Ballet Books

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Book SynopsisPULITZER PRIZE FINALIST • “A fascinating read about a true genius and his unrelenting thirst for beauty in art and in life.”—MIKHAIL BARYSHNIKOV Winner of the Plutarch Award for Best Biography and the Marfield Prize for Arts Writing • Finalist for the National Book Critics Circle Award, the Los Angeles Times Book Prize, the PEN/Jacqueline Bograd Weld Award, the Kirkus Prize, and the Baillie Gifford PrizeBased on a decade of unprecedented research, the first major biography of George Balanchine, a broad-canvas portrait set against the backdrop of the tumultuous century that shaped the man The New York Times called “the Shakespeare of dancing”—from the bestselling author of Apollo’s AngelsNew York Times Editors’ Choice • ONE OF THE BEST BOOKS OF THE YEAR: The New York Times Book Review, The New Yorker, Vanity

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Book SynopsisA memoir that looks at the artists Rudolf Nureyev's and Rudi van Dantzig's relationship.

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Book SynopsisIn this memoir of a roller coaster career on the New York stage, former actor and dancer Bettijane Sills offers a highly personal look at the art and practice of George Balanchine, one of ballet's greatest choreographers, and the inner workings of his world-renowned company during its golden years.

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Book SynopsisBrings back into print two classic works that offer rare insights into the golden age of Russian ballet. The first, Ballet Russe, takes readers into the last three decades of the Imperial Ballet before the 1917 Russian Revolution. The second, Heritage of a Ballet Master, is a valuable testament to Nocolas Legat's classroom pedagogy.Table of Contents Foreword Preface Introduction Ballet Russe: Memoirs of Nicolas LegatForeword 1. Whence Came the 'Russian School'? 2. The Men Who Made the Russian School 3. The Making of a Dancer and Ballet Master 4. Theatrical Memoirs 5. The Class of Perfection Appendix 1. Anna Pavlova: A Tribute Appendix 2. List of Ballets in Which Nicolas Legat Appeared Appendix 3. List of Ballets Produced by Nicolas Legat Heritage of a Ballet Master: Nicolas Legat Foreword Part I. Nicolas Legat: 1869–1937 A Remembrance of Nicolas Legat A Biographical Sketch A Sentimental Poem Legat's Genius: Tributes from Leading Dancers and Pupils Part II. Seven Classes by Nicolas Legat Introduction to the Classes Four Classes Written by Nicolas Legat for André Eglevsky Class Remembered by Alan Carter Class Remembered by Barbara Gregory Class Remembered by Cleo Nordi Part III. Appendixes Appendix 1. The Secret of the Pirouette Appendix 2. Class Music

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Book SynopsisIn this long-awaited memoir, dancer and choreographer John Clifford offers a highly personal look inside the day-to-day operations of the New York City Ballet and its creative mastermind, George Balanchine. Balanchine's Apprentice is the story of Clifford and the guiding inspiration for his life's work in dance.Trade Review"Even those not enraptured by ballet will find Clifford’s extraordinary career and bond with Balanchine, who died in 1983, affecting. For ballet devotees, this intimate account is required reading.”—Publishers Weekly“Though Balanchine's works and influence have been well documented, the male perspective has been somewhat lacking, and Clifford is to be commended for this sparkling read, an appreciative yet clear-eyed tribute to his mentor and a fascinating glimpse behind the scenes of ballet.”—Library Journal“A close-up look by an astute and engaging observer, neither self-important nor falsely modest, at one of the supreme artists of the past century and a celebration of the astonishing work and the astonishing company he created.”—Wall Street Journal

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Book SynopsisCinematically illuminates the glamorous and heartbreaking life of Tanaquil ‘Tanny’ Le Clercq (1929-2000), one of the most celebrated ballerinas of the twentieth century, who became paralyzed with polio at the height of her brilliant stage career.Trade Review“This thoughtful and elegant narrative is full of wonderful stories about the world of ballet. A fitting tribute to the life and legacy of a beloved dancer that will enthrall balletomanes everywhere.”—Library Journal, Starred Review

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Book SynopsisExplores the pairing of classical and contemporary, art and entertainment, high culture and popular culture to reveal the place that ballet occupies in American life. Drawing on examples that range from musicals to tragic melodramas, this book shows how commercial films have produced an image of ballet that is associated with emotions.Trade ReviewAside from cataloguing, describing, and closely reading the plethora of films that comprise the group with which she is concerned, McLean surfaces interesting theoretical issues concerning the genre. This is a unique and original project. -- Lucy Fischer * University of Pittsburgh *Aside from cataloguing, describing, and closely reading the plethora of films that comprise the group with which she is concerned, McLean surfaces interesting theoretical issues concerning the genre. This is a unique and original project. -- Lucy Fischer * University of Pittsburgh *This is a superb and wonderfully readable work, a true contribution to the fields of both cinema studies and dance. -- Karen Backstein * Cineaste *Table of ContentsIntroduction : ballet in tin cans A channel for progress : theatrical dance, popular culture, and (the) American Ballet Gender, genre, and the ballet film through 1947 : part 1, the life of a ballerina is indeed tough Gender, genre, and the ballet film through 1947 : part 2, the man was mad but a genius! If you can disregard the plot : the red shoes in an American context The second act will be quite different : cinema, culture, and ballet in the 1950s Turning points : Ballet and its bodies in the "post-studio" era

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Book SynopsisCan ballet ever be reconciled with feminist ideals?Trade Review'Beautiful, difficult, and compelling.' —Vanity Fair'Part memoir, part journalistic investigation, the book weaves [Robb’s] early experiences as a dancer with those of her contemporaries, and of famous ballerinas… Don’t Think, Dear is powered by a fundamental love of the art form while exposing the toxic culture that runs through it.' —Guardian‘[Robb’s] timely book is a critical yet personal examination of classical ballet – a performing art highly dependent on the talent of women – filtered through the lens of 21st-century feminism… she brings a welcome academic rigour to a subject clearly born of deeply held emotions.’ —The Times'A study of an obsession remarkable for its nuance and insight… [Robb] succeeds in conveying, in a refreshingly unromantic way, what is still valuable about the art form… It might be easy… to assume that Don’t Think, Dear is Robb’s litany of grievances about a demanding art form in which she failed to flourish. Rather, it is a book about love, even if that love is ultimately unrequited… fascinating.' —TLS‘[A] nuanced, intimate mashup of memoir, reportage and cultural criticism.’ —Observer'This addictive memoir is a vital account of the intoxicating appeal of ballet as an art form. Alice Robb tells the story of ballet in the twentieth century through her experience at the School of American Ballet and the cult-like legacy of its founding choreographer, George Balanchine, who dictated the lives of "his" dancers – shaping their bodies, selecting their perfumes, haunting their dreams – inspiring obsession and regret. We are left with the question: can the pursuit of ballet perfection justify the suffering depicted in this book?' —Rebecca May Johnson, author of Small Fires'This riveting memoir-meets-critical-appraisal examines classical ballet, revealing it to be less career, more cult — and as psychologically and physically brutal as it is beautiful.' —Daily Mail'Don’t Think, Dear is part memoir, part investigation, and enthralling whether or not you have any knowledge of ballet.' —New Statesman'Weaving together Robb’s own story with her fellow students and ballet icons such as Misty Copeland and Margot Fonteyn, it’s an overdue contemporary re-examination of this gruelling artform.' —Independent, 'Books to Look Forward to in 2023''Robb, who studied at the School of American Ballet in New York until the age of twelve, is the perfect guide, her insider insights balanced by the observations of outsiders and leavened with darts of self-effacing humour… The details are visceral and grimly compelling.’ —Literary Review'A rigorous yet loving examination of a childhood passion told through a feminist lens. Don’t Think, Dear is full of clarity, even about questions that will never get completely clear answers.' —Rebecca Traister, author of Good and Mad'I don’t think I’ve ever felt so seen by an author: Alice Robb says aloud the conundrums I’ve been wrestling with since adolescence but wasn’t able to put into words. Her storytelling prowess and sharp analysis help contextualize my own experience in the ballet in a way I didn’t realize I needed. I wouldn’t trust anyone but Alice Robb in handling a subject so close to my heart.' —Sophie Flack, author of Bunheads'Don’t Think, Dear is an extraordinary book full of poignant storytelling and profound insights. Robb masterfully weaves memoir, reportage, and criticism into a superbly crafted meditation on ballet and its broader cultural impact.' —Marisa Meltzer, author of Glossy and This is Big'With intelligence and grace, Alice Robb offers a history of American ballet through the lens of her own nuanced, intimate relationship with a legendary New York City institution. Neither romanticising or decrying the dance world, Robb beautifully explores the push-pull of masochism and perfectionism – preoccupations not just relevant to aspiring dancers, but to anyone who's ever pursued an almost-impossible dream.' —Ada Calhoun, author of Why We Can't Sleep'Here is a memoir, a love letter, a cultural history, and a long-awaited reckoning of the most iconic feminine ideal. Robb's intimate and frank examination of ballet's legacy – both in and outside of studios and performance halls—shows us all the many ways it continues to shape our lives and bodies. Chapter to chapter, this book is both brutal and beautiful, like its subject.' —Sarah Gerard, author of Sunshine State and True Love

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Book SynopsisPerfect twins. Perfect victims. Trade Review'Clara & Olivia dances with historical details, with unease and atmosphere. You can feel the mist of the London canals, hear the ballet shoes touching the stage.' Abigail Dean, author of Girl A‘This unsettling tale… As the story follows the rehearsals for the ballet Coppelia, we receive a quick-fire education on how the ballet works and why it inspires obsession… An original thriller with a crafty plot.’ Daily Mail'This book was a joy to read from start to finish. Ashe's writing is razor-sharp with a lyrical edge to it, and there were times when I wished I could write just as well. Rich, mesmerising and compelling, Clara & Olivia heralds the arrival of a bright new voice in literary fiction. This one will have the cash registers ringing.' Awais Khan, author of No Honour‘A spellbinding thriller, set against a fascinating background and so beautifully written.’ Frances Quinn, author of The Smallest Man'Lucy has created a mesmerising atmosphere in her debut novel. This story is one of dreadful, delirious ambition as well as the relentless drive for perfection - both as a woman and a performer - that cannot be sustained. Every violent act is a protest against this paralysing perfection. Beautiful.' Sally Oliver, author of The Weight of Loss'Vividly rich and full of depth... A compellingly chilling work by a debut author who makes storytelling look easy. An expertly crafted filmic depiction of gritty twin leads desperate to succeed in these dark streets while harbouring even darker motivations. A novel that entraps you within its web of sinister secrets; I pirouetted from page to page desperate to know what happens. This book has everything and I will be recommending it to everybody.' Ashley Hickson-Lovence, author of The 392‘Ashe trained with the Royal Ballet School, and she is fascinating on the detail of the girls’ lives; on the pain and the bloodied feet that underpin the perfection of the dance... A wonderful, eye-opening debut.’ Times'Haunting and richly evocative, Clara & Olivia takes the reader on a spell-binding journey through the 1930s London ballet scene, in which the beauty and elegance of the participants is the flip side of a destructive drive for perfection and darkly murderous obsessions. Lucy Ashe’s debut is absolutely en pointe.' Lexie Elliott, author of How to Kill Your Best Friend'Lucy Ashe’s debut novel is a clever thriller set in a world which she knows so well, having trained at the Royal Ballet School and being a twin... Take a bow, Ms Ashe.' Historical Novel Review'Clara and Olivia is a delight, a book that is at times historical fiction, at times a love story to ballet, and at times even a bit of a thrilling whodunit.' Bookbag‘Quite a debut, very assured and confident… A wonderfully told story which will appeal to a wide range of people because of the interesting characters and a strong plot threaded throughout.’ @emreadsthebooks

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Book SynopsisPerfect twins. Perfect victims. Trade Review'Clara & Olivia dances with historical details, with unease and atmosphere. You can feel the mist of the London canals, hear the ballet shoes touching the stage.' Abigail Dean, author of Girl A‘This unsettling tale… As the story follows the rehearsals for the ballet Coppelia, we receive a quick-fire education on how the ballet works and why it inspires obsession… An original thriller with a crafty plot.’ Daily Mail'This book was a joy to read from start to finish. Ashe's writing is razor-sharp with a lyrical edge to it, and there were times when I wished I could write just as well. Rich, mesmerising and compelling, Clara & Olivia heralds the arrival of a bright new voice in literary fiction. This one will have the cash registers ringing.' Awais Khan, author of No Honour‘A spellbinding thriller, set against a fascinating background and so beautifully written.’ Frances Quinn, author of The Smallest Man'Lucy has created a mesmerising atmosphere in her debut novel. This story is one of dreadful, delirious ambition as well as the relentless drive for perfection - both as a woman and a performer - that cannot be sustained. Every violent act is a protest against this paralysing perfection. Beautiful.' Sally Oliver, author of The Weight of Loss'Vividly rich and full of depth... A compellingly chilling work by a debut author who makes storytelling look easy. An expertly crafted filmic depiction of gritty twin leads desperate to succeed in these dark streets while harbouring even darker motivations. A novel that entraps you within its web of sinister secrets; I pirouetted from page to page desperate to know what happens. This book has everything and I will be recommending it to everybody.' Ashley Hickson-Lovence, author of The 392‘Ashe trained with the Royal Ballet School, and she is fascinating on the detail of the girls’ lives; on the pain and the bloodied feet that underpin the perfection of the dance... A wonderful, eye-opening debut.’ Times'Haunting and richly evocative, Clara & Olivia takes the reader on a spell-binding journey through the 1930s London ballet scene, in which the beauty and elegance of the participants is the flip side of a destructive drive for perfection and darkly murderous obsessions. Lucy Ashe’s debut is absolutely en pointe.' Lexie Elliott, author of How to Kill Your Best Friend'Lucy Ashe’s debut novel is a clever thriller set in a world which she knows so well, having trained at the Royal Ballet School and being a twin... Take a bow, Ms Ashe.' Historical Novel Review'Clara and Olivia is a delight, a book that is at times historical fiction, at times a love story to ballet, and at times even a bit of a thrilling whodunit.' Bookbag‘Quite a debut, very assured and confident… A wonderfully told story which will appeal to a wide range of people because of the interesting characters and a strong plot threaded throughout.’ @emreadsthebooks

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Book SynopsisCan ballet ever be reconciled with feminist ideals?Trade Review'Beautiful, difficult, and compelling.' —Vanity Fair'Part memoir, part journalistic investigation, the book weaves [Robb’s] early experiences as a dancer with those of her contemporaries, and of famous ballerinas… Don’t Think, Dear is powered by a fundamental love of the art form while exposing the toxic culture that runs through it.' —Guardian‘[Robb’s] timely book is a critical yet personal examination of classical ballet – a performing art highly dependent on the talent of women – filtered through the lens of 21st-century feminism… she brings a welcome academic rigour to a subject clearly born of deeply held emotions.’ —The Times'A study of an obsession remarkable for its nuance and insight… [Robb] succeeds in conveying, in a refreshingly unromantic way, what is still valuable about the art form… It might be easy… to assume that Don’t Think, Dear is Robb’s litany of grievances about a demanding art form in which she failed to flourish. Rather, it is a book about love, even if that love is ultimately unrequited… fascinating.' —TLS‘[A] nuanced, intimate mashup of memoir, reportage and cultural criticism.’ —Observer'This addictive memoir is a vital account of the intoxicating appeal of ballet as an art form. Alice Robb tells the story of ballet in the twentieth century through her experience at the School of American Ballet and the cult-like legacy of its founding choreographer, George Balanchine, who dictated the lives of "his" dancers – shaping their bodies, selecting their perfumes, haunting their dreams – inspiring obsession and regret. We are left with the question: can the pursuit of ballet perfection justify the suffering depicted in this book?' —Rebecca May Johnson, author of Small Fires'This riveting memoir-meets-critical-appraisal examines classical ballet, revealing it to be less career, more cult — and as psychologically and physically brutal as it is beautiful.' —Daily Mail'Don’t Think, Dear is part memoir, part investigation, and enthralling whether or not you have any knowledge of ballet.' —New Statesman'Weaving together Robb’s own story with her fellow students and ballet icons such as Misty Copeland and Margot Fonteyn, it’s an overdue contemporary re-examination of this gruelling artform.' —Independent, 'Books to Look Forward to in 2023''Robb, who studied at the School of American Ballet in New York until the age of twelve, is the perfect guide, her insider insights balanced by the observations of outsiders and leavened with darts of self-effacing humour… The details are visceral and grimly compelling.’ —Literary Review'A rigorous yet loving examination of a childhood passion told through a feminist lens. Don’t Think, Dear is full of clarity, even about questions that will never get completely clear answers.' —Rebecca Traister, author of Good and Mad'I don’t think I’ve ever felt so seen by an author: Alice Robb says aloud the conundrums I’ve been wrestling with since adolescence but wasn’t able to put into words. Her storytelling prowess and sharp analysis help contextualize my own experience in the ballet in a way I didn’t realize I needed. I wouldn’t trust anyone but Alice Robb in handling a subject so close to my heart.' —Sophie Flack, author of Bunheads'Don’t Think, Dear is an extraordinary book full of poignant storytelling and profound insights. Robb masterfully weaves memoir, reportage, and criticism into a superbly crafted meditation on ballet and its broader cultural impact.' —Marisa Meltzer, author of Glossy and This is Big'With intelligence and grace, Alice Robb offers a history of American ballet through the lens of her own nuanced, intimate relationship with a legendary New York City institution. Neither romanticising or decrying the dance world, Robb beautifully explores the push-pull of masochism and perfectionism – preoccupations not just relevant to aspiring dancers, but to anyone who's ever pursued an almost-impossible dream.' —Ada Calhoun, author of Why We Can't Sleep'Here is a memoir, a love letter, a cultural history, and a long-awaited reckoning of the most iconic feminine ideal. Robb's intimate and frank examination of ballet's legacy – both in and outside of studios and performance halls—shows us all the many ways it continues to shape our lives and bodies. Chapter to chapter, this book is both brutal and beautiful, like its subject.' —Sarah Gerard, author of Sunshine State and True Love

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Book SynopsisAn unputdownable tale of obsession, jealousy and heartache against the backdrop of WW2Trade Review'This was such a well-written and gripping read and I was completely in awe of how Ashe kept me guessing with the story’s twists. You will not be able to put it down!' Stacey Thomas, author of The Revels 'A compelling novel with a twist that you won't see coming! It completely arrested my attention and I couldn't stop reading until I'd devoured every single page.' Awais Khan, author of No Honour'Rich with historical detail and high-stakes drama. Mesmerising.' Alice Robb, author of Don't Think, Dear'An enchanting mix of historical fiction, fairy tale, and above all, ballet novel. Ashe's ballet background shines through as her dancers come to life... Well researched, but communicated with a light touch. Recommended for anyone who ever dreamed of becoming a dancer.' Laura Shepperson, author of Sunday Times bestseller The Heroines'A wonderfully compelling, truly competent thriller... Rarely have I been so keen to uncover the truth. Simply excellent.' Historical Novel Society'Lucy Ashe has done it again - a beautiful, intriguing historical novel... Rich and compelling... This is a novel to sink into and luxuriate in.' Cailean Steed, author of Home

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Book SynopsisEighteen, a dangerous age, when you have to cut your way into life. Mirrors, a piano. Erotic reflections, practice, ritual. Not an ordinary career, ballet. And for Elaine, possessed by ambition, sees everything she craves in the exquisite Beverley Soames - success and more... Watching, imitating, borrowing. There's no threat in that, is there?Trade ReviewHard edged, striking and truthful, Novelist Julian Rathbone; Poignant and believable, Averil Ashfield, Transworld Books; A great gift for portraying the agonies and ecstasies of adolescence. A rare talent, Writer Frederick E Smith; Holds the tension like a perfect arabesque, Gill Kay Ingenu/e Magazine; I read it at a single sitting. Perceptive writing wonderfully spiked with bitchiness, Thriller writer Graham Hurley

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Book SynopsisThe Ward Collection of the Harvard Theatre Collection is comprised of thousands of books, scores, librettos, playbills, illustrations, and ephemera relating to public performances incorporating music and dance. With over 1,600 entries and 40 color illustrations, this book explores the historical significance of the King's Theatre to cultural life.

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Book SynopsisEva Ibbotson was born in Vienna in 1925 and fled to England with her family when the Nazis came to power. She became a writer while bringing up her four children in Newcastle. Her bestselling novels have been published and loved by readers around the world.Her novels for adults, all rich historical romances, convey her deep love of the arts, the Austrian countryside, and the importance of belonging.In 2001, her children's novel Journey to the River Sea won the Nestle Gold Award and was shortlisted for the Carnegie Medal, the Whitbread Children's Book of the Year and the Guardian Children's Fiction Prize.Eva passed away peacefully in October 2010 at the age of eighty-five.

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Book SynopsisHow do teachers create a classroom environment that promotes collaborative and inquiry-based approaches to learning ballet? How do teachers impart the stylistic qualities of ballet while also supporting each dancer's artistic instincts and development of a personal style? How does ballet technique education develop the versatility and creativity needed in the contemporary dance environment?Creative Ballet Teaching draws on the fields of Laban/Bartenieff Movement Analysis (L/BMA), dance pedagogy, and somatic education to explore these questions. Sample lesson plans, class exercises, movement explorations, and journal writing activities specifically designed for teachers bring these ideas into the studio and classroom. A complementary online manual, Creative Ballet Learning, provides students with tools for technical and artistic development, self-assessment, and reflection.Offering a practical, exciting approach, Creative Ballet Teaching is a must-rTable of ContentsINTRODUCTIONPART I RETHINKING CREATIVITY, COMMUNITY, AND TECHNIQUE IN THE BALLET CLASSROOMChapter One Drawing inspiration from creative movement: teaching and planning from movement conceptsChapter Two Drawing inspiration from creative movement: developing body knowledge and improvisation skillsChapter Three Drawing inspiration from dance teachers: teaching students how to use your "tools"Chapter Four Drawing inspiration from dance students: learning from peers Chapter Five Laban/Bartenieff Movement Analysis: a tool for facilitating creativity, community, and technique PART II IMPROVING BALANCE AND MOTION Chapter Six Discovering the three-dimensional body: Shape Flow Support and Shape Qualities Chapter Seven Balancing three-dimensionally: Spatial Intent and Countertensions Chapter Eight Moving three-dimensionally: Traceforms and Kinesphere PART III DEEPENING DYNAMISMChapter Nine The dynamic palette: introduction to Effort Chapter Ten Fluidity: Free and Bound Flow Chapter Eleven Varying intensity: Strong and Light Weight Chapter Twelve Rhythmical nuance: Sudden and Sustained Time Chapter Thirteen Attentive movement: Direct and Indirect Space Chapter Fourteen Playing with the Effort palette

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Book SynopsisAs principal dancer with Montréal-based company La La La Human Steps, Louise Lecavalier was among the most iconic dancers of her generation: strong, muscled, androgynous, punk. Moving with spectacular speed, precision and an athletic physicality, her commitment to dancing would ultimately transform the potential of what bodies within Western concert dance could do. Drawing on extensive oral history accounts and archival material, the book follows Lecavalier's impact on the evolving aesthetic of La La La Human Steps, via the development of its early repertoire, and offers the first sustained account of her 1982 solo Non, Non, Non, je ne suis pas Mary Poppins. More, it tracks diverse influences and sources for the repertoire, complicating understandings of nationalism in Québec, while marking the significance of the collective in generating new aesthetics. What emerges is a portrait of the dancer as artist, icon, labourer and mover of cultural discourse. Featuring aTrade Review[Lecavalier's] extreme dance, filled with a fiery energy, caught the imagination of a whole generation. * New York Live Arts *Table of ContentsIntroduction: Letter from a Dancer Chapter 1: Off-Axis: Expressionist Legacies, Punk Realities Chapter 2: No No No: Re/Working Labour and Aesthetics Chapter 3: Icon/Street/City: From Dancer to Discourse Chapter 4: Black Aesthetics/White Dreadlocks: Love, Hate and Rehearsals of Culture Conclusion: Letter from A Dance Fan Bibliography Index

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Book SynopsisThroughout the centuries, ballet has had a rich and ever-evolving role in the humanities. Renowned choreographers, composers, and performers have contributed to this unique art form, staging enduring works of beauty. Significant productions by major companies embrace innovations and adaptations, enabling ballet to thrive and delight audiences all over the globe. In The Encyclopedia of World Ballet, Mary Ellen Snodgrass surveys the emergence of ballet from ancient Asian models to the present, providing overviews of rhythmic movement as a subject of art, photography, and cinema. Entries in this volume reveal the nature and purpose of ballet, detailing specifics about leaders in classic design and style, influential costumers and companies, and trends in technique, partnering, variation, and liturgical execution. This reference covers:ChoreographersComposersCostumers Dance companiesDancersProductionsSet designersTechniquesTerminologyAmong the principal figures included here are Alvin AileTrade ReviewEncyclopedist Snodgrass concentrates here on the historical and international aspects of ballet. The book’s 170 entries, which are complemented by a variety of color and black-and-white photographs, address topics such as people (dancers, choreographers, companies), ballets, eras, and concepts. A chronology spans from 802 CE (Apsara court dance) to the present. Each summary provides an overview citing a single source supported by the bibliography (at the end of the book) that separates primary and secondary sources. American Ballet Theatre and the Bolshoi are examined, along with the Greek National Opera Ballet, Shanghai Ballet, and Philippine Ballet Theatre, among others. Les Ballets Trockadero de Monte Carlo and Nederlands Dans Theater are also featured. Major Ballets (Swan Lake, The Nutcracker, The Rite of Spring) are profiled along with important choreographers (Marius Petipa, George Balanchine, Isadora Duncan). Dancers (Mikhail Baryshnikov, Margot Fonteyn, Vaslav Nijinksy) and the interesting subjects of folkloric ballet and ballet music are highlighted. Concepts such as character role, divertissement, and partnering are considered, as are attire, including shoes. Verdict: This encyclopedia contributes significant information as a starting point in learning about the many facets of ballet and will be helpful to high school and college students doing research papers on the subject. Teens may enjoy it as a view on the terpsichorean world. Libraries should own a current dance encyclopedia, and this single volume with an international focus is an ideal choice. * Library Journal *With a spotlight on ballet all over the world that includes many smaller European and Asian companies as well as the larger and more familiar American and European companies that are frequently the subject of such a work, this is one book that lives up to its title. It opens with a chronology of important dates in ballet history, from its beginnings to the present day. Following that are alphabetically arranged entries covering concepts, people, musicians, choreographers, companies, ballets, eras, issues, and dance manuals. In the center of it all is a gorgeous color photo spread featuring many dancers and companies not usually included in dance reference works of this type. Elsewhere throughout the book, there are some historical black-and-white photographs. . . .[T]he book's true worldview, carefully compiled bibliography, and appealing photographs make it a solid ballet reference work suitable for any performing-arts collection. * Booklist *This volume contains, appropriately, many highlights of the world of ballet. Filled with well-executed entries written by prolific encyclopedist Snodgrass, this new encyclopedia includes some of the most important people, places, and events in ballet history. Entries feature renowned dancers and choreographers, notable dance companies, ballet language and terminology, and composers, costumers, and set designers. Famous or notable productions are also included. A time line of important and significant events beginning in 802 through 2015 begins the encyclopedia. Some peripheral aspects of ballet are also included, such as ballet in art and film and its infusion into Broadway. A bibliography of primary and secondary resources and an extensive index complete the volume. Interspersed throughout are historical black-and-white photographs along with some inspiring color photos inserted in the center of the work. . . .[T]he need for an up-to-date encyclopedia on the subject is long overdue. Any comparable work in this area is at least 15 years old or more. The volume will be useful to ballet practitioners as well as colleges and universities with dance programs. Summing Up: Recommended. All academic levels; general readers; professionals/practitioners. * CHOICE *Entries are informed and informative, with tightly organized factual details about the lives and achievements, musical and choreographic ideas and dance and staging challenges involved. There is a comprehensive index which enables the reader to follow through topics across the book…. The quality of the entry information is self-evidently good…and the coverage of world topics is helpful to the intended readership…. The strengths, then, of this reference work are enough to recommend it to any library seriously serving courses on dance and ballet, and the implied bibliography is worth pursuing for its own sake. * s *Table of ContentsPreface Acknowledgments Introduction Text A-Z Chronology Primary Sources Secondary Sources Index About the Author

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Book Synopsis Part memoir, part dance history and ethnography, this critical study explores ballet''s power to inspire and to embody ideas about politics, race, women''s agency, and spiritual experience. The author knows that dance relates to life in powerful individual and communal ways, reflecting culture and embodying new ideas. Although ballet can appear (and sometimes is) elite and exclusionary, it also has revolutionary potential.

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Book SynopsisDavid Hallberg, the first American to join the famed Bolshoi Ballet as a principal dancer and the dazzling artist The New Yorker described as “the most exciting male dancer in the western world,” presents a look at his artistic life—up to the moment he returns to the stage after a devastating injury that almost cost him his career.Beginning with his real-life Billy Elliot childhood—an all-American story marred by intense bullying—and culminating in his hard-won comeback, Hallberg’s “moving and intelligent” (Daniel Mendelsohn) memoir dives deep into life as an artist as he wrestles with ego, pushes the limits of his body, and searches for ecstatic perfection and fulfillment as one of the world’s most acclaimed ballet dancers. Rich in detail ballet fans will adore, Hallberg presents an “unsparing…inside look” (The New York Times) and also reflects on universal and relatable themeTrade Review"Candid and engrossing...It's about love--crazy, confusing love, an artist's obsessive love for his art." * The Washington Post *"Elegant...fascinating...inspiring...Anyone interested in the creative process will appreciate this thoughtful account of the life of an accomplished artist." * Booklist *“It comes as no surprise that David Hallberg’s moving and intelligent memoir should display the extraordinary qualities—of intelligence, elegance, liveliness and, yes, wit—that have marked his extraordinary dancing over the past decade. This tale of an artist’s crisis and astonishing recovery eschews any self-pity, instead taking power from the strengths characteristic of the best dancers: resilience, unsentimental self-awareness, and an inextinguishable joy. A wonderful book for balletomanes and everyone else.” -- Daniel Mendelsohn“David demonstrates well the emotional as well as physical demands of dance.” -- Twyla Tharp"Unsparing...an inside look at...the endless hours of rehearsal, the preparation that informs the tiniest of details, the constant traveling, the brief thrill of performance." * The New York Times *“An inspiring story of Hallberg's rise to the pinnacle of his profession and his battle to reclaim his career. A moving…account of every dancer's worst nightmare and the sacrifices required to overcome it." * Kirkus Reviews *“Performing as effortlessly on the page as he does on the stage, Hallberg, who returned to ABT in top form this year, writes about the technicalities of his craft with clarity and precision. Readers of every taste will find much to relish in his inspiring book (balletomanes will consume it in a couple of sittings). Should Hallberg choose to take it on when he retires, a new role may await him: writer.” * BookPage *"What makes A Body of Work a must-read is the raw honesty with which Hallberg describes the intense lonliness of a jet-setting career, his oscillation between extreme perfectionism and uninspired listlessness, and his harrowing mindset as he faced, and ultimately overcame, what was nearly a career-ending injury." * Dance Magazine *"Compelling...for anyone who would like to get to an intimate view of the creative process and the challenges, dedication, and euphoria of being an artist....It's a book for everyone with a heart." * DC Metro Theater Arts *

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Book SynopsisDance Partnering Basics: Practical Skills and Inclusive Pedagogy With HKPropel Access presents easy-to-implement, technique-based partnering instruction for dancers of all ages. The exercises and techniques, which are broken down into parts and presented in a skill progression, from beginner to advanced, can be applied to a variety of dance forms. The book offers a plethora of tools to help dance educators in providing expert partnering instruction: 18 illustrated exercises that teach techniques, mechanics, and individual partnered skills; each exercise includes additional variations and explorations Tips for developing a partnering component and integrating it into an existing dance program or curriculum Related online materials delivered via HKPropel, including video clips demonstrating partnering exercises, vocabulary, questions for discussion and reflection, and assessments and rubrics to help assess student progress IncTable of ContentsChapter 1. Introduction to Dance PartneringChapter 2. Time: Getting Started Exercise 1: Grasp and Clasp Exercise 2: Trust Building Exercise 3: Active and Passive Exercise 4: Weight Sharing Exercise 5: Counterbalance Exercise 6: Shelves and LedgesChapter 3. Weight: Digging Deeper Exercise 7: Draping Exercise 8: Airplanes Exercise 9: Redirection and Leverage Exercise 10: Under, Over, and Through Exercise 11: Falling and Rocking Exercise 12: Assisted InversionsChapter 4. Energy and Flow: Activating Creativity Exercise 13: Hip Rides Exercise 14: Promenade Exercise 15: Traditional Lifts Exercise 16: Initiation and Suggestion Exercise17: Rolling Points Exercise 18: Me ScoreChapter 5. Space: Fostering Community and Inclusive Pedagogy

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Book SynopsisThalia Mara's story spans the history of dance in the twentieth century and the rise of the arts in her adopted city of Jackson, Mississippi. To Dance, to Live: A Biography of Thalia Mara gives the first full account of a life devoted to the arts.

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Book SynopsisFrom the author of Miss You comes Kate Eberlen's impossibly romantic second novel, Only You.One person is all it takes to change a lifetime . . . But how will you know if they’re the one?PresentLetty and Alf are the only English speakers at an Italian class in Rome, where they discover the language that really connects them is dance: Letty’s first love was ballet, while Alf was a junior ballroom champion. They come from different worlds, until the moment they waltz around the Piazza Navona, and everything changes. PastBut one moment can’t change the past, and it’s clear that Alf and Letty still have their secrets. What caused them to leave their lives behind in England? And who, or what, are they running from? As their relationship deepens, it becomes harder and harder to tell the truth . . .FutureWhen the unthinkable happens, Letty returns to London and Alf to Blackpool. Will they spend their lives apart, or discover a future together?'The book we all need right now. Charming, tender, funny – and sweet without being sickly, like the very best gelato – it's utterly glorious escapism.' – Veronica Henry, author of A Wedding at the Beach HutTrade ReviewOnly You is the book we all need right now. Charming, tender, funny -- and sweet without being sickly, like the very best gelato -- it's utterly glorious escapism. You will gulp it down more quickly than an Aperol Spritz on a hot summer's night. Perfetto! -- Veronica HenryKate Eberlen’s first book, Miss You, was a huge hit and Only You is just as compelling. Wildly romantic, touching and wise, it will keep you reading until dawn * Sunday Express/S Magazine *If romantic fiction is your cup of tea, you’ll love this touching story of a pair of 20-somethings who meet at a language school in Rome . . . Kate Eberlen’s previous book, Miss You, was a bestseller and Only You is just as good, with wonderful descriptions of Rome’s iconic landmarks * Independent *A gorgeous, uplifting romantic story with all the sparkle of a glass of Prosecco -- Fanny BlakeThe author of the brilliant Miss You is back with [another] read you’re sure to love . . . Exquisite * The Sun *If ever there was a time we needed to be swept off our feet and transported elsewhere, this is it. Cue Kate Eberlen's wonderfully romantic second novel, set in Rome . . . Perfectly plotted * Woman's Weekly *A love story with a difference and its ballroom dancing lead characters will charm fans of Strictly Come Dancing * Daily Express *I read it in a single day, savouring every moment but also breathless with wanting to know how it would end. And the clever twists! I didn’t see a single one coming. And the ending itself – I could have danced. I certainly cried. Just wonderful -- Joanna Nadin, author of The Queen of Bloody EverythingA beautiful love story * Bella Magazine *I loved it! I keep thinking about the characters and their lives. It’s wonderful to feel Kate’s passion for my beloved art form ballet. I felt touched in many ways reading this novel -- Marianela Nuñez, Prima Ballerina of The Royal BalletBeautifully realised and utterly beguiling -- Janet Ellis, author of How It WasImpossibly romantic * Sunday Post *While we’re all stuck at home, we need to be able to live and love vicariously so Only You, with its romantic Rome setting is just the thing for some literary escapism -- Sarra Manning, Red magazineA truly wonderful book. I loved it -- Alexandra Potter, author of Confessions of a Forty-Something F*ck Up

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Book Synopsis'Swan Dive is to ballet what Anthony Bourdain’s Kitchen Confidential was to restaurants, a chance to go behind the serene front of house to the sweaty, foul-mouthed, psychofrenzy backstage.' Daisy Goodwin, Sunday TimesAward-winning New York City Ballet soloist Georgina Pazcoguin, aka the Rogue Ballerina, gives readers a backstage tour of the real world of elite ballet – the gritty, hilarious, sometimes shocking truth you don’t see from the orchestra circle.In this love letter to the art of dance and the sport that has been her livelihood, NYCB’s first Asian American female soloist Georgina Pazcoguin lays bare her unfiltered story of leaving small-town Pennsylvania for New York City and training amid the unique demands of being a hybrid professional athlete/artist, all before finishing high school. She pitches us into the fascinating, whirling shoes of dancers in one of the most revered ballet companies in the world with an unapologetic sense of humour about the cutthroat, survival-of-the-fittest mentality at NYCB. Some swan dives are literal: even in the ballet, there are plenty of face-plants, backstage fights, late-night parties, and raucous company bonding sessions.Rocked by scandal in the wake of the #MeToo movement, NYCB sits at an inflection point, inching toward progress in a strictly traditional culture, and Pazcoguin doesn’t shy away from ballet’s dark side. She continues to be one of the few dancers openly speaking up against the sexual harassment, mental abuse, and racism that in the past went unrecognized or was tacitly accepted as par for the course – all of which she has painfully experienced firsthand.Tying together Pazcoguin’s fight for equality in the ballet with her infectious and deeply moving passion for her craft, Swan Dive is a page-turning, one-of-a-kind account that guarantees you'll never view a ballerina or a ballet the same way again.Trade ReviewSwan Dive is to ballet what Anthony Bourdain’s Kitchen Confidential was to restaurants, a chance to go behind the serene front of house to the sweaty, foul-mouthed, psychofrenzy backstage. -- Daisy Goodwin * Sunday Times *Swan Dive is a sharp plunge into the reality of ballet in all its perfectionist genius and rigour, and all its abuses and sadism. What makes Pazcoguin’s message so haunting is that exploitation and violation are seen as the price that female dancers have to pay to perform some of the greatest dances known to humanity. -- Bidisha * Observer *Her resilience is written on every page, often in capitals, with wit and rage displayed in equal measure. -- Sarah Crompton * Sunday Times Books of the Year *A funny, poignant and shocking read . . . [Pazcoguin] punctures, with enormous glee, the stereotype of the ballet dancer as an elegant, ethereal being. -- Fiona Sturges * Guardian *Explosive . . . This is far from misery memoir. There’s a passionate joy in the dancing itself, and the lively pages are filled with colloquialisms -- Marianka Swain * Daily Telegraph *A blisteringly honest tale of overcoming hurdles — racism, misogyny, sexual harassment and psychological abuse — to reach the top of a fiendishly cut-throat industry. -- Laura Pullman * Sunday Times *A gritty, shocking yet also humorous account of the demands of life as an elite dancer from the first Asian American female soloist at the New York City Ballet. * i News *Ballet fans should definitely get their hands on Swan Dive by Georgina Pazcoguin which is a truthful, funny, shocking and scandalous exploration of elite ballet. * Stylist *Pazcoguin's highly readable account of a life in the most painful profession . . . a power pack of inspiration. * Strong Words *A page-turner * New York Times *Witty, sobering, hell-raising . . . Pazcoguin exposes more turmoil at New York City Ballet than any fictional melodrama could hope to match. Good luck trying to look away. . . . There are enough real-life crises in this brisk, often laugh-out-loud tell-all to light the imagination of any cable TV script writer. But with her string of criticisms and even in her crazy-funny asides, Pazcoguin has a serious point to make about the ballet world * Washington Post *While the juicy details of beautiful people behaving badly are beguiling, it’s Pazcoguin’s unsparing criticism of the industry that begs an encore. This is potent stuff * Publishers Weekly *Always arresting onstage, Georgina Pazcoguin gives us a take on the ballet world that is witty and from the heart. An eye-opening read. -- Mikhail BaryshnikovRevelatory . . . Sure to ruffle some tutus * New York Post *Come for the unfiltered peek behind the curtain, stay for the accessible, often hilarious writing * Dance Magazine *Pazcoguin writes with astounding passion about her achievements, and her prose is enchanting as she describes finally being comfortable in her own skin. Vulnerable, raw, and full of grit, this is the story of a woman who has been broken yet clawed her way to victory . . . A personal tale of darkness, passion, and euphoric triumph * Library Journal *In her brisk, spirited debut memoir, [Pazcoguin] recounts her experiences in the competitive, hierarchal ballet world . . . A lively chronicle of dedication and joy. * Kirkus Reviews *Aggressively entertaining. . . [Swan Dive] is equal parts autobiography, insider intel, and righteous indignation * Shelf Awareness *A thoroughly captivating read. Determination and passion are the cornerstones of Georgina’s magic onstage and off, and her humor and wit make this peek behind the curtain like no other dance memoir. Her courage in the face of adversity is to be admired -- Chita RiveraGeorgina has led quite the journey to become the woman she is today. She exemplifies a natural, nostalgic showgirl attitude combined with the sensitivity and precision of a life in ballet. -- Zac PosenThis is a fearless book written with a courageous, blazing spirit. Georgina’s story compels you to look at yours as fiercely as she examines hers. -- Jose Antonio Vargas, founder of Define American and author of Dear America: Notes of an Undocumented CitizenGeorgina Pazcoguin has brought the glories of ballet and technique into a new light. She is refinement and explosion wrapped into a woman whose personal style is ready for the runway. She can captivate an opera house as easily as she can earn the adoration of a young fan. . . . You will find Swan Dive to be a wild ride dancing between risk and balance, legacy and possibility. -- Andy Blankenbuehler, award-winning choreographer of In the Heights and Hamilton

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Book SynopsisJoy Womack made history in 2012 when she became the first American ballerina to sign a contract with the Bolshoi Ballet Theater in Moscow, Russia. It's a dream she left her home country for and spent years of training to achieve. But dancing in Moscow was not the Onion Dome and Tchaikovsky soundtrack fairy tale she'd hoped for. The Bolshoi and its school were filled with cutthroat competition, acts of violence, and coaches who encouraged obsessive devotion. They sent her on stage with broken bones, helped her forge immigration paperwork, and encouraged her to toe a dangerous political line - all for the privilege of dancing on one of the world''s most storied stages. As Joy's career took off and she made a name for herself in the Russian ballet world, she had to face a hard choice. Despite her love for her adopted homeland and its world-famous theaters, she was aware of the growing dangers of a professional lifestyle descending into corruption. Her concerns grew stronger with the awareness of a possible war with Russia''s neighbor, Ukraine. Joy spent three years dancing prima roles for the Kremlin Palace Theater and now lives in Paris with her husband, where she performs internationally and with the Paris Opera.

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Book SynopsisThis pioneering study of ballets staged in Parisian music halls brings to light a vibrant dance culture central to the renewal of French choreography at the fin de siècle. This pioneering study of Parisian music-hall ballet brings to light a vibrant dance culture that was central to the renewal of French ballet at the turn of the twentieth century. Long thought a lost period for ballet in France, the fin de siècle in fact saw a flourishing of choreographic activity. More than four hundred ballets were created to great acclaim, half of which were full-scale pantomime-ballets, with entertaining narratives, catchy music, titillating choreography, lavish sets and costumes, appealing corps girls, and star ballerinas. Most of these productions were staged not at the elite Paris Opéra but in the city's trendiest commercial venues: music halls. Between 1871 and 1913, the Folies-Bergère, the Olympia, and the Casino de Paris brought together the era's leading authors of light theater and comic opera to produce a flurry of imaginative ballets that combined the conventional structures of high art with the popular idioms of mass entertainment. They also drew unprecedented numbers of people who had never before attended ballet. Parisian Music-Hall Ballet, 1871-1913 rediscovers this repertoire and culture, supplying a missing chapter in the history of French dance. Sarah Gutsche-Miller is Assistant Professor of Musicology at the University of Toronto.Trade Review[A] compelling contribution to French dance and music history. The author's new and important insights contribute much to our understanding of the dramatic achievements of the 'historical avant-garde' in the early decades of the twentienth century. * DANCE RESEARCH REVIEW *Gutsche-Miller's work not only illuminates the supposed 'Dark Ages' of French ballet, but also provides a vital corrective to conventional wisdom about the cultural context into which Diaghilev launched his troupe. A lucid and lively history that vividly reconstructs the art world of Parisian music-hall ballet at its three principal venues: the Folies-Bergères, the Olympia, and the Casino de Paris. Serves as a caution against focusing too narrowly on activities at only the most powerful and prestigious 'high art' institutions. The book's generous appendices...will prove an invaluable reference for scholars wishing to investigate thsi repertory further. MUSIC & LETTERS [Helena Kopchick Spencer] * . *Gutsche-Miller's meticulous research provides a glimpse of these now-lost ballets, created at the impressive rate of four to six new works per year. Points to canny ways that composers used music to evoke place, atmosphere, and character . . . Gutsche-Miller's greatest contribution lies in her insistence that this popular genre is worthy of serious scholarly inquiry. * NINETEENTH-CENTURY FRENCH STUDIES *Table of ContentsList of Figures Acknowledgments Introduction The Venues and the Shows Music Halls for Tout-Paris Creative Artists: Authors, Composers, and Choreographers The Ballet-Divertissement Real Pantomime-Ballets: The Choreographic Conventions of 1890s Music-Hall Ballet Music as Storyteller: The Musical Conventions of 1890s Music-Hall Ballet As Pleasing to the Ear as to the Eye: A Popular Musical Style The Stories of Music-Hall Ballet: Romance, Flirtations, and Other Pleasures A Delight to Behold: Glitter, Glamour, and Girls Appendix A: Tables of Ballets Staged by the Folies-Bergere, the Olympia, and the Casino de Paris Appendix B: Synopses of Ballets Staged at the Folies-Bergere, the Olympia, and the Casino de Paris Notes Bibliography Index

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Book SynopsisThis book explores the crossroads between autobiographical narratives and musical composition in Alban Berg's Lulu, unveiling aspects of encoded social customs, gender identity, and personal experiences within musical structures. Exploring the crossroads between autobiographical narrative and musical composition, this book examines Berg's transformation of Frank Wedekind's Erdgeist and Die Büchse der Pandora -- the plays used in the formationof the libretto for Lulu -- according to notions of gender identity, social customs, and the aesthetics of modernity in the Vienna of the 1920s and 1930s. While Berg modernized several aspects of the plays and incorporatedserial techniques of composition from Arnold Schoenberg, he never let go of the idealistic Wagnerian perspectives of his youth. In fact, he went as far as reconfiguring aspects of Richard Wagner's life as an ideal identity to beplayed out in the compositional process. In composing the opera, Berg also reflected on the most important cultural figures in fin-de-siècle Vienna that affected his worldview, including Karl Kraus, Emil Lucka, Otto Weininger, andothers. Combining analysis of Berg's correspondence, numerous sketches for Lulu, and the finished work with interpretive models drawn from cultural studies and philosophy, this book elucidates the ways in which Berg grappled at the end of his life with his self-image as an "incorrigible romantic," and explains aspects of his musical language that have been considered strange or anomalous in Berg scholarship. Silvio J. dos Santos isassistant professor of musicology at the University of Florida.Trade ReviewDr. dos Santos has not only contributed a uniquely compelling work to the existing body of literature on Berg's music, but he has also proved that fluency in multiple methodologies and fields of inquiry can give scholars access to analyses of unprecedented nuance and scope. Cultural historians will benefit from his work as much as theorists of early twelve-tone music. * GERMAN STUDIES REVIEW *Succeeds in demonstrating how very detailed and multifaceted the engagement is, in Berg's Lulu, with the presence of Wagner['s music] and with ideas related to that presence. We can hope that [Dos Santos's] monograph is the impetus for further new insights about Lulu and for Berg research generally. -- Kordula Knaus * DIE MUSIKFORSCHUNG *[Santos has] much to say about the dramatic representation of Lulu herself, and the role of a tonality-acknowledging 12-tone technique in that representation. Makes good use of the multiplicity of recent work on Berg's manuscripts and other archival materials to outline a response to Wagner, and to modern life, that was more psychological (not excluding a possible element of erotomania) than philosophical or spiritual. -- Arnold Whittall * MUSICAL TIMES *In Narratives of Identity in Alban Berg's 'Lulu,' Silvio dos Santos goes above and beyond prior Berg scholarship with inspired and admirably thorough research. This complex and significant volume, based on expert examination of Berg's score, is the most important study of Lulu's character to come across my path in many years. A compelling narrative, which promises to be of lasting importance to scholars, musicians, and the opera-loving public. -- Mark DeVoto, Tufts UniversityTable of ContentsIntroduction Between Schoenberg and Wagner Berg as Wagner: In Pursuit of an Ideal Identity Refiguring Tristan The Bild Motif and Lulu's Idenity Marriage as Prostitution Masculine, Feminine, and "In-between": Geschwitz as neue Frau Conclusion: Berg's Wagnerism Notes Bibliography Index

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Book SynopsisTells the interwoven stories of revered dance teacher Timothy Draper, the Rochester City Ballet that he founded, and its predecessor, the Eastman Theatre Ballet, established in 1923 as the first professional ballet company in theUnited States. In this engaging book, journalist Wendy Wicks tells the story of revered dance teacher Timothy Draper, the Rochester City Ballet that he founded, and its predecessor, the Eastman Theatre Ballet, established in 1923 as the first professional ballet company in the United States. Draper, who died in 2003 at age forty-nine, trained hundreds of young dancers who have gone on to worldwide careers with illustrious companies. Wicks includes touching reminiscencesfrom these former students, interwoven with Draper's own story. The result is a compelling portrait of a complex and brilliant teacher. Wendy Roxin Wicks is a writer, editor, and publicist specializing in the performingarts. Her work has appeared in Dance Magazine and Dance Spirit Magazine. She is a graduate of Cornell University and is currently a student at the University of Rochester's Margaret Warner Graduate School of Education and Human Development.Table of ContentsIntroduction List of Artist Reminiscences Silenced Slippers Born into Rochester's Illustrious Dance Tradition Timmy Miss Olive McCue and the Mercury Ballet Off to Miss Crofton's Training for Trockadero Coconut Grove Coming Home to Build a Dream What They Did for Love Momentum An Embarrassment of Riches Finally Going to the Ball A New Home for a New Decade Living the Dream Hugs, Tim Too Young, Too Soon The School and the Company Go On Our Muses Notes Index

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Book SynopsisA critical triumph, Simon Morrison’s “sweeping and authoritative” (Guardian) work, Bolshoi Confidential, details the Bolshoi Ballet’s magnificent history from its earliest tumults to recent scandals. On January 17, 2013, a hooded assailant hurled acid into the face of the artistic director, making international headlines. A lead soloist, enraged by institutional power struggles, later confessed to masterminding the crime. Morrison gives the shocking violence context, describing the ballet as a crucible of art and politics beginning with the disreputable inception of the theater in 1776, through the era of imperial rule, the chaos of revolution, the oppressive Soviet years, and the Bolshoi’s recent $680 million renovation. With vibrant detail including “sex scandals, double-suicide pacts, bribery, arson, executions, prostitution rings, embezzlement, starving orphans, [and] dead cats in lieu of flowers” (New Republic), Morrison makes clear that the history of the Bolshoi Ballet mirrors that of Russia itself.Trade Review"The title means what it says. There’s plenty of scandal here: arson, double suicide, dead cats flung at curtain calls. At the same time, the book is energetically researched, beautifully written — fun, relaxed, sophisticated — and full of serious ideas, boldly stated." -- Joan Acocella, dance critic - The New Yorker"The insider look in Bolshoi Confidential is incredibly rich and makes this book a page-turner…Breathtakingly complicated life stories of both people and productions parade through the pages…Its central figures, like Plisetskaya, jump off its pages complex and alive." -- Daria Khitrova - New York Times"Morrison turns to the past in order to unpack the conundrum of the Bolshoi within the enigma-wrapped, mystery-obscured riddle of the Russian state…All of this makes for good, even great, fodder…Sex scandals, double-suicide pacts, bribery, arson, executions, prostitution rings, embezzlement, starving orphans, dead cats in lieu of flowers, and ballerinas refusing to shave their armpits." -- Madison Mainwaring - The New Republic"Masterful. . . . Bolshoi Confidential . . . is much more than a compendium of ballerinas behaving badly. Rather, it offers a rich, fascinating and nuanced examination of the role of the arts in Russian history, one that highlights their profound importance to the creation of a national identity and their troubled relationship with the country’s rulers." -- Douglas Smith - Wall Street Journal"Simon Morrison’s Bolshoi Confidential lifts the curtain on Russia’s best-known cultural institution. An intoxicating mix of grandeur and gossip, it charts luminous performances on stage and sordid machinations in the wings from the age of Catherine the Great to that of Vladimir Putin…Sweeping and authoritative." -- Lucy Ash - The Guardian"A sweeping, grandly intriguing story at the interface of art and power. . . . Morrison frames his story, always readable and brimming with curious anecdotes, with the recent, newsworthy acid attack on artistic director Sergei Filin, a strange episode that exposed not just clashes of individual personalities, but also competing views of what the Bolshoi should be, some of which may have emanated from inside the walls of the neighboring Kremlin. A must for ballet buffs . . . . [and] a look backstage that is both lively and learned." -- Kirkus (starred review)"Charming and astonishingly detailed…The Bolshoi’s dancers, ballets, and composers, its administrators and detractors and supporters—all are tantalizingly depicted here... Balletomanes will drool and sigh, music lovers will be fascinated…A riveting history." -- Booklist (starred review)"Another marvelously informative book from Simon Morrison, dishing this time on Russia’s great musical theater, onstage and off. It is a wonderful read, full of intriguing spectacle and spectacular intrigue." -- Richard Taruskin, author of The Oxford History of Western Music"Simon Morrison has written an engrossing history of one of Russia’s most enduring cultural institutions. Bolshoi Confidential deftly shatters the distinctions between high-brow and low-brow, art and politics, authority and violence." -- Amanda Foreman, author of Georgiana and A World on Fire"A colorful and erudite view on Russia through the tumultuous history of the sumptuous Bolshoi." -- Peter Pomeranzev, author of Nothing is True and Everything is Possible"Simon Morrison’s Bolshoi Confidential is a magisterial portrait of the art, intrigue, and politics buffeting Russia’s great cultural institution, the Bolshoi Ballet." -- Janice Ross, author of Like A Bomb Going Off: Leonid Yakobson and Ballet As Resistance in Soviet Russia"Morrison sweeps readers through the storied company’s 240-year history, describing key figures onstage and off, political ties to various regimes, and the births of many famous ballets." -- Dance Studio Life

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Book SynopsisEvery day, in dance studios all across America, millions of little girls line up at the barre and take ballet class. Their time in the studio shapes their lives, instilling lessons about gender, power, the value of their bodies and minds, and their place in the world both in and outside of dance.In Turning Pointe, journalist Chloe Angyal captures the intense love for ballet that so many dancers feel, while also grappling with its shortcomings: the power imbalance of an art form performed mostly by women, but dominated by male choreographers and ballet masters, the impossible standards of beauty and thinness, and the racism that pervades ballet.A new generation of dancers is confronting these issues head on. If ballet is going to survive the 21st century and forge a path into a more socially just future, this reckoning is essential.

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Book Synopsis A reckoning with one of our most beloved art forms, whose past and present are shaped by gender, racial, and class inequities—and a look inside the fight for its future Every day, in dance studios all across America, legions of little children line up at the barre to take ballet class. This time in the studio shapes their lives, instilling lessons about gender, power, bodies, and their place in the world both in and outside of dance. In Turning Pointe, journalist Chloe Angyal captures the intense love for ballet that so many dancers feel, while also grappling with its devastating shortcomings: the power imbalance of an art form performed mostly by women, but dominated by men; the impossible standards of beauty and thinness; and the racism that keeps so many people of color out of ballet. As the rigid traditions of ballet grow increasingly out of step with the modern world, a new generation of dancers is confronting these issues head on, in the studio and on stage. For ballet to survive the twenty-first century and forge a path into a more socially just future, this reckoning is essential.

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Book SynopsisRoots and Wings recounts Virginia Tanner's remarkable career as a dance artist, educator, and founder of the University of Utah's Tanner Dance Program. From her early experiences assisting at Evelyn Davis's dance school in Washington, D.C., to the creation of the Tanner Dance Program at the University of Utah, her influence in the field was pervasive. She channelled children's energy, sharpened their senses, and encouraged youthful, authentic dance expression. Tanner's work endures, continuing to echo with sensitivity and spirit in the bodies of young dancers throughout the United States and abroad. By revealing both the broader and specific themes of Tanner's career and legacy, this narrative fills an important void. While exploring Tanner's story, it also recognizes the value of unique instructional methodologies for teaching dance to young children and the vital role the arts play in children's lives.Trade Review“This work is a significant contribution. Biographical information on people such as Virginia Tanner, who devoted their lives to the development of children through the arts, is almost nonexistent.”—Douglas C. Sonntag, emeritus Director of Dance, National Endowment for the ArtsTable of Contents Preface Acknowledgments Introduction: A Gift of Dance Freely Given Chapter 1 Awakening: Born to a Place and Time Chapter 2 Distant Voices: In Search of a Calling Chapter 3 Inspiration: Summer Schools in the Rockies Chapter 4 Hop- Scotching Chapter 5 Uncharted Territory: Launching a Career Chapter 6 Birth of a Young Company Chapter 7 Balance: The Juggling Act Chapter 8 Springboards: The Buttermilk Tree Chapter 9 Children: Straight Out of Heaven Chapter 10 Imagination: The Beauty of Childhood Chapter 11 Liftoff: When Dreams Take Flight Chapter 12 Invitations: Westward Ho Chapter 13 Virginia: “The Breadwinner” Chapter 14 Sunshine and Sand: Hawaii Beckons Chapter 15 A Master Teacher: IMPACT Calls Chapter 16 Bright with Promise: The Golden Age for the Arts in Education Chapter 17 Bulldozers on the Horizon: A Search for Home Chapter 18 What Joy They Gave Unknowingly Chapter 19 Unstoppable Drive: A Brilliant Journey Coda You Taught My Soul to Dance Notes Bibliography

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Book SynopsisDance has become increasingly visible within contemporary culture: just think of reality TV shows featuring this art form. This shift brings the ballet body into renewed focus. Historically both celebrated and critiqued for its thin, flexible, and highly feminized aesthetic, the ballet body now takes on new and complex meanings at the intersections of performance art, popular culture, and fitness. The Evolving Feminine Ballet Body provides a local perspective to enrich the broader cultural narratives of ballet through historical, socio-cultural, political, and artistic lenses, redefining what many consider to be “high art.” Scholars in gender studies, folklore, popular culture, and cultural studies will be interested in this collection, as well as those involved in the dance world. Contributors: Kelsie Acton, Marianne I. Clark, Kate Z. Davies, Lindsay Eales, Pirkko Markula, Carolyn Millar, Jodie VandekerkhoveTrade Review"Editors and contributors examine perceptions of femininity through the magnifying lens of classical dance. They are not ballet critics; they number dancers, instructors and sociologists. Yet the conclusions are stark.... "The Evolving Feminine Ballet Body" is fresh and compelling." [Full article at https://www.blacklocks.ca/book-review-what-our-daughters-see/] -- Holly Doan * Blacklock's Reporter *"In this unique text, Markula and Clark have edited a collection of essays that explore the transformation of the ballet body alongside an inquiry into the history and meaning of ballet. In addition to being dancers themselves, the contributors are scholars from a range of backgrounds, including gender studies, occupational therapy, and kinesiology.... Of particular interest is the book's emphasis on the different ways ballet dancers experience their bodies.... A fascinating work." C. Hauff, CHOICE Magazine, November 2018 -- C. Hauff * CHOICE Magazine *“… for dance research coming from outside a dance studies context, the dance expertise of these authors grounds the work, giving it additional credence. … Here, ‘evolving’ refers to certain specific and contextual mediatizations and negotiations of this oft-celebrated and sometimes vilified ‘feminine ballet body’ in decidedly contemporary contexts.” -- P. Megan Andrews * University of Toronto Quarterly, Summer 2020 *Table of ContentsAcknowledgements Preface Introduction - Pirkko Markula and Marianne I. Clark I Ballet in the Contemporary Media 1 Reading the Ballet Body in Children’s Fiction - Kate Z. Davies 2 So You Think You Can Dance: The Feminine Ballet Body in a Popular Reality Show - Pirkko Markula 3 Ballet-Inspired Workouts: Intersections of Ballet and Fitness - Pirkko Markula and Marianne I. Clark II Lived Experiences of Ballet in Contemporary Culture 4 Multiple Bodies: In the Studio with Adolescent Ballet Dancers - Marianne I. Clark 5 “Moving for Pleasure”: The Positive Experiences of Ballet Dancers Moving into Recreational Contemporary Dance - Carolyn Millar 6 At the Barre: Ethical Training for Beginner Ballet Class - Jodie Vandekerkhove 7 Ballet for All Bodies? Tensions in Teaching Ballet Technique within an Integrated Dance Context - Kelsie Acton and Lindsay Eales Conclusion - Pirkko Markula and Marianne I. Clark Contributors Index

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Book SynopsisThe unusual marriage of Romantic ballet and artificial intelligence is an intriguing idea that led a team of interdisciplinary researchers to design iGiselle, a video game prototype. Scholars in the fields of literature, physical education, music, design, and computer science collaborated to revise the tragic narrative of the nineteenth-century ballet Giselle, allowing players to empower the heroine for possible ”feminine endings.” The eight interrelated chapters chronicle the origin, development, and fruition of the project. Dancers, gamers, and computer specialists will all find something original that will stimulate their respective interests. Contributors: Vadim Bulitko, Wayne DeFehr, Christina Gier, Pirkko Markula, Mark Morris, Sergio Poo Hernandez, Emilie St. Hilaire, Nora Foster Stovel, Laura SydoraTrade Review# 4 on Edmonton Non-Fiction Bestsellers list, March 10, 2019Table of ContentsPreface Revisioning Giselle as the Video Game iGiselle // Nora Foster Stovel Acknowledgements Introduction Recreating Giselle for the Twenty-First Century // Nora Foster Stovel I An Interdisciplinary Approach to Giselle 1 | The Creation of the Romantic Ballet Giselle The Ballerina’s Hamlet // Nora Foster Stovel 2 | “No Feminine Endings” Adolphe Adam’s Musical Score for Giselle // Christina Gier 3 | The Other Giselles Moncrieff’s Giselle; or, The Phantom Night Dancers, Loder’s The Night Dancers, and Puccini’s Le Villi // Mark Morris 4 | (Re)creating Giselle Narrative and the Ballerina // Laura Sydora II Creating iGiselle 5 | Artificial Intelligence for Managing the Interactive Ballet Video Game, iGiselle // Sergio Poo Hernandez & Vadim Bulitko 6 | Re-playing iGiselle Dance, Technology, and Interdisciplinary Creation // Emilie St. Hilaire 7 | Renewing Adolphe Adam’s Score Creating the Music for iGiselle // Wayne DeFehr 8 | The Ballet Body and Video Games A Feminist Perspective // Pirkko Markula Contributors 189 Index 193

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Book Synopsis

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Book SynopsisJust as America was observed in French literary and political commentary, we find representations of America in French music, dance, and theatre which serve as the focus of this volume. Following the American Revolution, French authors often viewed the United States as a laboratory for the forging of new practices of liberté and égalité, in affinity with France's own Revolutionary ideals but in competition with lingering anti-American depictions of an inferior, untamed New World. The volume examines French imagining of America through musical/theatrical portrayals of the American Revolution and Republic, soundscapes of the Statue of Liberty, homages to Washington, Franklin and Lafayette and negotiations of Francophone identity in New Orleans. The subject of race features prominently in paradoxical depictions of slavery, freedom, and revolution in the United States and French Caribbean colonies of 'Amérique' and in varied interpretations of American music and gendered identity. Essays consider French constructions of the Indigenous American and Black American 'exotic' that intersect with tropes of noble, pastoral savagery, menacing barbarism and the 'civilising' potency of French culture. Such French constructions reveal both a revulsion of racial alterity and an attraction to the expressive, even subversive, freedom of Americanness. Investigations of French conceptions of America extend to critiques of American orchestral music, Gottschalk's Louisianan-Caribbean Creole works, Buffalo Bill's spectacles and the cakewalk in Paris. With scholarly contributions on music, dance, theatre and opera, the volume will be essential reading for students and scholars of these disciplines.Table of ContentsIntroduction Part I. American liberté, sauvagerie and esclavage 1 Between Amérique and Colonial France: Revolutionary Tales of liberté and esclavage Diana R. Hallman 2 Justamant's Le Bossu and Depictions of Indigenous Americans in Nineteenth-Century French Ballet Marian Smith, Sarah Gutsche-Miller and Helena Kopchick Spencer 3 Louisiana Imagined: Gender, Race and Slavery in Le Planteur (1839) Helena Kopchick Spencer Part II. Myths of America and Intersecting Identities 4 'Brise du Sud': American Identity and War in the Popular Sheet Music of Francophone New Orleans Charlotte Bentley 5 'The Most Seductive Creole Indolence': Louis Moreau Gottschalk in the French Press Laura Moore Pruett 6 Symphonies from the New World: The Myths and Realities of American Orchestral Music in France Douglas Shadle Part III. Soundscapes and Sonic Fantasies 7 Historical Acoustemology in the French Romantic Travelogue: Chateaubriand's Sonic Imagining of the New World Ruth E. Rosenberg 8 La Liberté éclairant le monde: Transatlantic Soundscapes for the Statue of Liberty Annegret Fauser Part IV. America, Commodification and Race at the fin de siècle9 Buffalo Bill and the Sound of America at the 1889 World's Fair Mark A. Pottinger 10 Cakewalking in Paris: New Representations and Contexts of African American Culture César A. Leal Bibliography Index

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Book SynopsisFrom its early inception at the French court to modern-day developments and interpretations, ballet has long had a popular following. Packed full of essential information, this pocket-sized handbook explores the history, performers, composers and music, highlighting the very best ballets and the stand-out tracks that should feature in the collection of any aficionado. Classic FM's Handy Guides are a fun and informative set of introductions to standout subjects within classical music, each of which can be read and digested in one sitting: a perfect collectible series whether you're new to the world of classical music or an aficionado.Table of ContentsContents Introduction vii 1 Preface 1 2 A Brief History of Ballet 3 3 Great Choreographers and Dancers 23 4 Composers of Ballet Music 35 5 The Ballet Hall of Fame 51 6 50 Ballet Tracks to Download 65 7 Where To See Ballet 79 About Classic FM 93 About the Author 97 Index 99

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