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BUSONI

D O N A L D D. W O L F

E d i t e d u n d e r t h e s u p e r v i s i o n of D r . P a u l E. B l a c k w o o d W a s h i n g t o n , D. C .

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T e x t a n d i l l u s t r a t i o n s a p p r o v e d by O a k e s A. W h i t e Brooklyn Children's Museum Brooklyn, New York

WONDER

BOOKS

•

NEW

YORK

Introduction The world had known many forms of the dance when ballet w a s introduced. But this was a new kind of dance that told a story in movement and pantomime, and over the years, it has b e c o m e a very highly developed and exciting art form. T h e more you k n o w about ballet, the more you can enjoy it. It helps to know how finished ballet productions depend on the cooperative efforts of many people — producers, musicians, choreographers, ballet masters, scene designers — in addition to the dancers. It helps to know that ballet is based on a few basic steps and movements with many possible variations. A n d it helps to know that great individual effort is required to become a successful dancer. Y e t one sees that in ballet, too, success has its deep and personal satisfactions. In ballet, the teacher is very important. N e w ideas and improvements have been introduced by many great ballet teachers. A n d as you will read here, "A great teacher is like a candle from which many other candles can be lit — so many, in fact, that the whole world can be made brighter." The How and Why Wonder Book of Ballet is itself a teacher, and it will make the world brighter because it throws light on an exciting art form which, year by year, is becoming a more intimate and accepted part of the American scene. Paul E.

Dr. Blackwood is a professional employee in the U. S. Office of Education. This book was edited by him in his private capacity and no official support or endorsement by the Office of Education is intended or should be inferred.

© 1961, by Wonder Books, Inc. All rights reserved under International and Pan-American Copyright Conventions. Published simultaneously in Canada. Printed in the United States of America.

Blackwood

C o n t e n t s Page

Page WHAT IS BALLET? BEGINNINGS OF BALLET How does ballet differ from other dancing? What was early ballet like? Where did ballet come from? Where was the first ballet school started? How did ballet change? What was the most important change in ballet?

4

7 7 7 8 9

EARLY BALLERINAS Who was the first leading ballerina? What contributions did Marie Camargo make to ballet? Who was Marie Taglioni? How did Marie Taglioni change ballet dancing? Which ballerinas were commanded to dance for a queen? Did male dancers perform during this period?

10 10

BALLET IN RUSSIA What contributions to ballet were made by Italian dancers? What costume was designed for the classic ballet?

13

RUSSIAN BALLET DANCERS Which ballerina got a special title from the Czar of Russia? How did Pavlova become a dancer? What was Pavlova's most famous dance? Who was the most famous male dancer of all time? How did Nijinsky manage his leaps? Who was Serge Diaghilev? How were ballets created during Diaghilev's time?

14

THE BALLET RUSSE Who were the main artists of Diaghilev's Ballet Russe? What contributions did Michel Fokine make to the ballet? Who taught the dancers of the Ballet Russe? What other ballets were presented by the Ballet Russe?

19

BALLET TODAY What is classic ballet? What are some classic ballets? What are romantic ballets? Which is the most popular of the romantic ballets? What is modern ballet?

10 10 12 12 13

13 14

15 15 17 17 17 17 18

19 70 20

How are modern ballet dancers trained to dance? What are some modern ballets? What is character dancing? PANTOMIME - A L A N G U A G E OF THE DANCE What is pantomime? PEOPLE WHO MAKE BALLET Who supports the ballet companies? Who supports ballet in the United States? What is the job of the company manager? What job does the artistic director do? What is the role of the choreographer? What is a ballet master? How does a composer serve in the ballet? What is the job of a wardrobe mistress in a ballet company? What part does a scene designer play in ballet? In what way does a costume designer aid ballet dancers? What does the stage manager do? Who are some other important backstage help? PRESENT-DAY BALLERINAS AND DANSEURS Margot Fonteyn Michael Somes Maria Tallchief Andre Eglevsky Alicia Alonso Igor Youskevitch John Kriza

26 27 30 31 31 33 33 33 34 34 34 35 35 35 36 36 37 37 38 38 38 38 38 39 40 40

WHAT IT TAKES TO BE A BALLET DANCER How old should one be to take ballet lessons? How does ballet training for boys and girls differ? What is the role of the danseur?

42 42

BALLET DRESS What is the costume for the class? How are ballet slippers made? What kind of stage costumes are used?

43 43 43 43

BALLET TALK

44

40 42

21 22 22 23 25 25 26

LABANOTATION - DANCE IN WRITING How can dance movements be written down? HOW YOU CAN ENJOY BALLET

46 46 48

The Firebird, a ballet by the choreographer Michel Fokine, was first done in Paris in 1910. The composer Igor Stravinsky wrote the music for this famous ballet.

..*

Maria Tallchief, as the magical Firebird, leaps with graceful elegance. Her power and control make her seem almost weightless in the air.

W h a t

Is

Ballet?

D a n c i n g is n o t o n l y o n e of t h e o l d e s t

stage d a n c e that tells a story in move-

arts, b u t it is a l s o o n e of o u r b a s i c in-

m e n t a n d p a n t o m i m e a n d is p e r f o r m e d

stincts, a n d a w a y t o e x p r e s s o u r feel-

by a group of persons."

ings. E v e n the smallest children d a n c e

A n y o n e w h o has seen ballet k n o w s

— for joy, or with anger, or with pain

t h a t t h i s a v e r y p l a i n d e f i n i t i o n of t h e

—

magnificent spectacle that ballet can be.

a n d so d o grownups, for the s a m e

T o d a y , almost everyone has seen ballet

reasons. B u t t h a t k i n d of d a n c i n g i s not

bal-

let! T h e d i c t i o n a r y s a y s t h a t b a l l e t is "a

either

on

television,

on

the

movie

s c r e e n , o r — l u c k i e s t o f all — o n t h e

Suit.

i l l

* 4 *

if

^#&

I

stage, performed b y living, dancers,

so

wonderfully

breathing

skilled

that

small children h a v e been heard to ask their m o t h e r s , " A r e t h o s e p e o p l e r e a l l y real?" T h e p e o p l e a r e real, i n d e e d . m o v e with lightness and

They

unbelievable

g r a c e a n d s p e e d b e c a u s e o f their m a n y years of special training in a

dance

f o r m w h i c h h a s a t e c h n i q u e all its o w n . B u t t h a t i s n o t all t h a t m a k e s b a l l e t s o The Firebird and the hunter-prince who captures her do a Pas de Deux.

Shown are the five positions of the feet and arms on which all ballet movements are based. Every movement in ballet starts and ends in one of these basic positions. "Closed" positions: feet touch. "Open" positions: feet are parted.

w o n d e r f u l t o see. T h e o t h e r p a r t s t h a t

More

than

that,

ballet

speaks

to

m a k e u p the breath-taking w h o l e are

e v e r y o n e w h o s e e s it i n t h e l a n g u a g e o f

t h e finest m u s i c i n t h e w o r l d , s p l e n d i d

movement, gesture and facial

s t a g e s c e n e r y t h a t stirs t h e i m a g i n a t i o n ,

s i o n , w h i c h all t h e w o r l d c a n u n d e r -

glittering costumes that excite our emo-

s t a n d — w i t h o u t w o r d s . T h e r e f o r e , bal-

t i o n s , t h e d r a m a o f t h e story, o r t h e

l e t i s a u n i v e r s a l l a n g u a g e w h i c h girls

h u m o r o f i t — f o r t h e r e a r e all k i n d s of

a n d b o y s in the U n i t e d States, in France,

ballets —

G e r m a n y , Spain, P o l a n d , Italy, Russia,

or the sheer b e a u t y of the

Denmark,

m o v e m e n t s of the dance.

Sweden,

Japan,

expres-

Thailand,

A l l t h e c r e a t i v e arts a r e r e p r e s e n t e d

I n d i a , A f r i c a — i n f a c t , e v e r y w h e r e in

in ballet. It portrays n o t o n l y the high-

t h e w o r l d — c a n e n j o y . E v e n if all t h e

e s t d e v e l o p m e n t o f skill, b u t i t i s a l s o a

children could b e seated into some huge

m e a n s of personal self-expression

for

theater, e a c h one, n o matter w h a t his

those before the foot-

native language, w o u l d understand the

m a n y artists —

lights as well as those behind the scenes.

Beginnings

A l t h o u g h t h e w o r d "ballet" c o m e s

story told b y the dancers.

of

Ballet

k i n d o f d a n c i n g w i t h a t e c h n i q u e all its

which means

o w n . B y " t e c h n i q u e " w e refer t o t h e

"to d a n c e , " n o t all f o r m s o f d a n c i n g a r e

things that a person needs to k n o w and

b a l l e t . T h i s is b e c a u s e b a l l e t is a s p e c i a l

p r a c t i c e i n o r d e r t o b e c o m e skillful i n

f r o m t h e I t a l i a n ballare,

a n a c t i v i t y . I t t a k e s m a n y y e a r s o f spe-

boots or shoes. O f

c i a l a n d difficult t r a i n i n g t o p e r f e c t bal-

d o w n l i k e this, t h e g e n t l e m e n h a d t o

let technique.

d a n c e slowly and sedately, in rows and in

A l l the principles of ballet m o v e m e n t are b a s e d How does ballet differ from other dancing?

plie,

on

interesting

course,

patterns.

weighted

Incidentally,

they did not dance o n a stage, but often

the

m i n g l e d w i t h their a u d i e n c e if n o s p a c e

or knee-bend,

w a s s e t a s i d e f o r t h e m i n w h i c h t o per-

t h e five f o r m a l p o -

form.

sitions of the feet,

T h e first r e c o r d o f s u c h a n e n t e r t a i n -

and o n the "turnout" of the legs from

m e n t d a t e s b a c k t o 1 4 8 9 , a little b e f o r e

the hip.

C o l u m b u s discovered America. It w a s

The

knee-bend

enables

the

d a n c e r t o s p r i n g h i g h i n t o t h e air a n d to land like thistle-down. T h e

in h o n o r of an Italian D u k e .

all-im-

portant "turnout" allows h i m to m o v e

Ballet w a s brought to France from Italy

gracefully from side to side o n the stage, while facing front. It also m a k e s pos-

Where did

sible t h e b e a u t i f u l h i g h e x t e n s i o n s o f

*come from?

t h e l e g s , a s i n t h e arabesque.

T h i s is the

foundation o n w h i c h ballet is built.

about the time Catherd e M 6 d i c i s married

i n e

King

Henry II of «* F r a n c e . S h e w a s a n ex-

pert dancer herself a n d adored ballet. A t her wish, performers were brought

B u t this w a s n o t the ballet of several hundred years ago.

What was early ballet like?

T h e n it w a s a f o r m of court entertain-

ment,

really

a

magnificent

pageant.

T h e r e w e r e n o b a l l e r i n a s , a n d all t h e parts

were

danced

by

men

wearing

masks, heavy, colorful costumes

and

from her native Italy to entertain the y o u n g q u e e n a n d t h e c o u r t . T h e entert a i n m e n t w a s a h u g e s u c c e s s . S o o n , it set a n e w fashion, a n d before l o n g the dance w a s imitated in every European c o u r t . B u t if y o u w e r e t o s e e t h i s e a r l y d a n c i n g , y o u w o u l d n e v e r r e c o g n i z e it as the ballet y o u k n o w today! In fact,

The seventeenth century court ballets were performed in a large hall, where the king and queen, seated at the head of the room, were surrounded by their household. Nobles and other members of the court sat in long galleries along the sides of the hall.

Female dancers were not permitted to perform at the time. Male dancers, dressed in the costumes of the period and wearing masks, took the assigned female roles. Male dancers of the eighteenth century, dressed as girls, performed at the court. s o m e of the extravagant performances

parts in the entertainments,

l a s t e d a s l o n g a s six h o u r s !

the role of the Sun King. H i s greatest

including

contribution to ballet, however, w a s the L o n g after C a t h e r i n e ' s t i m e , i n Where was the first ballet school started?

1645,

establishment of the R o y a l A c a d e m y of

history records that

Dancing and M u s i c in 1661. This was

Louis X I V

danced

t h e first s c h o o l i n t h e w o r l d f o r t h e in-

royal

struction of ballet dancing, and even

before

the

French

court.

w a s then seven years old! H e

He

m o r e w o n d e r f u l , it h a s c o n t i n u e d d o w n

always

to the present d a y at the Paris Opera.

loved ballet and himself danced m a n y 8

It w a s in this a c a d e m y that the

five

w e r e n e v e r i n v i t e d t o t h e p a l a c e spectacles, w e r e able t o see ballet. Although Louis X I V allowed w o m e n to study at the R o y a l What was the most important change in ballet?

Academy,

they

were

per-

not

mitted to perform. A l l t h e d a n c e r s w e r e still m a s k e d , a n d Pm i r i %

positions

of

the

classic

dance

y

were

established in 1671 b y the king's o w n dancing master, Pierre B e a u c h a m p . It is t h e s e b a s i c p o s i t i o n s , refined a n d perfected, that are taught today! N o w ballet b e g a n to improve rapidly. W i t h a training school for How did ballet change?

dancers, professionals

be-

gan to replace the nobles of the court, a n d dancing

b e c a m e m o r e lively. A n o t h e r

change

Ballet changed when women were permitted to study at the Royal Academy, and in 1681, to perform.

came when dancers were m o v e d from t h e b a l l r o o m floor t o a s t a g e . R a i s e d u p

b o y s d r e s s e d a s girls t o o k t h e f e m a l e

i n this w a y , t h e a u d i e n c e h a d a n en-

roles. B u t o n M a y 1 6 , 1 6 8 1 t h e m o s t

tirely n e w v i e w o f t h e m a n d t h e m o v e -

significant

m e n t s of t h e d a n c e r s ' f e e t b e c a m e m u c h

F o u r y o u n g ladies danced in a ballet

more important.

created b y the great composer,

N o w , along with the palace performances,

ballet

was

also performed

in

t h e a t e r s . F o r t h e first t i m e , p e o p l e w h o

c h a n g e of

all t o o k

place. Jean-

B a p t i s t e L u l l y . T h e s e f o u r w e r e h i s entire c l a s s , a n d w i t h t h e m ,

ballerinas

t o o k t h e i r rightful p l a c e i n b a l l e t .

Early

Ballerinas

T h e girls w h o s t u d i e d at t h e A c a d e m y

C a m a r g o , w h o first d a n c e d p u b l i c l y i n

wore bulky

clothing,

1 7 2 1 . S h e r e v o l u t i o n i z e d b a l l e t b y dar-

tight-boned

bodices,

i n g t o s h o r t e n h e r l o n g skirts s o t h a t

skirts t h a t r e a c h e d t o

her feet a n d lovely ankles c o u l d b e seen.

the ground and heeled

W h a t ' s m o r e , s h e h a d t h e h i g h h e e l s re-

s h o e s — all of w h i c h h a m p e r e d m o v e -

m o v e d f r o m h e r slippers. A l l this g a v e

m e n t . B u t t h e v e r y first b a l l e r i n a w a s

h e r m u c h m o r e f r e e d o m of m o v e m e n t .

Who was the first leading ballerina?

Mademoiselle Lafontaine, w h o made a

She b e c a m e quite f a m o u s for

her

triumphant debut in 1 6 8 1 . She w a s very

j u m p s i n t h e air — s o m e t h i n g l a d i e s d i d

beautiful and she h a d great charm and

not attempt before her time. S o another

g r a c e . T h e r e i s v e r y little i n f o r m a t i o n

exciting c h a n g e h a d c o m e to ballet. Be-

a b o u t her, b u t t h e g r e a t s t e p h a d b e e n

fore

taken — a ballerina w a s born.

m o v e d anything m o r e than her head

Camargo,

the

dancer

scarcely

a n d arms. S h e w a l k e d gracefully Other ballerinas followed

Lafontaine,

and when What contributions did Marie Camargo make to ballet?

retired

f r Q m d

stage taught.

the

most

famous

pupils

they ^

was

,

they

and

she glided, but n o o n e could see her feet. N o w s o m e of the ballet steps w e k n o w c a m e into being, particularly the entrechat

quatre.

T h i s is a j u m p into

of

t h e air, w i t h a q u i c k c h a n g i n g o f t h e

Marie

legs from front to back — in her case,

One

f o u r t i m e s . I t i s a t w i n k l i n g , brilliant step that is wonderful to watch. A u d i e n c e s l o v e d C a m a r g o . H e r hair dress w a s copied b y others, hats were n a m e d after her, a s w e l l a s s h o e s a n d dresses, and even court ladies imitated her w a y of walking. C a m a r g o h a d taken b a l l e t off t h e g r o u n d . A n o t h e r f a m o u s ballerina w a s

Marie

Taglioni, w h o came from Who was Marie Taglioni?

an Italian family of dancers. H e r g r a n d f a t h e r h a d been a dancer, her aunts

and

uncles

were

dancers.

And

her

father, too, w a s a dancer, as well as a great teacher. H e r mother w a s Swedish, however, and Marie w a s born in Stockholm, where her father w a s engaged as Camargo's costume and steps altered the ballet. 10

ballet master for the R o y a l Opera.

Marie Taglioni danced in La Sylphide, a ballet originally created for the ballerina by her father. The ballet, first performed in 1832, is still done today.

W i t h s u c h a b a c k g r o u n d , it i s

no

wonder that her father decided to m a k e a g r e a t d a n c e r of her, e v e n t h o u g h little M a r i e w a s t h i n a n d frail. S h e h a d r a t h e r long arms and such rounded shoulders

her. A n d t h e n a m i r a c l e t o o k p l a c e . A t

that she l o o k e d almost

s o m e time, during these lessons, M a r i e

But

none

of

humpbacked.

this c o n c e r n e d

Marie's

father, a n d h e p a c k e d h i s d a u g h t e r off

learned to like dancing! Her debut was arranged to take place after h e r e i g h t e e n t h b i r t h d a y . H e r ex-

to study with another teacher. M a r i e w a s a m o s t indifferent p u p i l

cellent training and her unique,

airy

a n d m a n a g e d t o l e a r n a s little b a l l e t a s

s t y l e of d a n c i n g m a d e h e r a n i n s t a n t

p o s s i b l e . A d r e a d f u l d a y of r e c k o n i n g

success. But, actually, the m a i n subjects

came,

o f t h e b a l l e t s of t h a t t i m e w e r e

however,

when

she w a s

sum-

not

m o n e d to d a n c e before her father. A s

s u i t e d t o her. G r e e k a n d R o m a n m y t h s

she stumbled through her exercises, h e

d i d n o t s h o w off h e r a i r y g r a c e , a n d t h e

b e c a m e m o r e a n d m o r e horrified. T h e n

costumes, cluttered with drapery

h e set u p a p l a n t o t e a c h h e r h i m s e l f .

trimmings, looked m u c h too heavy. T h e

T h i s w a s t h e e n d o f n o n s e n s e a n d skip-

ballet shoes were n o longer heeled. T h e y

ping classes for Maria.

w e r e soft slippers, b u t n o o n e d a n c e d

T h e lessons were divided into two-

and

o n the toes as yet.

hour sessions, given three times daily.

A l t h o u g h M a r i e h a d captivated her

Poor, fragile M a r i e used to collapse at

P a r i s a u d i e n c e at h e r d e b u t , s h e w a s t o

t h e e n d of t h e d a y . B u t n o t h i n g s t a y e d

e n c h a n t t h e m five y e a r s later. A n e v e n t

the d e m a n d s that her father m a d e u p o n

t o o k p l a c e o n M a r c h 12, 1 8 3 2 , w h i c h 11

It is often

said that

"comparisons are

m a d e b a l l e t different f o r e v e r after

—

Which ballerinas were commanded to dance for a queen?

It

odious." means

that

people do

not

That

like to b e com-

n i g h t , at t h e P a r i s O p e r a , s h e d a n c e d i n

p a r e d t o o t h e r s — e s p e c i a l l y if t h e c o m -

a n e w b a l l e t , La Sylphide,

p a r i s o n i s l i k e l y t o b e unflattering! W e l l ,

and

Taglioni's

dancing

d i d it.

created for

in her time, Taglioni w a s not the only

her especially b y her father.

famous Before

T h e r e were Carlotta Grisi, F a n n i e Ce-

i n h e r w h i t e , bell-

rito a n d L u c i l e G r a h n — all o f w h o m

s h a p e d dress, t i g h t

had

n e c k a n d shoulders bare. She

with looked

truly l i k e t h e n y m p h w h o s e r o l e

she

w a s performing. B u t w h a t added to the her totally

different

c o s t u m e , w a s h e r d a n c i n g . She was forming

on the

tips

of her

toes

per-

—

so

delicately, so lightly, she did n o t s e e m M a r i e Taglioni h a d darned the tips o f h e r l i m p little s l i p p e r s u n t i l t h e a r c h a n d t o e w e r e firm. W i t h this a d d e d supshe

revolutionized

earned

England

ballet

over-

night. H e r costume for that night w a s a l o n g w h i t e t u t u , w h i c h is still standard for w h a t w e call the "romantic"

in

considerable individual

acclaim

in

performances.

Q u e e n Victoria decided that she w o u l d like to see the world's four

greatest

b a l l e r i n a s p e r f o r m t o g e t h e r ! A n invitat i o n t o p e r f o r m b e f o r e r o y a l t y is c a l l e d "a c o m m a n d p e r f o r m a n c e , " a n d it i s practically unheard of for a n y o n e or any group to refuse such a c o m m a n d . But

t o t o u c h t h e earth.

port,

others

out

floated

in b o d i c e ,

besides

were

w h o m a u d i e n c e s a d o r e d just a s m u c h .

dancer

illusion,

There

tiny

a stunned audience, the

How did Marie Taglioni change ballet dancing?

dancer.

handling

four

delicately

tem-

pered ballerinas m u s t h a v e b e e n a great ordeal

for

everyone

concerned.

The

f a m o u s ladies d a n c e d just o n e performa n c e o f t h e s p e c i a l l y c r e a t e d Pas Quatre

de

— D a n c e for F o u r — before the

Q u e e n , a n d t h e n r e f u s e d e v e r t o appear together again!

ballet. H e r shoes h a v e e v o l v e d into the

B a l l e r i n a s n o w w e r e stars, w i t h de-

t o e s h o e s w h i c h are t h e d r e a m o f e v e r y

v o t e d a u d i e n c e s a n d i m p o r t a n t digni-

little girl w h o t a k e s u p t h e s t u d y o f bal-

taries v y i n g w i t h e a c h o t h e r t o b r i n g

let. T o d a y ,

t h e m t o k e n s of a p p r e c i a t i o n . B a l l e r i n a s

hardly anyone thinks

of

b a l l e t w i t h o u t this d a n c i n g o n t h e t o e s ,

were

yet not so long a g o — less than

150

b o r n e t h r o u g h t h e streets o n t h e s h o u l -

years — dancing o n the toes w a s un-

d e r s of their a d m i r e r s . C a r r i a g e h o r s e s

h e a r d o f ! T a g l i o n i w a s t h e first t o m a k e

were unhitched and the carriages drawn

toe dancing popular and a

by enthusiastic young men.

required

a c c o m p l i s h m e n t for all b a l l e r i n a s .

cheered

wildly

and

sometimes

O n e story tells of Taglioni's visit to Russia. After her performance

there,

s o m e R u s s i a n s b o u g h t her toe shoes for

L

a h u g e price. T h e y then stewed t h e m in

Ballet

in

Russia

a pot and solemnly drank the broth in T h e Russians were so impressed by

her honor!

T a g l i o n i ' s d a n c i n g t h a t t h e F r e n c h balB u t w h a t h a d b e c o m e o f t h e o n c e allimportant Did male dancers perform during this period?

dancers? time they

male

At

this

let

teachers

at

the

Russian

schools

b e g a n t o train their o w n p u p i l s t o d a n c e h e r r o l e s a n d t o d u p l i c a t e h e r style.

seemed

to have faded into

T h e n a g r o u p of I t a l i a n d a n c e r s c a m e

the scenery. A l l the public attention w a s f o c u s e d o n t h e b a l l e r i n a s . T h e magnific e n t s t r e n g t h of t h e m e n , t h e i r a b i l i t y to leap high and wide and to support

What contributions to ballet were made by Italian dancers?

to R u s s i a

and

a s t o u n d e d

the

„ audiences there by their

tre-

t h e b a l l e r i n a w h i l e s h e s h o w e d off h e r

m e n d o u s jumps and turns a n d general

v a r i e d skills, w a s s e l d o m u s e d .

air of l i v e l i n e s s a n d v i t a l i t y .

At the Command Performance for Queen Victoria of England in 1845, four leading ballerinas of the day performed in a Pas de Quatre, especially created for them. The dancers were Taglioni, Carlotta Grisi, Fannie Cerito and LucileGrahn.

Virginia

Zucchi's when

audiences

she performed

were her

breathless steps.

The

Russians promptly invited Enrico Ce-

F o r m a n y y e a r s it w a s h e l d u p a s t h e s y m b o l of b a l l e t p e r f e c t i o n t o t h e rest of t h e w o r l d .

c c h e t t i t o t e a c h t h e m t h e brilliant ItalT h i s k i n d of d a n c i n g b e c a m e k n o w n a s

i a n style o f d a n c i n g . After Zucchi c a m e Pierina Legani. S h e set t h e d a n c e w o r l d a g o g w i t h h e r performance

of

continuous

t u r n s c a l l e d fouettes.

multiple

W h a t costume w a s designed for the classic ballet?

S h e m a d e a series

t h e " c l a s s i c " bal^ T Q ft „> . t off t o i t s best adv a n t a g e , a spelet

of t h i r t y - t w o of t h e s e s e n s a t i o n a l w h i p -

cial c o s t u m e k n o w n as the classic

ping turns around the stage. T h e peo-

w a s d e s i g n e d . I t w a s c u t s o v e r y short

ple applauded so enthusiastically that

t h a t t h e d a n c e r s ' l e g s w e r e free t o exe-

s h e at o n c e r e p e a t e d t h e feat. T h e c h e e r s

cute the n e w vigorous turns and leaps

of t h a t a u d i e n c e h a v e e c h o e d d o w n t o

devised for the classic ballets.

tutu

the present time. F o r m a n y y e a r s thereafter, t h i r t y - t w o fouettes

r e m a i n e d t h e w o n d e r of

the

ballet world. T h e y were performed b y only

a

few

accomplished

Russian

Ballet

D a n c e r s

dancers.

T o d a y , h o w e v e r , this is n o l o n g e r c o n -

T h e f a m e of t h e I t a l i a n b a l l e t h a d

s i d e r e d e x t r a o r d i n a r y , t h o u g h it r e m a i n s

b e g u n to fade w h e n ballet in

a p a r t of t h e d a n c e v o c a b u l a r y of e v e r y

t o o k o n n e w life. R u s s i a n - b o r n balle-

a d v a n c e d student. Thirty-two, or even

rinas suddenly leaped to stardom in the

sixty-four fouettes

ballet world.

are still e x c i t i n g t o

see, e v e n if t h e y are n o l o n g e r a g r e a t wonder. Y o u m a y have seen a ballerina o n television or in a theater w h o spins a b o u t l i k e a t o p a n d t h e n s t o p s short, n o t e v e n o u t of b r e a t h , t o t a k e h e r b o w . W e l l , it t a k e s m o r e t h a n this w h i p p i n g about the stage without getting dizzy to m a k e a b a l l e r i n a — b u t it is s h o w y ! T h e i m p o r t a n c e of Z u c c h i a n d L e g a n i is their effect o n R u s s i a n b a l l e t . N o w the Russian teachers and composers, m a n y of w h o m w e r e F r e n c h o r Itali a n b y birth, c o m b i n e d t h e o l d F r e n c h m o v e m e n t s of slow grace a n d beauty with the vibrant Italian technique.

As

time w e n t on, this w a s blended with the native qualities of R u s s i a n ballet. N o w t h i s i s c a l l e d t h e R u s s i a n s t y l e of b a l l e t . 14

Russia

An

exquisite

prima

ballerina

Russian Which ballerina got a special title from the Czar of Russia?

of

the

Imperial

Ballet w a s O l g a Preobrajenska. B u t she was surpassed Mathilde

R e v o l u t i o n broke out, she h a d to

flee

Russia. She settled in Paris and o p e n e d a b a l l e t s c h o o l there. M a n y of t h e b a l l e t s p e r f e c t e d i n h e r

by

d a y are still p r e s e n t e d , a n d w i l l m o s t

Kchessin-

probably b e enjoyed in future genera-

s k a y a — tiny, l i g h t a s air itself,

and

tions

as well.

Giselle,

The

Sleeping

p e r f e c t . I n f a c t , b y o r d e r of t h e I m p e r i a l

Beauty,

C o u r t , s h e w a s g r a n t e d t h e title of

have qualities to k e e p them popular.

ballerina

assoluta,

prima

Coppelia,

a n d The

Nutcracker

which was another

w a y of s a y i n g , "the first a n d m o s t a b s o -

T h e Russian ballerina w h o b e c a m e the

lutely perfect ballerina." Of course, some ballerinas w h o c a m e

How did Pavlova become a dancer?

most the

famous world

Anna

after h e r w o u l d h a v e e a r n e d t h e s a m e

in was

Pavlova.

g r a n d title. B u t b y t h a t t i m e R u s s i a w a s

S h e is still a h o u s e h o l d w o r d , a n d girls

in t h e m i d s t of a terrible r e v o l u t i o n a n d

t h e w o r l d o v e r d r e a m of " d a n c i n g l i k e

the Czar h a d b e e n killed. A s the Im-

Pavlova." A n n a was only seven when

perial C o u r t n o l o n g e r e x i s t e d , n o s u c h

her mother t o o k her to a ballet perform-

title c o u l d b e g r a n t e d b y it a g a i n . T h u s ,

a n c e a s a C h r i s t m a s treat. T h e n

and

Kchessinskaya was the only dancer to

t h e r e t h e c h i l d fell i n l o v e w i t h

the

g e t t h i s title f r o m t h e C z a r .

dance. B u t she was not old e n o u g h even

She became the wife

of

a

Grand

t o try t o e n t e r t h e f a m o u s

Imperial

D u k e , w h i c h gave her added influence

School. She had to wait two long years

in t h e b a l l e t w o r l d . H o w e v e r , w h e n t h e

t o d o so. In the Imperial School the children r e c e i v e d their t r a i n i n g a n d s c h o o l less o n s free, b e c a u s e t h e s c h o o l w a s supported by the Czar. However,

appli-

cants were chosen with the greatest care a n d h a d t o p a s s a stiff e x a m i n a t i o n t o b e admitted.

This

included

appearance,

g o o d h e a l t h , n a t u r a l g r a c e , a f e e l i n g for music and rhythm, and intelligence. T h e fortunate

ones were given a year

prove themselves. T h e y had to

to

show

real p r o g r e s s t o b e a l l o w e d t o stay. H o w t h e frail little A n n a e v e r p a s s e d the health test is a mystery, but pass s h e d i d . A n d p r o g r e s s s h e did.

Her

Anna Pavlova (foreground) and other pupils took ballet lessons at the famous Imperial School in Russia. 15

Anna Pavlova performed her unforgettable role in the ballet The Dying Swan. It was choreographed by Michel Fokine to the music of French composer Camille Saint-Saens, and was the ballerina's most famous creation.

Vaslav Nijinsky was noted for his sensational leaps, which were unequaled then as now. At the top of the page are shown Nijinsky and Anna Pavlova in one of their memorable performances with the noted Ballet Russe company in France. 16

fragile, s e n s i t i v e b e a u t y c a s t a s p e l l o f

graved in the public minds, and today

enchantment wherever she danced. Peo-

ballet m i g h t just as well

p l e still s p e a k o f h e r w i t h r e v e r e n c e .

"pavlova."

be

spelled

M a n y present-day ballerinas are said to be m o r e perfect than Pavlova. In her o w n day she never performed the showy t h i r t y - t w o fouettes, ettes.

Yet

prima

ballerina

or multiple

she b e c a m e the assoluta

pirou-

unofficial

of the world.

It never mattered t o her public w h a t

V a s l a v Nijinsky also studied in the Imperial School, a n d W h o w a s the pav. h e w a s Q n e o f most famous , , * . . l o v a s s e v e r a l partr m a l e dancer , ners H l s of all time? ' dancing was

s h e d a n c e d . I t w a s how s h e d a n c e d t h a t

superb,

strong

m a d e h e r t h e s y m b o l o f b a l l e t t o mil-

a n d manly. O n stage h e s e e m e d illumi-

lions of people throughout the world.

n a t e d b y s o m e i n n e r fire. T h e m o s t diffi-

S h e h a d a p e r s o n a l m a g i c t h a t trans-

cult steps were easy for him. H i s leaps

p o r t e d h e r a u d i e n c e . S h e w a s l i g h t , airy,

were sensational. W h e n he w a s asked

a n d d a n c e d effortlessly a n d r a d i a n t l y .

h o w h e p e r f o r m e d t h e m , h e s a i d t h a t it

She could be a sylph, or a cloud or she

w a s quite simple. " Y o u merely pause a

c o u l d b e t o u c h e d w i t h fire a l m o s t r e a l

little i n t h e air — a n d t h e n c o m e d o w n

e n o u g h t o set e v e r y t h i n g a r o u n d

her

again." H e was the most famous male d a n c e r of all t i m e .

ablaze.

Of

course Nijinsky was only

E v e n r e a d i n g a b o u t t h e w a y s h e perHow did Nijinsky . . . * m a n a g e his leaps?

joking

w h e n he said h e * . ^ p a u s e d i n t h e air. * .• I t just h a p p e n e d

formed The ^ . r Dying Swan « has brought

that he possessed extraordinary physical

t e a r s t o m a n y a n e y e . S h e floated a c r o s s

strength a n d h a d splendid training. A t

t h e s t a g e i n t i n y bourres

the p e a k of his leaps, h e thrust his legs

What w a s Pavlova's xr . ^ most famous dance?

(fluttering,

weaving steps), she curved her lovely

o u t further —

n e c k , h e r b o d y t r e m b l e d , s h e s a n k *. . .

m a d e h i m a p p e a r t o p a u s e i n t h e air.

and died . . . and people wept.

H e h a d something else, too, a

A n n a Pavlova brought ballet to the

given

talent,

a n d it w a s t h i s w h i c h

that

special

God-

ingredient

whole world. She traveled everywhere,

w h i c h m a k e s p e o p l e g r e a t i n their o w n

meeting

make

s p e c i a l fields w h e t h e r t h e y b e d a n c e r s ,

s t r o n g m e n t u r n p a l e . T h i s f r a g i l e balle-

teachers, musicians, writers or baseball

rina

players.

schedules

was

made

that

of

would

something

much

s t r o n g e r t h a n steel. S h e t o o k b y s t o r m England, France, She

went

to

the United

Egypt,

South

States. Africa,

Serge Diaghilev w a s not a dancer. H e Whowas

w a s a cultured

gentle-

m a n

b a U e t

w h o

l o y e d

Burma, Costa Rica, Malay, Australia, Java. H u n d r e d s of thousands of miles, thousands

of

performances,

millions

saw her dance. H e r n a m e seems

en-

D^ghilev?

A t

t h e t u r n of t h e

twen

" tieth century h e felt that

ballet w a s n o longer m a k i n g any prog17

• i

• • •

ress. T h e s a m e t h i n g s w e r e b e i n g d o n e

tion, they vied w i t h o n e another in feats

over a n d over again — l o n g ballets in

o f t e c h n i c a l b r i l l i a n c e . N i g h t after n i g h t

lavish settings a n d complicated stories

in the f a m o u s M a r y i n s k y T h e a t e r he

of u n e a r t h l y b e i n g s .

c o u l d hear p e o p l e softly counting the

Ballet had become bogged down by

n u m b e r of pirouettes

turn o r se-

tradition. T r a d i t i o n i s a fine t h i n g t o

q u e n c e of t u r n s o n o n e f o o t ) o r

b u i l d o n , b u t c e r t a i n l y it is n o t g o o d t o

m a d e b y their f a v o r i t e d a n c e r s .

live completely in the past a n d ignore

fouettes

A l t h o u g h t o d a y w e r e a l i z e t h a t bal-

t h e n e e d s a n d d e v e l o p m e n t s of t h e pres-

let i s a c o m b i n a t i o n o f s e v e r a l arts

ent.

t e c h n i c a l b a l l e t skill, m u s i c a n d art —

T r u e , w e still k n o w a n d l o v e s o m e of t h e s e b a l l e t s a n d thrill t o t h e b e a u t i ful m u s i c of T s c h a i k o v s k y , a s i n

The

Sleeping

has

Beauty.

B u t this b a l l e t

T h e s a m e is true of Swan

Lake,

where

most usually only the second act

is

creating ballet as a c o m b i n e d w h o l e ! Ballet

creators

searched

How were ballets created during Diaghilev's time?

given. D i a g h i l e v d i d n o t l i k e t h e rivalries

—

i n D i a g h i l e v ' s d a y n o o n e t h o u g h t of

b e e n r e v a m p e d f o r t h e m o d e r n taste.

(

(a

for

suitable

stories. T h e n t h e y arranged that

steps

would

these

tell

stories.

W h e n the dancers started to learn the

t h a t e x i s t e d a m o n g t h e b a l l e r i n a s . In-

steps, c o s t u m e a n d s c e n e r y

s t e a d of c o n c e n t r a t i n g o n fine expres-

went to work. T h e y were told what the

s i o n i n their d a n c i n g a n d characteriza-

b a l l e t w a s a b o u t , b u t t h e y n e v e r discussed

any

of

their p l a n s

designers

with

the

choreographers, w h o are the creators of t h e b a l l e t steps. W h a t is m o r e , w h e n t h e l e a d i n g d a n c e r s l e a r n e d their parts, they often asked to have steps and movem e n t s left o u t , b e c a u s e t h e s e d i d n o t h a p p e n t o s h o w t h e m off t o their b e s t a d v a n t a g e . T o fill i n t h e g a p , s o m e t i m e s they w e r e a l l o w e d to put in steps they liked from s o m e other ballet. Nijinsky was the slave Zobeldas in the ballet Scheherazade, with music by Rimsky-Korsakov, done in 1910.

; w ; • «

take ballet lessons b y her family doctor. S h e w a s frail a n d h a d k n o c k - k n e e s . B u t ballet discipline a n d carefully

super-

vised exercises cured her ailments

—

Eugene Loring's Billy the Kid is a favorite modern American ballet.

^%

a n d h e r t a l e n t w a s u n c o v e r e d f o r all t h e w o r l d t o see. N a n a Gollner's limbs had been weak-

s o a m b i t i o u s f o r her, it m a y b e t h a t h e

ened by polio and ballet was suggested

also k n e w w h a t ballet training could d o

as a m e a n s of strengthening them. H e r

f o r a frail, u n b e a u t i f u l b o d y .

progress w a s so rapid that b y the a g e of sixteen she attained the rank of

prima

ballerina. Marie Taglioni, with long arms and

B u t t h e s e a r e t h e exceptions.

Ordi-

narily, p e o p l e d o n ' t start b a l l e t s t u d i e s with

such

handicaps.

Certainly

one

should h a v e a g o o d , strong heart,

a

a h u n c h i n h e r b a c k , w a s b u i l t all w r o n g

sense of rhythm, a feeling for music and

for a ballerina. A l t h o u g h her father w a s

an overpowering desire to dance. 41

Ballet should not be studied before the M

a g e of e i g h t . N i n e o r How old should one be to take ballet lessons?

t e n is n Q t tQO l a t e

begin work

either.

tQ

^

Toe

should

• T L - j i - ^ J

never

be attempted before the age of ten, a n d t h e n only after t h r e e y e a r s of s t u d y w i t h a c o m p e t e n t t e a c h e r . T h a t m u c h t i m e is needed to strengthen the foot, leg and b a c k m u s c l e s p r o p e r l y ; o t h e r w i s e , serio u s p e r m a n e n t i n j u r i e s c a n result. B o y s a n d girls o f t e n t a k e c l a s s e s together, How does ballet training for boys and girls differ?

are

but

some

which

are

there things

lent war records and were

decorated

a n d a c c o r d e d o t h e r h o n o r s f o r their outstanding courage.

taught

to t h e m separately.

A l t h o u g h a t o n e t i m e t h e danseur

h a d shrunk so that

Ballerinas should be light and graceful. T h e y must be supple and they do, even-

s role

What is the role of the danseur?

t u a l l y , d a n c e o n their t o e s . B o y s n e v e r

h e w a s c a l l e d "the ballerina's

third

d a n c e o n their t o e s . M a n y of t h e s t e p s

leg," times have changed. A l l he did

t h e y l e a r n r e s e m b l e t h o s e o f t h e girl

then w a s to support her and wear an

d a n c e r s , b u t t h e y are d o n e i n a m a n l y

admiring expression o n his face. There

w a y . B o y s are t r a i n e d a s p a r t n e r s f o r

is m u c h m o r e t o b e i n g a p a r t n e r t o d a y .

t h e b a l l e r i n a s . T h e i r m u s c l e s are d e v e l -

O f c o u r s e , t h e danseur

o p e d s o t h a t t h e y c a n lift a b a l l e r i n a

the cavalier and s h o w a proper

gal-

shoulder-high without apparent

lantry toward the ballerina, but

now

effort

must always be

— not an easy thing to do, for she m a y

t h e r e is f a r g r e a t e r d e p t h i n h i s roles.

weigh one hundred pounds or

more.

H e must not only be an excellent dancer,

B e i n g s t r o n g e r t h a n girls, t h e y c a n l e a p

but also a dramatic actor—as Albrecht

higher and wider.

in Giselle

T h e r e is n o t h i n g "sissy" a b o u t b a l l e t

Lake,

or Prince Siegfried in

Swan

for example.

the

S o m e of t h e m e n , i n c l u d i n g E g l e v -

class,

s k y a n d Y o u s k e v i t c h , h a v e s u c h out-

y o u will s e e h o w m u c h e n d u r a n c e i s

standing talent that parts are especially

required of them. Incidentally, m a n y of

written for them. A

our foremost dancers have h a d excel-

a welcome addition to any

d a n c i n g f o r a b o y . If y o u h a v e chance to observe boys taking

g o o d danseur

is

company.

Ballet

T h e s i m p l e s t c o s t u m e s a r e b e s t f o r class. Girls What is the costume for the class?

wear

jersey

tards over

their

( w i t h o u t feet, they

last

leotights

because

longer

D r e s s

into." T h e made

of

black

soft

ballet

leather,

slippers

with

are

the

toes

pleated o n the bottom, and with

flex-

i b l e , n o n s k i d soles.

that

T h e satin t o e s h o e s s h o u l d n o t b e

w a y ) , ankle socks and practice shoes.

h e a v y a n d h a r d a n d stiff. T h e well-pre-

S o m e schools favor a short tunic for

pared student can easily work in the

girls. B o y s w e a r t i g h t s a l s o a n d a j e r s e y

soft, I t a l i a n - t y p e s h o e s , w h i c h are h a n d -

shirt. T h e i r p r a c t i c e s h o e s are

some-

sewn and only lightly boxed. T h e dancer

times held over the instep by an elastic

m u s t at all t i m e s b e a b l e t o "feel" t h e

band.

floor.

T o e s h o e s are d a r n e d a t t h e tips

not only to m a k e them grip the

floor

must easily see the lines and m o v e m e n t s

better,

them

last

of t h e b o d y . Frills, b o w s , p l e a t s

l o n g e r . T o e s h o e s are e x p e n s i v e ,

and

In order to correct faults, a teacher and

but

also

to

ruffles w o u l d c o n c e a l s u c h faults. A n d

professional

tights also serve to k e e p the leg m u s c l e s

o u t s e v e r a l p a i r s d u r i n g a s i n g l e per-

w a r m . M o r e injuries r e s u l t f r o m

formance.

muscles than from

any other

cold

dancers

make

sometimes

wear

cause.

( T h a t is o n e r e a s o n w h y b a s e b a l l p l a y ers w e a r full u n i f o r m s i n s t e a d of s h o r t s and tee-shirts.) A n o t h e r reason w h y b o y s wear tights

The

stage

costumes

What kind of stage costumes are used?

of

today

vary

greatly in design. B e s i d e s t h e traditional,

long

i n s t e a d of r e g u l a r t r o u s e r s is t o g i v e

r o m a n t i c tutu a n d t h e s h o r t c l a s s i c

tutu,

them unhindered movement.

t h e r e are h u n d r e d s o f v a r i a t i o n s , l i m i t e d only b y the subject of the ballet a n d the

T h e dancer's feet are her m o s t precious How are ballet slippers made?

equipment,

and

so

designers' imagination. C o s t u m e s f o r t h e danseurs

are varied,

d a n c e s h o e s m u s t al-

too, from the accepted classic

ways

perfectly.

and velvet jerkin to anything the part

T h e y must never be bought to "grow

m a y c a l l f o r — a R o m a n t o g a , a full-

fit

tights

COPPELIA A light-hearted story and an excellent example of ballet pantomime is Coppelia. It involves a romance between Franz and a life-like doll which almost ends his courtship of Swanilda, a very real young lady. All the difficulties get solved, however, and the ballet closes with a divertissement or a sequence of steps.

•' ' ' .. : '...:••.. d r e s s suit, a b u s i n e s s suit, o r a b a t h i n g suit a s i n t h e b a l l e t Jones National

costumes

Beach. for

character

d a n c i n g are a d a p t e d f o r b a l l e t u s e a l s o . T h e i r p u r p o s e is o n l y t o g i v e a n a u t h e n tic flavor, a n d t h e y are n o t i n t e n d e d t o b e r e p l i c a s of n a t i v e dress.

Ballet

Talk

S i n c e b a l l e t , a s w e k n o w it, c a m e t o us from France, m o s t of the l a n g u a g e o f t h e b a l l e t is a l s o F r e n c h . B u t s o m e o f t h e t e r m s are d e r i v e d f r o m t h e I t a l i a n , b e c a u s e t h e e a r l y f o r m s of b a l l e t w e r e brought to F r a n c e from Italy. Inevitably, the country w h e r e ballet h a p p e n s t o b e s t u d i e d , a d d s its o w n v o c a b u l a r y . I n the main, however, students everyw h e r e in the world learn the s a m e terms. 44

ON STAGE! The one-act modern ballet On Stage! will give you a behind-thescenes glimpse of a rehearsal and an audition. There is a very grand ballerina in it and several young hopefuls, including the one who is not hired at first, but who finally wins a place in the company, too.

COQ D'OR, OR THE GOLDEN COCKEREL The ballet Coq D'or, or The Golden Cockerel, is based on a poem by the Russian writer Aleksander Pushkin. Old King Dodon is given a marvelous golden cockerel which always warns him of coming danger. Along with the superb dancing, there are beautiful costumes and scenery; the whole is a spectacle.

45

Therefore,

German,

Italian,

Danish,

country and proceed with the lesson in

Swedish, Russian and English dancers,

progress without too m u c h

a s w e l l a s p e r f o r m e r s f r o m o t h e r na-

s t a n d i n g . T h e t e a c h e r w i l l call f o r t h e

tions, can step into class in any other

steps

in

L a b a n o t a t i o n — D a n c e

which

are

to

be

Writing

Head

Arm

Body

Body

Arm

Head

performed.

Steps

part is t o m o v e .

Leg Gesture

ments

language.

in the proper c o l u m n to s h o w which

w r i t i n g m u s i c , b e c a u s e a staff a n d s y m b o l s a r e u s e d t o "spell o u t " t h e m o v e -

universal

Steps

is a m e t h o d f o r w r i t i n g down dance moveH o w can dance m e n t s , o r i g i n a t e d b y movements b e ~> , i r T t J o Rudolf Laban. It written d o w n ? can be compared to

in

Leg Gesture

Labanotation

ballet's

misunder-

T h o s e w h o understand this m e t h o d c a n read and study dance scores n o matter what language they speak. A n y a n d all m o v e m e n t s c a n b e recorded — fingers.

even the

fluttering

of

the

I t is h o p e d i n t h e n e a r f u t u r e

t o h a v e a w h o l e g e n e r a t i o n of

Right

Left

ballet

s c o r e r e a d e r s . T o t h a t e n d , y o u n g children in England, Holland, Brazil, Chile,

2 . Directions:

I n t h e m i d d l e , at y o u r

c e n t e r is " p l a c e " ( n o d i r e c t i o n ) . T h i s is s h o w n b y a r e c t a n g l e : | B y c h a n g i n g t h i s s h a p e , t h e s y m b o l is

United

m a d e to point to the directions around

S t a t e s are b e i n g t a u g h t t o r e c o n s t r u c t

y o u — f o r w a r d , b a c k w a r d , right, left

d a n c e s f r o m L a b a n o t a t i o n . H e r e is a

and the four diagonal directions that

s a m p l e of h o w it w o r k s :

are i n b e t w e e n .

Australia,

1. Body:

Iceland

and

the

A v e r t i c a l staff is u s e d t o in-

dicate the body. It represents you, the d a n c e r . T h e c e n t e r l i n e i s your

center

l i n e , s o t h a t t h e right l e g , a r m , s h o u l d e r , e t c . , a r e w r i t t e n o n t h e right s i d e o f t h e staff. T h e left p a r t s of y o u r b o d y a r e s h o w n o n t h e left s i d e o f t h e staff. T h e r e is a c o l u m n for e a c h part of the b o d y , a n d t h e d i r e c t i o n s y m b o l is p l a c e d 46

l i n e of t h e staff a l s o r e p r e s e n t s

time

g o i n g b y a s y o u r e a d it g o i n g u p t h e page, and so a slow m o v e m e n t will take I 3. Levels:

B

I

a l o t of s p a c e o n t h e t i m e line.

T h e level, meaning

how

h i g h o r h o w l o w , is s h o w n b y s h a d i n g t h e s y m b o l . B l a c k is l o w ( d o w n t o w a r d the e a r t h ) ; a dot m e a n s horizontal or " m i d d l e " l e v e l ; a n d stripes m e a n h i g h , upward (toward the s k y ) . 4 . Timing:

H o w long a

movement

lasts is s h o w n b y t h e l e n g t h of t h e m o v e ment symbol. A slow m o v e m e n t will b e written with a long symbol, a fast move-

w

ment with a short symbol. T h e center

Slow

0 Fast

• s*&

)

'

I

^-as-*-**.

// i / 1 1X2 • • X Thefivebasic ballet positions, and all other dance movements, can be recorded in written form by Labanotation. 47

H o w

Y o u

C a n

Enjoy

Ballet

T o help y o u b e c o m e even m o r e famil-

possible for y o u to borrow a recording

iar w i t h this d a n c e f o r m , r e a d i n g o t h e r

a s y o u w o u l d a b o o k . S o m e libraries

b o o k s about ballet, f a m o u s ballet danc-

a l s o h a v e f a c i l i t i e s f o r l i s t e n i n g t o rec-

e r s o r s t o r i e s a b o u t girls a n d b o y s i n

ords in a music room.

ballet can be a worthwhile experience.

H o w e v e r , nothing can take the place

S e v e r a l g o o d b o o k s a r e p r o b a b l y avail-

o f a real l i v e b a l l e t p e r f o r m a n c e . G o o d

a b l e at y o u r l o c a l l i b r a r y a n d

your

ballet schools in your vicinity m a y give

librarian will b e g l a d to h e l p y o u in

p u b l i c recitals. O r t h e r e m a y b e a col-

m a k i n g a selection.

lege near you with a dance department

S o m e o f t h e finest m u s i c i n t h e w o r l d

that schedules regular concert perform-

h a s b e e n written for the ballet, includ-

a n c e s . B e s t of all, if a b a l l e t c o m p a n y

ing Tschaikovsky's

c o m e s to your town, or nearby, see the

Sleeping

Beauty

Swan

Lake,

a n d The

Nutcracker;

R i m s k y - K o r s a k o v ' s Scheherazade Snow

Maiden;

noon

of a Faun;

chka;

p r o d u c t i o n if y o u c a n .

and

B u t b e f o r e y o u g o , find o u t w h i c h

The

After-

ballet will be performed. T h e n look u p

Stravinsky's

Petrou-

t h e s t o r y of t h a t p a r t i c u l a r b a l l e t i n a

Parisienne;

b o o k . K n o w i n g the plot in a d v a n c e will

Debussy's

Offenbach's

The

Gaite

C h o p i n ' s Les Sylphides;

Sylvia

h e l p y o u t o u n d e r s t a n d t h e a c t i o n s of

Pizzicato

t h e d a n c e r s . T h u s p r e p a r e d , y o u will

T h i s m u s i c is a v a i l a b l e o n p h o n o -

really b e able to enter the wonderful

g r a p h r e c o r d s , a n d s i n c e m a n y libraries

w o r l d of b a l l e t — a w o r l d of magnifi-

n o w h a v e r e c o r d c o l l e c t i o n s , it m a y b e

cent music,

a n d Coppelia; Polka.

Delibes'

a n d Strauss'

drama,

art a n d

magical

d a n c i n g that will h o l d y o u spellbound. WESTERN SYMPHONY There is no story in the ballet Western Symphony. Rather, it is a Western scene depicting cowboy life. Brilliant color, brilliant costumes and catchy music give it a special quality.

" A r e t h o s e p e o p l e r e a l l y real?" y o u , too, m a y feel like asking. A n d

who

k n o w s — s o m e d a y a b o y o r girl m a y b e asking his mother or father the same question about

you!

\

g

f

t

r

'

HOW

AND

WHY

WONDER

BOOKS

Produced and approved by noted authorities, these books answer the questions most often asked about science, nature and history. They are presented in a clear, readable style, and contain many colorful and instructive illustrations. Readers will want to explore each of these fascinating subjects and collect these volumes as an authentic, ready-reference, basic library. 5001 5002 5003 5004 5005 5006 5007 5008 5009 5010 5011 5012 5013 5014 5015 5016 5017 5018 5019 5020 5021 5022 5023 5024 5025 5026 5027

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