fouette o Usually balanced by a male, but not always o Means whip turn Jete, Bouree, Chasse o Jete ­ Split Leap in the air o Bouree – short steps sometimes done on pointe Turns: Chaine, Pique, Pirouette, Fouette, Tour Jete, Coupe Jete o Chaine – series of tight turns o Pirouette – a turn on one leg o Fouette – a turn done on one leg, extends legs and whips it around while the leg she stands on  stays in the same spot o Tour jete – the turning split leap The Classical Era – Ballets of the Classical Era French is the language of ballet globally – why? o Marius Petipa “Swan Lake” (1895) – setting, storyline, characters, innovations, techniques o 32 fouettes in a row o Odette – white swan o Odile – black swan o  Prince Siegfried ­ prince o Von Rothbart – character, actor, dancer o Story of love and passion for forgiveness o Story: Odette is prisoned in the body of a swan and she is cursed (can take human form during the day, but at night she turns into a swan) and the only way to release her is if she falls in love with  the right man.  o Choreographers – marius petipa and lev ivanov o Ballet block – other worldly creatures (the swan) Marius Petipa (1818-1910) o Reason why French is spoken all over the world when talking ballet o Refused to speak Russian o Visited by czar Nicolas ii  o Took money and fame away from the bet o Epicenter changed france o Teamed up with lev Ivanov and together they choreographed “swan lake” Lev Ivanov (1843-1901) o Worked with Petipa on swan lake “Sleeping Beauty” (1890) - Petipa “The Nutcracker” (1892) - Ivanov Imperial Ballet School of Russia – Vaganova Choreographic Institute o Best dance school of the century o Respected place that dancers are privileged to come too o The Children of Theater Street in Leningrad o Theater Street – Kirov ballet, Mariinsky theater, and Vagonava choreographic institute o Imperial house of the czar, imperial ballet school of Russia o czar changed the name after the resolution  Vaganova choreographic institute Agrippina Vaganova (1879-1951) Kirov Ballet o Saint Petersburg o Strengths are the classics Mariinsky Theater o Theater where kirov ballet is performed o Some graduates do their performances for graduation here St. Petersburg/Leningrad Bolshoi Ballet Moscow Ideal Body Characteristics and Attributes for Ballet – long limbs, high arch of instep, natural turn-out, flexibility, high jumps and leaps, ideal proportions for bone structure Talent is measured only when it occurs in the ideal body o Ideal body: o 5’6” – 5’9” tall, short torsos, long legs and arms, natural turn out form the hip socket, beautiful  arched feet, small head, ability to have a light jumping quality, leg should rotate past 180 degrees  when kicking o Diet is carefully watched o Russia and America (usa will look over height if they have raw talent and discipline) o “Talent is measured only when it occurs in the ideal body”  the Russian way o A good dancer is a privileged citizen Why a career in dance in Russia is so desirable? o Education is paid for o It is respected Grand Pas de Deux o dance for 2 (duet) o Entrée  dancers enter o Adagio  slow tempo o Variations  dancers show off for each other o Coda  brings musical piece to an end Pyotr (Peter) Tchaikovsky (1840-1893) – Swan Lake, The Sleeping Beauty, The Nutcracker o Composer o Responsible for the music for swan lake, sleeping beauty, and the nutcracker Igor Stravinsky (1882-1971) – The Firebird, Rite of Spring o A respected composer during classical ballet 3 important facts: 1) honor 2) a place of importance and a place for a wider life (travel) 3) a place of  history DANCE PRODUCTION   Behind the Scenes of a Dance Concert Proscenium Stage  o act curtain/grand drape closes off the proscenium arch o 2 ways to open (up & down, or from center) Arena Stage o like a soccer arena (round) o Audience is on all sides (Williams brice) o Greek theater Stage Directions – From Perspective of Performers – Downstage, Upstage, Stage Right, Stage  Left, Center Stage, Gradation of Stage Directions o Downstage – toward audience o Upstage – away from audience o Stage right and stage left – from the perspective of the performer Apron o Stage floor that is in front of the proscenium wall Cyclorama (cyc) o White, like a projector screen that touches the floor o Made of cotton, can see through it Scrim o Usually black; loosely woven o Depends on lighting to determine whether you can see through it Backdrops Raking of the Stage or the Audience Space House – Front of House Wings – Legs – Borders – Traveler o legs are the curtains on the side of the stage  o legs allow the audience to not see the behind the scenes things o the wing of the stage (where a performer enters and exits from) o borders – cover all of the hardware, at each level of lights o traveler – can be pulled on from stage right or left, divides the stage in half or thirds o usually colored, made of velvet, thick, not see through Batons – Trees o steel pole hung in the rafters (border cover)  o holds the lights and curtains Orchestra Pit Light Booth o lights are screwed on and the wings are hidden by the legs o shin busters – at the shin lights o hip height – mid body lights o face lights – at the face “Spot” for Dancers o red light at the back of the stage where a dancer stares at so they don’t get dizzy when  turning Strip Lights, follow spots, beam projectors Front Light, Back Light, Side Light, Overhead Light, Directional Light  o front light – flatters o back light – eerie o side lights are hung on trees and are most common o overhead light – gives a different dimension o directional light Spotlight, Specials, Color, Gels, Gobos, Lithos o specials lighting – from directly over head, a pool of light on the floor o spotlights add expense and could cause issues during performance o gels – colored plastic that they stick in a metal frame and makes the light project a  different color on the stage o gobos ­ on a frame in front of the gel, cutout on copper/Al plate that makes shapes or  patterns on the floor (not projections) Automated Lighting Instruments, Movable Lighting Instruments Light Plot (scale ground plan) o lighting designer scale, craftsmen, electrician, and artist Color of Lights:   o Mood, Time of Day, Location Live Music versus Recorded Music Set Pieces – Props o Almost always brought out by the set crew, 2 or 3 people, heavy props (beds, table, desk,  chairs, columns, stairs, waterfall, sleigh, Christmas tree) o Usually placed behind the curtain o A fan, boa, cane, phone, chair, book ­ props Artistic Director o Hires all of the designers and staff for the concert o Lighting Designer, Costume Designer, Set and Scenic Designer, Composers and  Musicians o Others: film makers, videographers, computer experts o Responsible for budget 1. Choreographer – inspired, creates the routines for the dances (pieces) 2. Composer 3. Lighting designer 4. Costume designer Steps in the Production Process People behind the Production:  The Support Staff Dance Concert notes:  Arturo Fernandez – “Counter Point (revisited)” o company ballet master o 13/14 women not on point and some men o original contemporary ballet piece o Universal music with several (5) tracks (drums)  Get a program for quiz  Stephanie Wilkins wrote “ache” (romantic piece) o The Ache is love, a once in a lifetime love, her piece was an inspiration from a  line in jack’s quote ­ “Pain or love or danger makes you real again.”  Look around the theater and be observant  Thadius Davis wrote “dizzy atmosphere”  o 1940s – 1950s feel, club dancing o no direct narrative, several music pieces  Stephanie Milley o More abstract o Patterning, in­cannon (like a ripple effect) o Partner weight­sharing o 6 women, lifting each other o enter from stage left with ebinflow (pulled off and come back on) o Gloria Anseladia – process of reconciling old habits with new world views  Tonya Davis wrote “disco on my mind” o Fun piece (club dance, soul train with contemp. Ballet)


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