Rory Foster
- Published in print:
- 2010
- Published Online:
- September 2012
- ISBN:
- 9780813034591
- eISBN:
- 9780813046297
- Item type:
- book
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813034591.001.0001
- Subject:
- Music, Dance
There are many different methods for teaching classical ballet—Bournonville, Vaganova, Cecchetti—the Royal Academy of Dancing being the most widely known. All of these methods are effective tools for ...
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There are many different methods for teaching classical ballet—Bournonville, Vaganova, Cecchetti—the Royal Academy of Dancing being the most widely known. All of these methods are effective tools for presenting the technique and art of ballet. Knowing how to use these tools successfully requires more than being a devotee of the technique; it also requires the mastering of various skills. In this book, the author aims to share his extensive knowledge of how to teach rather than focus exclusively on what to teach, arguing that it is not enough for a ballet teacher to be well trained in technique, but that he or she must also know how to utilize pedagogical skills. The book is appropriate for either followers of a single methodology or for those who have adopted a more eclectic approach to technique. The author believes that effective teaching skills—proper demonstration, counting, correcting, musicality, anatomical approach, etc.—do not come automatically just because one has trained as a dancer. He covers all areas involving dance, from history to injury prevention, from anatomy and kinesiology to vocabulary and music, and even offers pragmatic advice on the business of starting a dance school.Less
There are many different methods for teaching classical ballet—Bournonville, Vaganova, Cecchetti—the Royal Academy of Dancing being the most widely known. All of these methods are effective tools for presenting the technique and art of ballet. Knowing how to use these tools successfully requires more than being a devotee of the technique; it also requires the mastering of various skills. In this book, the author aims to share his extensive knowledge of how to teach rather than focus exclusively on what to teach, arguing that it is not enough for a ballet teacher to be well trained in technique, but that he or she must also know how to utilize pedagogical skills. The book is appropriate for either followers of a single methodology or for those who have adopted a more eclectic approach to technique. The author believes that effective teaching skills—proper demonstration, counting, correcting, musicality, anatomical approach, etc.—do not come automatically just because one has trained as a dancer. He covers all areas involving dance, from history to injury prevention, from anatomy and kinesiology to vocabulary and music, and even offers pragmatic advice on the business of starting a dance school.
Toba Singer
- Published in print:
- 2013
- Published Online:
- September 2013
- ISBN:
- 9780813044026
- eISBN:
- 9780813046259
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813044026.003.0003
- Subject:
- Music, Dance
Fernando tells his experiences at 19, marrying and finding a job and living quarters in post-Depression New York in the barrios, learning to become an x-ray technician, finding jobs dancing and good ...
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Fernando tells his experiences at 19, marrying and finding a job and living quarters in post-Depression New York in the barrios, learning to become an x-ray technician, finding jobs dancing and good ballet classes, and of his daughter Laura’s birth, at a time that he and Alicia were meeting the dancers they would spend a decade working with.Less
Fernando tells his experiences at 19, marrying and finding a job and living quarters in post-Depression New York in the barrios, learning to become an x-ray technician, finding jobs dancing and good ballet classes, and of his daughter Laura’s birth, at a time that he and Alicia were meeting the dancers they would spend a decade working with.
Jessica Zeller
- Published in print:
- 2016
- Published Online:
- August 2016
- ISBN:
- 9780190296681
- eISBN:
- 9780190296728
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780190296681.003.0005
- Subject:
- Music, Dance
This chapter discusses the teaching of two Italian instructors: Malvina Cavallazzi and Luigi Albertieri. Cavallazzi was the first ballerina at the Metropolitan Opera and the first director of the ...
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This chapter discusses the teaching of two Italian instructors: Malvina Cavallazzi and Luigi Albertieri. Cavallazzi was the first ballerina at the Metropolitan Opera and the first director of the Metropolitan Opera Ballet School when it opened in 1909. At the helm of the first American ballet academy in the European tradition, her teaching was considered the gold standard. Albertieri, the adopted son and protégé of internationally renowned pedagogue Enrico Cecchetti, was ballet master and the first première danseur at the Metropolitan Opera, and he operated his own school independently for fifteen years. As traditionalists, these teachers took an unyielding approach to ballet, and their refusals to modify their traditions in America situate them at the conservative end of the pedagogical spectrum. Despite the differences—and difficulties—that they encountered in America with regard to ballet, they were dedicated to preserving the material precisely as they had learned it abroad.Less
This chapter discusses the teaching of two Italian instructors: Malvina Cavallazzi and Luigi Albertieri. Cavallazzi was the first ballerina at the Metropolitan Opera and the first director of the Metropolitan Opera Ballet School when it opened in 1909. At the helm of the first American ballet academy in the European tradition, her teaching was considered the gold standard. Albertieri, the adopted son and protégé of internationally renowned pedagogue Enrico Cecchetti, was ballet master and the first première danseur at the Metropolitan Opera, and he operated his own school independently for fifteen years. As traditionalists, these teachers took an unyielding approach to ballet, and their refusals to modify their traditions in America situate them at the conservative end of the pedagogical spectrum. Despite the differences—and difficulties—that they encountered in America with regard to ballet, they were dedicated to preserving the material precisely as they had learned it abroad.
Nadine Meisner
- Published in print:
- 2019
- Published Online:
- May 2019
- ISBN:
- 9780190659295
- eISBN:
- 9780190659325
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190659295.003.0009
- Subject:
- Music, Dance
This chapter describes the arrival of Ivan Vsevolozhsky as director of the Imperial Theatres; Alexander III was a conservative and yet it was under his reign that the monopoly of the Imperial ...
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This chapter describes the arrival of Ivan Vsevolozhsky as director of the Imperial Theatres; Alexander III was a conservative and yet it was under his reign that the monopoly of the Imperial Theatres was dissolved. This brought about the emergence of commercial theatres, and with them, middlebrow entertainments, featuring virtuoso Italian ballet dancers. They also promulgated the féerie: a spectacular genre, emphasizing visual effects. The influence of the féerie and of Italian dancers on the Imperial Ballet and Petipa’s work is discussed, as are Vsevolozhsky’s reforms and his drive to elevate ballet music by introducing concert-hall composers, notably Tchaikovsky and Glazunov.Less
This chapter describes the arrival of Ivan Vsevolozhsky as director of the Imperial Theatres; Alexander III was a conservative and yet it was under his reign that the monopoly of the Imperial Theatres was dissolved. This brought about the emergence of commercial theatres, and with them, middlebrow entertainments, featuring virtuoso Italian ballet dancers. They also promulgated the féerie: a spectacular genre, emphasizing visual effects. The influence of the féerie and of Italian dancers on the Imperial Ballet and Petipa’s work is discussed, as are Vsevolozhsky’s reforms and his drive to elevate ballet music by introducing concert-hall composers, notably Tchaikovsky and Glazunov.
