Eight female classical ballet variations PDF
Preview Eight female classical ballet variations
Eight Female Classical Ballet Variations Eight Female Classical Ballet Variations Nina Danilova 1 1 Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide. Oxford is a registered trade mark of Oxford University Press in the UK and certain other countries. Published in the United States of America by Oxford University Press 198 Madison Avenue, New York, NY 10016, United States of America. © Oxford University Press 2016 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, by license, or under terms agreed with the appropriate reproduction rights organization. Inquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above. You must not circulate this work in any other form and you must impose this same condition on any acquirer. Library of Congress Cataloging-in-Publication Data Danilova, Nina. Eight female classical ballet variations / Nina Danilova. pages cm Includes bibliographical references and index. ISBN 978-0-19-022709-8 (hardcover : alk. paper) ISBN 978-0-19-022710-4 (pbk. : alk. paper) I. Title. GV1788.D36 2015 792.8–dc23 2015000069 1 3 5 7 9 8 6 4 2 Printed by Sheridan, USA Dedication Photo by Dave Friedman. Contents Foreword ix PreFace xi acknowledgments xv introduction xvii comPonents oF the variations course xix model oF teaching the variations course xxiii how to read the variations Book xxv deFinition oF a Ballet variation xxix aBout the comPanion weBsite xxxi Part One (SemeSter One) 1 variation 1: from the ballet Le Talisman (choreography after marius Petipa; music by riccardo drigo) 3 variation 2: from the ballet Giselle (choreography after marius Petipa; music by adolphe adam) 27 variation 3: from the ballet Paquita (choreography after marius Petipa; music by riccardo drigo) 49 variation 4: from the ballet Paquita (choreography after marius Petipa; music by riccardo drigo) 79 Part twO (SemeSter twO) 97 variation 5: from the ballet Paquita (choreography after marius Petipa; music by nicolay tcherepnin) 99 variation 6: from the ballet Raymonda (choreography after marius Petipa; music by alexander glazunov) 121 variation 7: from the ballet Le Corsaire (choreography after marius Petipa; music by leon minkus) 151 variation 8(a): from the ballet The Sleeping Beauty (choreography after marius Petipa; music by Pyotr tchaikovsky) 175 variation 8(b): from the ballet The Sleeping Beauty (choreography after marius Petipa; music by Pyotr tchaikovsky) 195 viii Contents classical Ballet terminology 213 BiograPhies 241 BiBliograPhy 249 index 251 Foreword This book is for teachers and students of ballet who want a clear and accurate description of Variations from the classical ballet repertory. Nina Danilova has compiled a comprehensive reference source that explains not only steps but also nuances, musicality, and history. The com- plete pictorial survey, written notes, and musical scores offer insight into setting and performing these Variations. Unfortunately, the primary stylistic characterizations of the great clas- sical Variations have been watered down through incomplete information. Danilova’s own rich background has enabled her to define the work con- cisely and practically, further enriching the learning experience. The danc- ers on Danilova’s DVDs perform the Variations after working for many hours with her, and this serves to clarify the emotional expressiveness, and musical nuances related to the choreographers’ interpretation of the music. I have found her book to be a definitive must in my ballet library. I fully appreciate the generosity with which she shares her invaluable information, and I hope that dancers and teachers will use it to gain an illuminating over- view of the complex process involved in learning and performing these won- drous Variations. Brantly Bright Shapiro Wake Forest University Dance Faculty ix
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