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A lavishly illustrated chronicle of the world-renowned Sadler's Wells Ballet company, tracing its evolution from humble beginnings to the pinnacle of artistic excellence and innovation, and featuring profiles of its most celebrated dancers and choreographers. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
When the Second World War broke out, ballet in Britain was only a few decades old. Few had imagined that it would establish roots in a nation long thought to be unresponsive to dance. Nevertheless, the war proved to be a boon for ballet dancers, choreographers and audiences, for the nation's dancers were forced to look inward to their own identity and sources of creativity. As author Karen Eliot demonstrates in this fascinating book, instead of withering during the enforced isolation of war, ballet in Britain flourished, exhibiting a surprising heterogeneity and vibrant populism that moved ballet outside its typical elitist surroundings to be seen by uninitiated, often enthusiastic audiences. Ballet was thought to help boost audience morale, to render solace to the soul-weary and to afford entertainment and diversion to those who simply craved a few hours of distraction. Government authorities came to see that ballet could serve as a tool of propaganda; the ways it functioned within the larger public discourse of propaganda and sacrifice, and how it answered a public mood of pragmatism and idealism, are also topics in this story of the development of a national ballet identity. This narrative has several key players-- dance critics, male and female dancers, producers, audiences, and choreographers. Exploring the so-called "ballet boom" during WWII, the larger story of this book is one of how art and artists thrive during conflict, and how they respond pragmatically and creatively to privation and duress.
The second edition of Frederick Ashton's Ballets: Style, Performance, Choreography adds two further ballets to this ground-breaking study of Frederick Ashton's choreography. It not only examines the contribution these ballets made to twentieth century dance art, but also presents a detailed account of Ashton's work and dances, demonstrating his remarkable choreographic and artistic talent. Having danced with the Royal Ballet Company during the years Ashton was Director, author, Geraldine Morris also draws on her years as an academic in the field. As well as highlighting the dances, the book explores the contribution made by Ashton's collaborators, both designers and musicians. Central is the issue of identity and how style can be retained in dance, despite alterations in training. It considers the problem of how the values of ballet training change, thereby affecting contemporary performances of his works. Through eight works Morris examines the various sources that Ashton used, whether they were dances with words, or those influenced by dancers' movement style, jazz dance, abstraction, mysticism, or narrative. With this new material, the second edition makes a significant contribution to dance scholarship.
In pre-World War I England, a frail Jewish girl is diagnosed with flat feet, knock knees, and weak legs. In short order, Lilian Alicia Marks would become a dance prodigy, the cherished baby ballerina of Sergei Diaghilev, and the youngest ever soloist at his famed Ballets Russes. It was there that George Balanchine choreographed his first ballet for her, Henri Matisse designed her costumes, and Igor Stravinsky taught her music—all when the re-christened Alicia Markova was just 14. Given unprecedented access to Dame Markova’s intimate journals and correspondence, Tina Sutton paints a full picture of the dancer’s astonishing life and times in 1920s Paris and Monte Carlo, 1930s London, and wartime in New York and Hollywood. Ballet lovers and readers everywhere will be fascinated by the story of one of the twentieth century’s great artists.
With a ballet career spanning well over eight decades, legendary dancer Frederic Franklin was one of the twentieth century's great ballet stars. This biography, rich with original interviews, covers his entire career from young dance student in the early 1920s to his most recent position as choreographer with Britain's Royal Ballet in November 2004. Each chapter covers a different period of Franklin's life, including the peak of his performing career as a principal dancer with the Ballet Russe de Monte Carlo, his legendary professional partnership with Alexandra Danilova, and his role in introducing ballet to millions of Americans during World War II.
Presents a look at the world of dance; an analysis of ballet movement, music, and history; a close-up look at popular ballets; and a host of performance tips.
Based on new and original research, this biography documents the life of Lilian Baylis--an esteemed theatrical producer, manager, and the founding mother of the British National Theatre, the Royal Ballet, and the English National Opera. Setting out to discover how Baylis was able to manage two theatres and three companies, bring the very best of high culture to working people, and still haul in a profit, this biography looks beyond the famous comic anecdotes that surround her life and discovers the private woman behind the public persona. From her early career as a musician and dancer to the career-changing breaks she offered to actors such as Alec Guinness and Laurence Olivier, this insightful work reveals how Baylis achieved so much and the personal cost of her successes.
"To the economist and ballet enthusiast John Maynard Keynes he was potentially the most brilliant man he'd ever met; to Dame Ninette de Valois he was the greatest ballet conductor and advisor this country has ever had; to the composer Denis ApIvor he was the greatest, mostr lovable, and most entertaining personality of the musical world; whilst to the dance critic Clement Crisp he was quite simply a musician of genius. Yet sixty years after his ... death Constant Lambert is little known today. As a composer he is remembered for his jazz-inspired The Rio Grande but little more, and for a man who ... devoted the graeter part of his life to the establishment of English ballet his work is largely unrecognized today. [This book] looks not only at his music but at his journalism, his talks for the BBC, his championing of jazz (in particular, Duke Ellington), and, more privately - his longstanding affair with Margot Fonteyn. ..."--Book jacket.