Congrats Natalie, extremely well deserved!
Showing posts with label ballet. Show all posts
Showing posts with label ballet. Show all posts
Tuesday, January 18, 2011
Thursday, January 13, 2011
Classical Ballet vs. Romantic Ballet
Classical
Classical Ballet is the most formal of the ballet styles, it adheres to traditional ballet technique. There are variations relating to area of origin, such as Russian ballet, French ballet, British ballet and Italian ballet. The Vaganova method, named after Agrippina Vaganova and the Cecchetti method, named after Enrico Cecchetti are Russian and Italian respectively and derive from the original French method.
Classical ballet is best known for its unique features and techniques, such as pointe work, turn-out of the legs, and high extensions; its graceful, flowing, precise movements; and its ethereal qualities.
Ballet, mostly classical, puts a great amount of emphasis on the execution of movement and the method.
The feature of ballet is the outward rotation of the thighs from the hip. The foundation of the dance is of five basic positions, all performed with the turnout. Most young dancers receive a very strict and rigorous education in their school's method of the dance, which begins when they are young and ends with graduation from high school. Students are required to learn all the names, meanings (most), and last but not least precise technique of each movement which they learn. Emphasis is the building or putting on building strength mostly in the lower body (particularly the legs and the core which are also called the center or the abdominals) as a strong core is necessary for many movements in ballet mostly turns, and on developing flexibility and strong feet for dancing en pointe.
Romantic
The Romantic ballet is defined primarily by an era in ballet in which the ideas of Romanticism in art and literature influenced the creation of ballets. The era occurred during the early to mid 19th century primarily at the Théâtre de l'Académie Royale de Musique of the Paris Opera Ballet and Her Majesty's Theatre in London. The era is typically considered to have begun with the 1827 début in Paris of the ballerina Marie Taglioni in the ballet Le Sicilien, and to have reached its zenith with the premiere of the divertissement Pas de Quatre staged by the Ballet Master Jules Perrot in London in 1845. The Romantic ballet had no immediate end, but rather a slow decline. Arthur Saint-Léon's 1870 ballet Coppélia is considered to be the last work of the Romantic Ballet.
The Romantic era marked the rise of the ballerina as a central part of ballet, where previously men had dominated performances.The movement style for Romantic ballerinas was characterized by soft, rounded arms and a forward tilt in the upper body. This gave the woman a flowery, willowy look. Leg movements became more elaborate due to the new tutu length and rising standards of technical proficiency. Important Romantic ballerinas included, in addition to Marie Taglioni, Carlotta Grisi, the first "Giselle", Lucille Grahn, Fanny Cerrito, and Fanny Elssler.
The costume for the Romantic ballerina was the Romantic tutu. This was a full, white, multi-layered skirt made of tulle. The ballerina wore a white bodice with the tutu. In the second acts of Romantic ballets, representing the spiritual realm, the corps de ballet appeared onstage in Romantihe dancers wore pointe shoes to give the effect of floating. However, sometimes they decided to throw in extra sharp, sassy movements to portray the given concept or intent, often using high kicks and fast turns.
Lithograph by Chalon of Carlotta Grisi (left), Marie Taglioni (center), Lucille Grahn (right back), and Fanny Cerrito (right front) in the Perrot/Pugni Pas de Quatre. London, 1845. The premiere of the Pas de Quatre is considered to be the Romantic ballet at its zenith
info from Wikipedia
Classical Ballet is the most formal of the ballet styles, it adheres to traditional ballet technique. There are variations relating to area of origin, such as Russian ballet, French ballet, British ballet and Italian ballet. The Vaganova method, named after Agrippina Vaganova and the Cecchetti method, named after Enrico Cecchetti are Russian and Italian respectively and derive from the original French method.
Classical ballet is best known for its unique features and techniques, such as pointe work, turn-out of the legs, and high extensions; its graceful, flowing, precise movements; and its ethereal qualities.
Ballet, mostly classical, puts a great amount of emphasis on the execution of movement and the method.
The feature of ballet is the outward rotation of the thighs from the hip. The foundation of the dance is of five basic positions, all performed with the turnout. Most young dancers receive a very strict and rigorous education in their school's method of the dance, which begins when they are young and ends with graduation from high school. Students are required to learn all the names, meanings (most), and last but not least precise technique of each movement which they learn. Emphasis is the building or putting on building strength mostly in the lower body (particularly the legs and the core which are also called the center or the abdominals) as a strong core is necessary for many movements in ballet mostly turns, and on developing flexibility and strong feet for dancing en pointe.
Romantic
The Romantic ballet is defined primarily by an era in ballet in which the ideas of Romanticism in art and literature influenced the creation of ballets. The era occurred during the early to mid 19th century primarily at the Théâtre de l'Académie Royale de Musique of the Paris Opera Ballet and Her Majesty's Theatre in London. The era is typically considered to have begun with the 1827 début in Paris of the ballerina Marie Taglioni in the ballet Le Sicilien, and to have reached its zenith with the premiere of the divertissement Pas de Quatre staged by the Ballet Master Jules Perrot in London in 1845. The Romantic ballet had no immediate end, but rather a slow decline. Arthur Saint-Léon's 1870 ballet Coppélia is considered to be the last work of the Romantic Ballet.
The Romantic era marked the rise of the ballerina as a central part of ballet, where previously men had dominated performances.The movement style for Romantic ballerinas was characterized by soft, rounded arms and a forward tilt in the upper body. This gave the woman a flowery, willowy look. Leg movements became more elaborate due to the new tutu length and rising standards of technical proficiency. Important Romantic ballerinas included, in addition to Marie Taglioni, Carlotta Grisi, the first "Giselle", Lucille Grahn, Fanny Cerrito, and Fanny Elssler.
The costume for the Romantic ballerina was the Romantic tutu. This was a full, white, multi-layered skirt made of tulle. The ballerina wore a white bodice with the tutu. In the second acts of Romantic ballets, representing the spiritual realm, the corps de ballet appeared onstage in Romantihe dancers wore pointe shoes to give the effect of floating. However, sometimes they decided to throw in extra sharp, sassy movements to portray the given concept or intent, often using high kicks and fast turns.
Lithograph by Chalon of Carlotta Grisi (left), Marie Taglioni (center), Lucille Grahn (right back), and Fanny Cerrito (right front) in the Perrot/Pugni Pas de Quatre. London, 1845. The premiere of the Pas de Quatre is considered to be the Romantic ballet at its zenith
info from Wikipedia
Tuesday, January 11, 2011
Ballet Barre
One of the first things you do in ballet class is always barre work. Here are some videos to explain barre work and show some barre exercises used in ballet class.
Monday, January 10, 2011
Studio Spotlight- Ballet Etudes
Welcome to our first Studio Spotlight! I'm excited to feature Ballet Etudes today and tell you guys a little bit about whoe they are and what they do. I visited their website to dig up some info, and found their Mission Statement and History:
It is the intent of Ballet Etudes to realistically duplicate the experiences of a professional ballet company for serious young dancers. Under the guidance of its professional staff, Ballet Etudes is dedicated to providing the highest quality in dance education and optimum performing opportunities for its members.
Ballet Etudes was created by Sharon Seder Meko in 1986 to fulfill the artistic needs of serious young dancers who desire performing opportunities of the highest caliber. Company members are selected through open auditions by a panel of adjudicators each August, and if selected, the dancers strive to meet the same high artistic standards of a professional company in their dance training, rehearsals and performances. The Artistic Staff offers young dancers an opportunity for expert training and stage experience under professional guidance.
Ballet Etudes is not only proud of the excellence of its dancers but of its strong financial stability. As a result of the solid management of its Board of Trustees, Ballet Etudes has sole ownership of its sets, properties and costumes. The company also receives generous contributions from local corporations, businesses and private patrons.
The performance schedule of Ballet Etudes includes its popular productions of The Nutcracker, which has been taken on tour to Prescott, Peter Pan and Cinderella. Additionally, the company has performed with The Phoenix Symphony, the Phoenix Boys Choir, The Phoenix Girls Choir, Valley Youth Theatre, the Metropolitan Youth Symphony, and at a Phoenix Suns game, the Arizona Renaissance Festival and an Arizona Opera gala.
They have a ballet company within their school, which offers all kinds of classes in other styles than just ballet. Check out their schedule to see if there is one that might work for you!
They also just held auditions this past weekend for their upcoming presentation of Sleeping Beauty!
It is the intent of Ballet Etudes to realistically duplicate the experiences of a professional ballet company for serious young dancers. Under the guidance of its professional staff, Ballet Etudes is dedicated to providing the highest quality in dance education and optimum performing opportunities for its members.
Ballet Etudes was created by Sharon Seder Meko in 1986 to fulfill the artistic needs of serious young dancers who desire performing opportunities of the highest caliber. Company members are selected through open auditions by a panel of adjudicators each August, and if selected, the dancers strive to meet the same high artistic standards of a professional company in their dance training, rehearsals and performances. The Artistic Staff offers young dancers an opportunity for expert training and stage experience under professional guidance.
Ballet Etudes is not only proud of the excellence of its dancers but of its strong financial stability. As a result of the solid management of its Board of Trustees, Ballet Etudes has sole ownership of its sets, properties and costumes. The company also receives generous contributions from local corporations, businesses and private patrons.
The performance schedule of Ballet Etudes includes its popular productions of The Nutcracker, which has been taken on tour to Prescott, Peter Pan and Cinderella. Additionally, the company has performed with The Phoenix Symphony, the Phoenix Boys Choir, The Phoenix Girls Choir, Valley Youth Theatre, the Metropolitan Youth Symphony, and at a Phoenix Suns game, the Arizona Renaissance Festival and an Arizona Opera gala.
They have a ballet company within their school, which offers all kinds of classes in other styles than just ballet. Check out their schedule to see if there is one that might work for you!
They also just held auditions this past weekend for their upcoming presentation of Sleeping Beauty!
Friday, January 7, 2011
The History of Ballet
Ballet emerged in the late fifteenth-century Renaissance court culture of Italy as a dance interpretation of fencing, and further developed in the French court from the time of Louis XIV in the 17th century.
Louis XIV in Lully's Ballet de la nuit (1653).
This is reflected in the largely French vocabulary of ballet. It was reintroduced to western Europe on the eve of the First World War by a Russian company: the Ballets Russes of Sergei Diaghilev, who came to be influential around the world. Diaghilev's company came to be a destination for many of the Russian trained dancers fleeing the famine and unrest that followed the Bolshevik revolution. These dancers brought many of the choreographic and stylistic innovations that had been flourishing under the czars back to their place of origin.
In the 20th century ballet has continued to develop and has had a strong influence on broader concert dance. For example, in the United States, choreographer George Balanchine developed what is now known as neoclassical ballet. Subsequent developments now include contemporary ballet and post-structural ballet, seen in the work of William Forsythe in Germany.
Ballet is a formalized form of dance with its origins in the Italian Renaissance courts of the 15th and 16th centuries. It quickly spread to the French court of Catherine de' Medici where it was developed even further. In the 17th century at the time of Louis XIV, ballet was codified. The predominance of French in the vocabulary of ballet reflects this history. It also became a form closely associated with the opera. Despite the great reforms of Jean-Georges Noverre (was a French dancer and balletmaster) in the eighteenth century, ballet went into decline in France after 1830, though it was continued in Denmark, Italy, and Russia. The Royal Danish Ballet and the Imperial Ballet of the Russian Empire were founded in the 1740s and began to flourish, especially after about 1850. In 1907 the Russian ballet in turn moved back to France, where the Ballets Russes of Sergei Diaghilev and its successors were particularly influential. Soon ballet spread around the world with the formation of new companies, including London's The Royal Ballet (1931), the San Francisco Ballet (1933), American Ballet Theatre (1937), The Australian Ballet (1940), the New York City Ballet (1948), the National Ballet of Canada (1951), and the Delhi Ballet (2002).[1]
In the 20th century styles of ballet continued to develop and strongly influence broader concert dance, for example, in the United States choreographer George Balanchine developed what is now known as neoclassical ballet, subsequent developments have included contemporary ballet and post-structural ballet, for example seen in the work of William Forsythe in Germany.
The etymology of the word "ballet" reflects its history. The word ballet comes from French and was borrowed into English around the 17th century. The French word in turn has its origins in Italian balletto, a diminutive of ballo (dance). Ballet ultimately traces back to Latin ballare, meaning "to dance".
Louis XIV in Lully's Ballet de la nuit (1653).
This is reflected in the largely French vocabulary of ballet. It was reintroduced to western Europe on the eve of the First World War by a Russian company: the Ballets Russes of Sergei Diaghilev, who came to be influential around the world. Diaghilev's company came to be a destination for many of the Russian trained dancers fleeing the famine and unrest that followed the Bolshevik revolution. These dancers brought many of the choreographic and stylistic innovations that had been flourishing under the czars back to their place of origin.
In the 20th century ballet has continued to develop and has had a strong influence on broader concert dance. For example, in the United States, choreographer George Balanchine developed what is now known as neoclassical ballet. Subsequent developments now include contemporary ballet and post-structural ballet, seen in the work of William Forsythe in Germany.
Ballet is a formalized form of dance with its origins in the Italian Renaissance courts of the 15th and 16th centuries. It quickly spread to the French court of Catherine de' Medici where it was developed even further. In the 17th century at the time of Louis XIV, ballet was codified. The predominance of French in the vocabulary of ballet reflects this history. It also became a form closely associated with the opera. Despite the great reforms of Jean-Georges Noverre (was a French dancer and balletmaster) in the eighteenth century, ballet went into decline in France after 1830, though it was continued in Denmark, Italy, and Russia. The Royal Danish Ballet and the Imperial Ballet of the Russian Empire were founded in the 1740s and began to flourish, especially after about 1850. In 1907 the Russian ballet in turn moved back to France, where the Ballets Russes of Sergei Diaghilev and its successors were particularly influential. Soon ballet spread around the world with the formation of new companies, including London's The Royal Ballet (1931), the San Francisco Ballet (1933), American Ballet Theatre (1937), The Australian Ballet (1940), the New York City Ballet (1948), the National Ballet of Canada (1951), and the Delhi Ballet (2002).[1]
In the 20th century styles of ballet continued to develop and strongly influence broader concert dance, for example, in the United States choreographer George Balanchine developed what is now known as neoclassical ballet, subsequent developments have included contemporary ballet and post-structural ballet, for example seen in the work of William Forsythe in Germany.
The etymology of the word "ballet" reflects its history. The word ballet comes from French and was borrowed into English around the 17th century. The French word in turn has its origins in Italian balletto, a diminutive of ballo (dance). Ballet ultimately traces back to Latin ballare, meaning "to dance".
Thursday, January 6, 2011
Basic Ballet Positions
Are you ready to learn some beginning ballet? Here is a great and very informative video from The Ensworth School of Ballet & The Academy of Ballet Arts You Tube channel to show the foot positions & arm positions
Warming up before any dance class is also important and here is a good video for a few warm up excercizes and stretches to prepare for class.
Warming up before any dance class is also important and here is a good video for a few warm up excercizes and stretches to prepare for class.
Thursday, December 30, 2010
What to Wear to Ballet Class
Those of you that are trying out a ballet class for the first time might be a little fuzzy about what you are supposed to bring and wear. Probably the most important part of a ballet dancer's equipment is ballet shoes. After several years of proper training, some female ballet dancers wear pointe shoes to make them appear lighter and more delicate. Ballet dancers wear tights and leotards to class and rehearsals, as tight, form-fitting clothing is best for dancing. Tutus, or ballet skirts, are usually reserved for performances and recitals.
With so many ballet shoes to choose from, how do you know which ones are right for you? If you are new to ballet, or if you are buying your child's first pair, the following tips will help you find the perfect pair.
1. Make Sure They Fit
Ballet shoes are designed to enhance the dancer's technique as well as protect the feet and ankles. Many people say that a ballet shoe should fit the foot "like a glove." Although the shoe should fit quite snugly, be careful not to buy them too small. There should be sufficient room in the shoe for moving the toes. When trying on ballet shoes, raise up and balance on the balls of your feet. Your toes should not be crammed into the front of the shoe, but should be relaxed, with plenty of space to move around. If you are struggling between two close sizes, it's probably best to go with a slightly bigger size, rather than buying shoes that are a bit too snug.
2. Consider the Material
Ballet shoes are available in leather and canvas. The material you choose is a matter of personal preference. Leather ballet shoes are more expensive, but are more durable and will probably last longer than the canvas variety. Some people believe that leather ballet shoes accentuate a pointed foot and simply appear more elegant than canvas shoes. However, some dancers prefer the feel of canvas ballet shoes. Canvas shoes are easiest to clean, as they can be thrown right into the washing machine.
Another way to influence your decision is to consider the type of dance floor in which the shoes will be worn. Leather shoes work well with wooden floors, but canvas shoes are better suited to floors made of vinyl.
3. Look at the Sole
Ballet shoes are designed with full-soles or split-soles. Full-sole ballet shoes closely mimic pointe shoes, which is important to dancers that are technically ready to dance on their toes (although dancing on the toes is not recommended without true pointe shoes, and only then if a dancer has gained enough strength and technique.) Half-sole ballet shoes are preferred by some dancers because they allow the foot to create a stronger point, as the sole is split between the heel and the toe. Sole preference is acquired through experience, and rarely makes much of a difference in dancing ability.
4. Check for Elastics
When picking out ballet shoes, keep in mind that some shoes are sold without elastics. Elastics are placed on ballet shoes to secure them to the feet. The elastics are purposely left off the shoe so the dancer can sew them on in exactly the right place, depending on the location of the arch of the foot. If you buy a pair without elastics, you'll have to sew them on yourself. It's not difficult to sew on the elastics, but some dancers, and especially parents of young dancers, prefer to buy them pre-sewn. If you find a pair of ballet shoes with pre-sewn elastics that happen to fit your foot well, consider yourself lucky to avoid threading a needle.
Tips:
Never buy ballet shoes that are too big. It may be tempting, but ballet shoes were designed to fit snugly on the feet.
Ask around for second-hand shoes, and check consignment shops. Some parents are happy to recycle outgrown shoes.
Never use your ballet shoes as street shoes. Slip on a pair of sneakers or flip-flops instead, in order to prolong the life of your ballet shoes.
A simple leotard and a pair of tights is the best thing to wear to class. Leotards are available in several colors and designs, including sleeveless, short sleeved and long sleeved. Young dancers delight in wearing small skirts and tutus over their leotards, but most teachers discourage them in older classes. Many ballet teachers enforce strict dress codes, even for their youngest dancers. Some teachers assign particular colors for leotards, others prefer a certain style. Ask before you start shopping.
Men and boys:
A simple dance outfit is tight sweat pants or shorts paired with a tank top or t-shirt tucked in at the waist. Some prefer traditional leotards and tights, but with the tights worn on the outside. All male dancers traditionally wear dance belts.
Info provided by Treva Bedinghaus
My favorite place to buy dancewear and shoes for years has been Discount Dance Supply Online. They carry all the best ballet slippers and have an extensive collection of dancewear at really affordable prices. Check them out before you go to specialty dancewear stores and compare.
Monday, December 27, 2010
Movie Review: Black Swan
Today was my birthday, and to celebrate I went to see Black Swan
Overall, I loved the movie- the cinematography was amazing (the director, Darren Aronofsky, always produces really stunning work) but was really astounded me was Natalie Portman's performance in the film. With only months of training she transformed into a beautiful and very believable dancer. I especially loved how she portrayed the timid naive ballerina in the beginning which reminded me so much of the ballet dancers I knew in my childhood. The transformation she goes through to achieve "perfecting imperfection" of the Black Swan role is incredibly moving, as is the character of Beth that Winona Ryder portrays of a principal ballerina nearing her thirties and being forced to retire.
The movie does a superb job of showing the darker side of the ballet world which people are so intrigued by. The glitz, glamour, and beauty is so spellbinding, people rarely stop to consider the price some dancers pay to get to the top. The choreography is flawless, done by Benjamin Millepied. It is sure to bring a new found interest in Swan Lake and in ballet in general
Overall, I loved the movie- the cinematography was amazing (the director, Darren Aronofsky, always produces really stunning work) but was really astounded me was Natalie Portman's performance in the film. With only months of training she transformed into a beautiful and very believable dancer. I especially loved how she portrayed the timid naive ballerina in the beginning which reminded me so much of the ballet dancers I knew in my childhood. The transformation she goes through to achieve "perfecting imperfection" of the Black Swan role is incredibly moving, as is the character of Beth that Winona Ryder portrays of a principal ballerina nearing her thirties and being forced to retire.
The movie does a superb job of showing the darker side of the ballet world which people are so intrigued by. The glitz, glamour, and beauty is so spellbinding, people rarely stop to consider the price some dancers pay to get to the top. The choreography is flawless, done by Benjamin Millepied. It is sure to bring a new found interest in Swan Lake and in ballet in general
Wednesday, December 22, 2010
Dance of the Sugar Plum Fairy
Here are two of my very favorite parts of the Nutracker, The Dance of the Sugar Plum Fairy performed by the Marinksy Ballet (now the Kirov Ballet) in 1993
And the Sugar Plum Pas De Deux
For those new to Ballet, a Pas De Deux is is a duet in which ballet dancers perform the dance together; while a Variation is a solo dance, sometimes called a Pas Seul
And the Sugar Plum Pas De Deux
For those new to Ballet, a Pas De Deux is is a duet in which ballet dancers perform the dance together; while a Variation is a solo dance, sometimes called a Pas Seul
Tuesday, December 21, 2010
The Story & Characters of the Nutcracker
Although the Nutcracker is a Holiday Tradition in my family, many people have not had the opportunity to see the Nutcracker Ballet or dance in it. For anyone who is not familiar with the story, here is a short crash course of the Nutcracker:
The characters:
Act I
President
His wife
Invitees
Children, including
Clara and Fritz [children of the President]
Parents dressed as "incroyables"
Councilor Drosselmeyer
Dolls [spring-activated]:
Harlequin and Columbine, appearing out of a cabbage [1st gift]
Soldier, appearing out of a pie or tart [2nd gift]
Nutcracker [3rd gift, at first a normal-sized toy, then full-sized and "speaking", then a Prince]
Owl [on clock, changing into Drosselmeyer]
Mice
Sentinel [speaking rôle]
Hare-Drummers
Soldiers [of the Nutcracker]
Mouse King
Snowflakes
Angels
ACT II
Angels
Sugar Plum Fairy
Clara
Prince
12 Pages
Eminent members of the court
Spanish Hot Chocolate Performers
Arabian Coffee Performers
Chinese Tea Performers
Russian Candy Cane Performers
Danish Marzipan Shepherdess Performers
Mother Gigogne
Buffoons (= Fr. polichinelles)
Dewdrop
Flowers
Sugar Plum Fairy
Her Cavalier
The story:
Act I
Scene 1: The Silberhaus Home
It is Christmas Eve at the house of Herr and Frau Silberhaus and their children. Family and friends have gathered in the parlor to decorate the beautiful Christmas tree in preparation for the night's festivities. Once the tree is finished, the younger children are sent for; among them are Clara, the Silberhaus' daughter, and her brother Fritz. The children stand in awe of the tree, sparkling with candles and decorations.
The festivities begin. A march is played on the piano. Presents are given out to the children. Suddenly, as the owl-topped clock strikes eight, a mysterious figure enters the room. It is Herr Drosselmeyer, a local councilman and Clara and Fritz's godfather. He is also a talented toymaker who has brought with him gifts for the children, including four lifelike dolls—a Harlequin and Columbine, and a Vivandière and Soldier—who dance to the delight of all. Herr Silberhaus has the precious dolls put away for safekeeping.
Clara and Fritz are sad to see the dolls taken away, but Herr Drosselmeyer has yet another toy for them: a wooden nutcracker carved in the shape of a little man, used for cracking hazelnuts. The children are delighted. Clara immediately takes a liking to it. Fritz, however, tries to use the nutcracker to crack a walnut (too large and hard for its wooden jaw) and inadvertently breaks it. Clara is heartbroken.
Clara takes the wounded toy to her doll's bed, lulling it to sleep. The boys interrupt with their toy trumpets and horns. Herr and Frau Silberhaus announce it is time to finish off the evening with a traditional Grandfather dance. After the dance, the guests depart, and the children are sent off to bed.
During the night, after everyone else has gone to bed, Clara returns to the parlor to check on her beloved nutcracker. As she reaches the little bed, the clock strikes midnight and she looks up to see her Godfather Drosselmeyer perched atop the clock in place of the owl. Suddenly, mice begin to fill the room and the Christmas tree begins to grow to dizzying heights. The Nutcracker also grows to life-size. Clara finds herself in the midst of a battle between an army of gingerbread soldiers and the mice, led by the Mouse King. The mice begin to eat the gingerbread soldiers.
The Nutcracker appears to lead the gingerbread soldiers, who are joined by tin soldiers and dolls (who serve as doctors to carry away the wounded). As the Mouse King advances on the still-wounded Nutcracker, Clara throws her slipper at him, distracting him long enough for the Nutcracker to stab him.
Scene 2: A Pine Forest
The mice retreat and the Nutcracker is transformed into a handsome Prince. He leads Clara through the moonlit night to a pine forest in which the snowflakes dance around them.
Act II
Scene 1: The Land of Sweets (Confiturembourg)
Clara and the Prince travel in a nutshell boat pulled by dolphins to the beautiful Land of Sweets in Confiturembourg, ruled by the Sugar Plum Fairy in the Prince's place until his return. The Prince recounts for the Sugar Plum Fairy how he had been saved by Clara from the Mouse King and had been transformed back into a Prince.
In honor of the young heroine, a celebration of sweets from around the world is produced: Chocolate from Spain, Coffee from Arabia, and Tea from China all dance for their amusement; Candy Canes from Russia perform an intricate hoop dance; Danish Marzipan Shepherdesses perform on their flutes; Mother Gigogne has her Polichinelle children emerge from under her enormous skirt to dance; a string of beautiful flowers perform a waltz. To conclude the night, the Sugar Plum Fairy and her Cavalier perform a Pas de Deux.
A final waltz is performed by all the sweets after which Clara and the Prince are crowned rulers of Confiturembourg forever and are shown the riches of their kingdom domed with an enormous beehive.[1]
Obviously there are many adaptations of the story and characters which vary from production to production.
All info & pictures from Wikipedia
The characters:
Act I
President
His wife
Invitees
Children, including
Clara and Fritz [children of the President]
Parents dressed as "incroyables"
Councilor Drosselmeyer
Dolls [spring-activated]:
Harlequin and Columbine, appearing out of a cabbage [1st gift]
Soldier, appearing out of a pie or tart [2nd gift]
Nutcracker [3rd gift, at first a normal-sized toy, then full-sized and "speaking", then a Prince]
Owl [on clock, changing into Drosselmeyer]
Mice
Sentinel [speaking rôle]
Hare-Drummers
Soldiers [of the Nutcracker]
Mouse King
Snowflakes
Angels
ACT II
Angels
Sugar Plum Fairy
Clara
Prince
12 Pages
Eminent members of the court
Spanish Hot Chocolate Performers
Arabian Coffee Performers
Chinese Tea Performers
Russian Candy Cane Performers
Danish Marzipan Shepherdess Performers
Mother Gigogne
Buffoons (= Fr. polichinelles)
Dewdrop
Flowers
Sugar Plum Fairy
Her Cavalier
The story:
Act I
Scene 1: The Silberhaus Home
It is Christmas Eve at the house of Herr and Frau Silberhaus and their children. Family and friends have gathered in the parlor to decorate the beautiful Christmas tree in preparation for the night's festivities. Once the tree is finished, the younger children are sent for; among them are Clara, the Silberhaus' daughter, and her brother Fritz. The children stand in awe of the tree, sparkling with candles and decorations.
The festivities begin. A march is played on the piano. Presents are given out to the children. Suddenly, as the owl-topped clock strikes eight, a mysterious figure enters the room. It is Herr Drosselmeyer, a local councilman and Clara and Fritz's godfather. He is also a talented toymaker who has brought with him gifts for the children, including four lifelike dolls—a Harlequin and Columbine, and a Vivandière and Soldier—who dance to the delight of all. Herr Silberhaus has the precious dolls put away for safekeeping.
Clara and Fritz are sad to see the dolls taken away, but Herr Drosselmeyer has yet another toy for them: a wooden nutcracker carved in the shape of a little man, used for cracking hazelnuts. The children are delighted. Clara immediately takes a liking to it. Fritz, however, tries to use the nutcracker to crack a walnut (too large and hard for its wooden jaw) and inadvertently breaks it. Clara is heartbroken.
Clara takes the wounded toy to her doll's bed, lulling it to sleep. The boys interrupt with their toy trumpets and horns. Herr and Frau Silberhaus announce it is time to finish off the evening with a traditional Grandfather dance. After the dance, the guests depart, and the children are sent off to bed.
During the night, after everyone else has gone to bed, Clara returns to the parlor to check on her beloved nutcracker. As she reaches the little bed, the clock strikes midnight and she looks up to see her Godfather Drosselmeyer perched atop the clock in place of the owl. Suddenly, mice begin to fill the room and the Christmas tree begins to grow to dizzying heights. The Nutcracker also grows to life-size. Clara finds herself in the midst of a battle between an army of gingerbread soldiers and the mice, led by the Mouse King. The mice begin to eat the gingerbread soldiers.
The Nutcracker appears to lead the gingerbread soldiers, who are joined by tin soldiers and dolls (who serve as doctors to carry away the wounded). As the Mouse King advances on the still-wounded Nutcracker, Clara throws her slipper at him, distracting him long enough for the Nutcracker to stab him.
Scene 2: A Pine Forest
The mice retreat and the Nutcracker is transformed into a handsome Prince. He leads Clara through the moonlit night to a pine forest in which the snowflakes dance around them.
Act II
Scene 1: The Land of Sweets (Confiturembourg)
Clara and the Prince travel in a nutshell boat pulled by dolphins to the beautiful Land of Sweets in Confiturembourg, ruled by the Sugar Plum Fairy in the Prince's place until his return. The Prince recounts for the Sugar Plum Fairy how he had been saved by Clara from the Mouse King and had been transformed back into a Prince.
In honor of the young heroine, a celebration of sweets from around the world is produced: Chocolate from Spain, Coffee from Arabia, and Tea from China all dance for their amusement; Candy Canes from Russia perform an intricate hoop dance; Danish Marzipan Shepherdesses perform on their flutes; Mother Gigogne has her Polichinelle children emerge from under her enormous skirt to dance; a string of beautiful flowers perform a waltz. To conclude the night, the Sugar Plum Fairy and her Cavalier perform a Pas de Deux.
A final waltz is performed by all the sweets after which Clara and the Prince are crowned rulers of Confiturembourg forever and are shown the riches of their kingdom domed with an enormous beehive.[1]
Obviously there are many adaptations of the story and characters which vary from production to production.
All info & pictures from Wikipedia
Monday, December 20, 2010
The History of the Nutracker
One of the most beloved holiday traditions is The Nutcracker Ballet. Here in Arizona there are many companies that perform this treasured ballet, but how did it begin? Dance Channel TV gives us a history of The Nutcracker.
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