The Ballet Bible
Discover the Secrets to Conquering Some of The Most Common Pitfalls You Face When Learning Ballet
Queensland BalletQueensland Ballet’s hallmarks are the youthful energy of its 24 dancers, its commitment to technical excellence, and the highly varied repertoire it presents. Led by Artistic Director and Chief Choreographer, François Klaus, the Company presents approximately 100 performances each year as the State ballet company of Queensland. In addition to performances in Brisbane, the Company tours to regional Queensland, as well as making interstate and overseas visits. Queensland Ballet’s varied repertoire ranges from popular classics and full-length story ballets to new works in a variety of dance styles by reputed international dancer-makers as well as emerging local talents. The Company has its own Centre for Dance in the historic Thomas Dixon building in Brisbane’s West End. First built as a shoe factory in the early 1900s, the Centre offers excellent facilities which enable the Company to nurture creativity and to offer a full range of training and community access programs. The Company’s suite of training programs provides opportunities for dance students from as young as 11 to work with the Company and its artistic staff. The skill and experience of these artists ensures the high standard of training offered in the Junior Extension Program and Professional Year, as well as through the Queensland Dance School of Excellence, a program offered in partnership with Education Queensland. (For more information about training programs, click here) Queensland Ballet was established in 1960 by Charles Lisner OBE. Lisner trained with Edouard Borovansky and danced with his ballet company before going to London to continue dance studies with the SadlersWellsBalletSchool. He later joined the Royal Ballet, Covent Garden. In 1953 Lisner returned to Australia to open the Lisner Ballet Academy, and in 1960, the Lisner Ballet Company. The Company was re-named Queensland Ballet in 1962 and became the first ballet ensemble in Australia to tour to regional centres, a commitment which continues today. In 1974, Charles stepped down as Artistic Director and Chief Executive Officer, to be replaced by Harry Haythorne. Following Harry’s departure in 1978, founding company member and principal dancer, Harold Collins, was appointed as Artistic Director. Collins led the company until his retirement in 1997, maintaining Lisner’s commitment to the creation of uniquely Australian dance, and to forging a strong and independent company. Collins was succeeded in 1998 by François Klaus, a respected and experienced European dancer, teacher and choreographer. Under Klaus’s artistic stewardship, Queensland Ballet has continued to prosper and grow, remaining a significant force in the Australian cultural landscape. June 30, 2007 | In Ballet Companies | No CommentsBirmingham Royal Ballet50 years since the Royal Charter was first bestowed, BRB is looking forward with renewed vigour and security. Following ten years of applause for David Bintley’s creative leadership, the Company now has a wonderful home in the acclaimed new Hippodrome complex, which includes a state-of-the-art theatre, the Jerwood Centre for the Prevention and Treatment of Dance Injuries, and the Patrick Centre, a studio theatre for new work. The Company can also boast a new Chief Executive, Christopher Barron, who is presiding over a company now in a renewed position of important financial security. Birmingham Royal Ballet was formed in 1990, when Sadler’s Wells Royal Ballet moved to Birmingham. Everyone connected with the Company proudly celebrates the versatility and flexibility of an organisation that creates challenging new work alongside the classics. BRB is welcomed enthusiastically around the world. The Company has recently completed successful tours to the USA, Hong Kong and South Africa, and plans to increase its international profile. Barron believes audiences, both at home and overseas, hunger after the classical history of the Company, the startling energy of its new work, and the unique pool of talent it contains, on stage, in the orchestra pit and behind the scenes. The arrival of Elmhurst School for Dance in Edgbaston in 2004 is another crucial plank in the Company’s determination to nurture and retain the best young dancers in the world. BRB certainly has a devoted and growing audience in Birmingham and beyond. Bintley is particularly appreciative of this core support, and claims it is this loyalty and constancy that allows the Company to be adventurous. Both Bintley and Barron are passionate about the relationship with Birmingham and celebrate the way the Company has become secure and grounded in the life of the city. ‘15 years ago the only dance in this city was touring dance,’ Barron says. ‘Now it is an exciting home for creating dance and dancers.’ For Bintley and his dedicated team the driving force remains the same as it was for Ninette de Valois when she founded the first company at Sadler’s Wells Theatre 75 years ago: dance. ‘Of all the dance performing arts, ballet is the most diverse and the most popular,’ Bintley concludes. ‘From classics to the avant garde, from comedies to tragedies and abstraction, ballet does it all.’ June 30, 2007 | In Ballet Companies | No CommentsNational Ballet of Canada
The first performance by the company was on November 12, 1951 at the Eaton Auditorium in Toronto. The programme included Les Sylphides and the Polovtsian Dances from Prince Igor. Principal dancers with the company were Celia Franca, Irene Apine, Lois Smith, David Adams and Jury Gotshalks. In 1976, Alexander Grant, a former principal dancer with London’s Royal Ballet and Artistic Director of Ballet for All, became the Artistic Director of the company during its 25th Anniversary Season. Under his leadership, the company added many works by Frederick Ashton to the repertoire. Mr. Grant was also instrumental in encouraging talented choreographers from within the company, most notably James Kudelka and Constantin Patsalas, to produce original ballets. The company began earning its international reputation in 1970 when it was the only classical ballet company to be invited to perform at Expo ‘70 in Osaka, Japan. In 1972, the company undertook its first European tour to Britain, France, Belgium, Monaco, Switzerland and Germany. Also in 1972, Rudolf Nureyev staged his spectacular production of The Sleeping Beauty on the company. With this ballet, the National Ballet made a triumphant debut at New York’s Metropolitan Opera House in 1973. The company has returned over the years to perform at the Metropolitan Opera House and also at the State Theatre, Lincoln Centre.
The legendary Erik Bruhn, considered one of the greatest classical male dancers of this century, took over the position of Artistic Director of the National Ballet in 1983. Bruhn’s 20 year association with the National Ballet and the National Ballet School as choreographer, producer, teacher, coach and dancer made him ideally suited to lead the company. Some of the ballets that Mr. Bruhn added to the company’s repertoire include The Merry Widow, Robert Desrosiers’ Blue Snake and Glen Tetley’s Alice. Onegin was premiered at the 1984 Toronto International Festival of Music and Dance and staged by Reid Anderson. Following the sudden death of Erik Bruhn, his associates, Valerie Wilder and Lynn Wallis, were named Associate Directors (1986) and then co-Artistic Directors (1987). During their tenure the company celebrated its 35th anniversary with a gala evening featuring special guest artist Rudolf Nureyev. The International Competition for the Erik Bruhn Prize, an event conceived by Mr. Bruhn and organized by Ms. Wilder and Ms. Wallis, was premiered by the National Ballet in May 1988. From 1987 to 1989 choreographer Glen Tetley joined the National Ballet as Artistic Associate. Mr. Tetley’s original works for the company include Oracle, Alice, La Ronde, and Tagore. On July 1 1989, Canadian-born Reid Anderson took over as Artistic Director and Ms. Wilder was appointed Associate Director. During his seven seasons with the company Mr. Anderson acquired many new ballets for the company including John Cranko’s The Taming of the Shrew, Frederick Ashton’s A Month in the Country and Jiri Kylian’s Soldiers Mass. He commissioned many new works notably William Forsythe’s The Second Detail, John Neumeier’s Now and Then, John Alleyne’s Interrogating Slam and James Kudelka’s The Actress, Spring Awakening and The Nutcracker. In November 1995, Reid Anderson resigned as Artistic Director of the National Ballet. He has since been appointed Artistic Director of the Stuttgart Ballet.
In September 1998, Karen Kain, who retired as Principal Dancer in 1997, accepted Mr. Kudelka’s invitation to return to the company as Artist in Residence. In 1999 Ms. Kain became Artistic Associate. In October 1998, the National Ballet made a triumphant return to New York City, after a ten-year absence. The company performed a programme of all Canadian choreography, including works by Mr. Kudelka, Dominique Dumais and John Alleyne, and was unanimously praised by the New York press. During the summer of 1996 the company moved into its new home, The Walter Carsen Centre for the National Ballet of Canada in Toronto. In 2002 Valerie Wilder left the company as Executive Director. Kevin Garland, who had served on the board for 10 years, was appointed the new Executive Director. In June 2005, Mr. Kudelka stepped down as Artistic Director following a tenure of 9 years, which saw a growth in the company’s repertoire and international acclaim. Mr. Kudelka assumed the role of Resident Choreographer. In July 2005, Karen Kain became the company’s new Artistic Director. At home in Toronto, the National Ballet performs annual fall, winter and spring seasons plus The Nutcracker at the Hummingbird Centre and each season performs in other Canadian cities including Ottawa and Montreal as well as touring to smaller communities with an alternating roster of dancers. In the fall of 2006 the Company will move to its new performance venue, the magnificent Four Seasons Centre for the Performing Arts. West Australian BalletWest Australian Ballet is one of the foremost performing arts organisations in Western Australia. Founded in 1953 by Madame Kira Bousloff, it is the oldest of the three ballet companies in Australia, and has developed a fine reputation for bringing both classical and contemporary ballet and contemporary dance of the highest level. The repertoire is diverse, ranging from full length ballets to shorter works, and encompasses a variety of styles, with classical ballet the foundation for the company’s vocabulary, but with a distinctly contemporary outlook on life. A large part of the repertoire is created for the Company, by invited Australian and international choreographers, as well as by the Artistic Directors. Also included are highlights from classical ballets and masterpieces of the international 20th century repertoire. The Company has a policy of commissioning leading Australian artists, designers and composers, and has become a showcase for the country’s finest talent. The standard of dancing is high and all of the 20 dancers who are currently part of the Company have a strong classical background. Some of them have had national and international careers prior to joining West Australian Ballet and many have received awards for their excellence in dancing. Based in Perth and resident at His Majesty’s Theatre, the Company offers an extensive program of dance throughout the year, with three to four major seasons in Perth, regional touring throughout Western Australia, choreographic workshops, series of free public performances, an extensive education program and other activities. West Australian Ballet also tours nationally and internationally; recent international tours include those to China, Japan, Indonesia, Taiwan and the Philippines. In 2005 West Australian Ballet toured nationally to Melbourne, Canberra, Wollongong, Parramatta and Newcastle and embarked on a North West Tour to Broome, Karratha, Onslow and Newman. The Company also toured internationally to China, performing in Beijing, Nanjing, Hangzhou and Shanghai. West Australian Ballet is the only state dance company that has an official partnership with its state symphony orchestra (West Australian Symphony Orchestra). June 28, 2007 | In Ballet Companies | No CommentsThe Australian Ballet
Each year, it presents approximately 200 performances in cities and regional areas around Australia, in addition to regular international touring. The Australian Ballet’s diverse repertoire reflects their vision: caring for tradition, daring to be different. Each year, they perform works from the classical repertoire as well as more contemporary works and commissions that explore the development and future of this dynamic artform. Versatility, technical excellence and a warm, friendly style are the trademarks of The Australian Ballet, qualities that have earned both critical and audience acclaim. For over four decades The Australian Ballet has been the defining the face of ballet in their country. It is one of the companies which have helped create the modern culture of Australia. But it is, by world standards, a new company. It gave its first performance in 1962, building on a strong and rich tradition of ballet in Australia, and on the efforts of many dedicated pioneers in ballet and dance. English National Ballet
As a flagship company for the nation, English National Ballet presents an extensive touring schedule at home and abroad. They employ the best of British and international talent: choreographers, dancers, designers, musicians, rehearsal staff, technicians and administrators - all working as an ensemble to create productions that tour brilliantly and are accessible and exciting to their audiences. English National Ballet is committed to developing the artform by keeping the cornerstones of the classical repertoire vibrantly alive. By commissioning and acquiring new pieces, refurbishing existing works and encouraging new choreographers to work with their impeccably trained performers they aim to maintain an original and popular repertoire for the nation. Affordable pricing for their performances is key and ensures that they continue to develop new audiences, maintaining an enthusiastic and dedicated following for their work. The Company has set the standard in maximizing accessibility to dance, especially in its ground-breaking education and outreach activity. The dedicated Education and Community Unit works within all the communities that the Company tours to. Their work is integral to their goal of creating relationships with a wide variety of audiences nationwide and encouraging understanding of ballet. There are 64 dancers in the Company, and this is augmented to 120 for annual performances at the Royal Albert Hall. There are approximately 80 members of staff, with departments including Artistic, Wardrobe, Technical, Education and Administration. In addition, the Orchestra of English National Ballet has 47 core members and is increased for performances in large theatres throughout the country. 57 years of English National BalletAs the new millennium dawned, English National Ballet celebrated 50 years as an internationally acclaimed classical ballet company. English National Ballet tours extensively throughout England and presents two high-profile seasons in London; at the London Coliseum at Christmas and, with huge arena productions, at the Royal Albert Hall in the Summer. Overseas touring is also a regular part of the annual performance programme and English National Ballet has traveled the world over, serving as a flagship company for British ballet. The Foundations of English National BalletFounded in 1950 by Alicia Markova and Anton Dolin, with the financial backing of Polish impresario Julian Braunsweg, the Company’s original name, Festival Ballet, was inspired by the then imminent Festival of Britain. In 1989, however, to reflect the Company’s role as the nation’s touring classical ballet company, the name English National Ballet was adopted. It was Dolin, Artistic Director for the first decade, who gave the Company its focus as a touring organisation that took the finest classical ballet to new, and established, audiences throughout the country, at affordable prices. He also introduced outreach and education programmes to develop new audiences; in the 1950s, Dolin and his dancers would visit schools to talk about dance. Continuing Dolin’s work today, the Company has a dedicated Education and Community team whose activities range from year-long projects to one-off workshops with schools and communities nation-wide. The International StageIn 1951 the Company began to tour abroad, quickly becoming a cultural ambassador (particularly after the Company’s appearance on Eurovision in 1956, when its performance of Etudes at the gala to celebrate the wedding of Prince Rainier and Grace Kelly was transmitted). In its first 15 years, the Company was seen throughout Europe, the Middle East and in North and South America. It was also the first major ballet company to perform in Israel. English National Ballet continues to tour internationally today and in recent years has visited Australia, the Far East and Japan. During 2004/05, the Company travelled to Dubai and Athens and the 2005/06 season will see performances in Madrid and Taipei. Taking ballet into the next centuryAs well as performing the traditional ballet favourites of The Nutcracker, Swan Lake and Romeo & Juliet, the Company has a history of initiating the creation of new, and often innovative, ballets. English National Ballet’s former Artistic Director, Matz Skoog, placed particular emphasis on commissioning new works to supplement the Company’s established repertoire. Commissions included works by British choreographers Michael Corder (Melody on the Move), Wayne McGregor (2 Human) and Christopher Hampson (Double Concerto). Matz’s work was recognised at the Critics Circle National Dance Awards in January 2004, when the Company won the “Outstanding Repertoire” (classical category) award. Looking aheadThe dancers, members of staff and those who serve on the Board of Governors are led by John Talbot (Chairman), Wayne Eagling (Artistic Director) and Craig Hassall (Managing Director). The original 1950s aspiration for the Company - to take popular ballet to the widest geographical audience at a price they can afford - remains as valid today as when first expressed by the Company’s founders. June 26, 2007 | In Ballet Companies | No Comments Pointe Shoes on Holiday
By now you must be about 16, 17 years of age and are now a fantastic ballet dancer ready to dazzle your peers with your ballet point work. You’ve been through a lot and you deserve a rest, a pointe shoe holiday? So what are you going to do? Have you thought about a career in dance or are you going to college? If you are as good as you feel being a ballet dancer, then you take the audition. After that you go on holiday for a while and put your ballet pointe shoes to rest. They need it too! The biggest dilemma for a future career as a ballet dancer is “do I go to college or do I take the audition and hope I get into the company?” Answer! Finish High School and go for the career in dance. Take a correspondence course to get your college degree. If you decide to audition after college you will be about 20, 21, or 23 years old. Your technique may be weaker than when you were at your peak at 16 or 17, also you will be up against your younger peers when you go for that audition. Think very seriously about what you are going to do, then take a holiday, but not for too long. You still have to keep in shape by taking ballet classes and pointe classes. After all you spent a good 9-11 years preparing your technique in ballet and pointe work for that one moment, that first ballet audition. Now is the time to go for it! Your parents also were involved, they may have even asked the question “what should every parent know about ballet and pointe shoes but were afraid to ask”. Do you remember the times they took you to ballet classes either by car, bus, train? The hours they had to wait while you took your lessons and the money spent on ballet lessons, ballet shoes, pointe shoes, leotards and even on costumes for those yearly dance recitals. You owe them. Now is the time to go for it! No doubt growing up you had to watch your weight by eating proper foods, and/or reading up on nutrition. Hopefully your parents guided your good eating habits. Dancers are the best athletes compared to other forms of physical activity. Why? Because they are ALWAYS IN TRAINING from the day they begin their ballet classes until they decide to hang up their pointe shoes. That may be anywhere from 20 to 30 years. How many other athletes work out EVERY DAY for 20 to 30 years? You answer that question. Dancers have to have good eating habits, a healthy life style to be in tip-top physical condition to compete against the many future ballerinas taking their first ballet audition. So have you chosen the path of a career in dance? You’ve worked hard, kept up good eating habits. You have a good ballet and pointe work technique. You are ready for your first audition. Which company have you chosen? Do you know the style of the company, working conditions, pay scale, does the company tour, how many weeks during the year does the company perform, etc. So much to find out BEFORE taking your first audition. When the curtain opens, look for more information on what is needed to be done BEFORE joining a ballet company. June 25, 2007 | In Ballet Shoes | No CommentsDifferent Types Of Ballet Shoes
Research shows that some brands are particularly known for making good ballet shoes of different types, materials, and designs. Angelo Luzio, Freed, Gamba, Grishko, Leo, Patterson, Sansha, Art Stone, Bloch, Capezio, and Danshuz are some brands among others which specialize in ballet shoes or slippers. Multitudes of companies offering excellent-quality ballet shoes flood the market. Capezio, Tutu, Discount Dance Supply, Estrella Dancewear, Dancewear, All About Dance, and Whistlewear among others are some examples of companies where we can find good ballet shoes. Ballet shoes, or otherwise known as ballet slippers, are usually made up of leather, canvas, or satin. Often, choosing improper footwear can damage your feet beyond repair. Hence, deep research is needed before buying a pair of ballet slippers. Ballet slippers are always preferred to be snug but not too tight and should always have enough room for the toes to spread out comfortably. Good ballet shoes also have ribbons and elastics to allow for flexibility and feet comfort. Options exist as to the type of sole pattern desired - split or full sole. Capezio ballet shoes are also highly recommended. Its shoes, available in both leather and canvas, have an arch construction and moisture absorbent feature which allows the shoes to breathe. With pre-elastics attached, it makes for the perfect fit and comfort. Priced reasonably at $12.99, it is a must for all ballet dancers. Ballet shoes can either be bought ready-made or customized according to our own choices. Customization or personalization options usually exist as to choosing the color of the ballet shoes. Companies like Tutu among others allows for such customizing options. Among the ready-made ones, it has a collection of shoes like Grishko ultimate split-sole canvas, Sansha IC pro split-sole canvas, Bloch 30208 prolite split-sole leather and many more for both men and women. Discount Dance Supply offers ballet shoes at reasonable prices such as $13.80 and $12.20 among others. It mainly deals in brands like Capezio, Bloch, Sansha, and others. Whistlewear also offers Capezio ballet shoes at a discounted rate. June 25, 2007 | In Ballet Shoes | 1 CommentBallet Shoes
Ballet dancing is said to be a combination of emotion and intellect, spontaneity and order, spirituality and sensuousness. Aesthetic ballet dancing requires a long and tapered line of the legs that is better reflected and enhanced by the typical conical shape of the ballet shoes. Ballet shoes are also known as slippers or pointed toe shoes and are used for dancing on the tip of the toes. Also known as ballerina, these shoes are considered to create an illusion of weightlessness, reflected through the different moves of ballet dancing that include spinning and skimming on the floor, combined with sustained poses. They keep the feet aligned to the floor and help in controlling the leg muscles required for the various moves in a ballet dance. Ballet shoes are primarily made up of leather and canvas. Leather ballet shoes provide warmth to the feet, especially in cold studios. However, the choice of leather or canvas can be decided depending on the dance floor type, feet condition, size and weight. According to some dancers, leather ballet shoes provide a better-pointed look than the canvas shoes. Different aspects such as leather quality, individual weight, skin texture and toenails of an individual contribute to the longevity of the shoes. Rough skin and sharp nails may affect the shoes and tear them from the inside. Canvas ballet shoes are comparatively less expensive than the leather shoes and provide a better grip on vinyl flooring. These are very popular for regular classes and can even be washed in washing machines. The heaviest canvas is considered to be the best for ballet shoes although these might not be very effective on wooden floors. It is imperative to wear ballet shoes that are dry and are a perfect fit. Ballet shoes can be bought online or from retail stores. June 24, 2007 | In Ballet Shoes | No Comments |
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The National Ballet of Canada, a company with more than 60 dancers and its own full symphony orchestra, is Canada’s premiere dance company and ranks as one of the world’s top international dance companies. Founded in 1951 by English dancer Celia Franca, the company was established as a classical company and is still the only Canadian company to present a full range of traditional full-evening ballet classics. However, the company presents not only the classical repertoire but also embraces contemporary works and encourages the creation of new ballets and the development of Canadian choreographers.
The National Ballet toured throughout Europe during the seventies and in 1979 was the first Canadian company to appear at the Royal Opera House, Covent Garden in London. The company performed in Italy and Mexico in 1980, toured Europe in 1985 visiting ten cities in five countries and in 1989 toured Germany. In 1992, the company performed in Hong Kong, Japan, South Korea and Taiwan. The visit to Japan also included a Gala Performance in Tokyo. The National Ballet returned to Europe in 1993 to perform in Germany, Luxembourg, The Netherlands and for the first time, in Israel.
In February 1996, James Kudelka was appointed the company’s new Artistic Director and assumed the position in June 1996. A world-renowned choreographer, Mr. Kudelka has created many original works for the National Ballet including The Nutcracker, Spring Awakening, The Actress, The Miraculous Mandarin, Musings and Pastorale as the company’s Artist in Residence (1992 - 1996). As Artistic Director he created The Four Seasons (1997), Swan Lake (1999) and A Disembodied Voice (1999) and The Firebird (2000), The Contract (The Pied Piper) (2002), Cinderella (2004), commissioned new works by Canadian choreographers John Alleyne, Dominique Dumais and Jean-Pierre Perreault, added works by George Balanchine to the repertoire and staged several works he created for other companies on National Ballet dancers.
Founded in 1962, The Australian Ballet is one of Australia’s flagship arts companies, and one of the busiest ballet companies in the world.
English National Ballet is one of the world’s great ballet companies. The original 1950s vision for the Company - to take classical ballet of the highest quality to the widest geographical audience, at a price everyone can afford - remains the cornerstone of the Company’s philosophy today.
You have been taking ballet classes for several years, then you started pointe work for several more years and now you are ready to take your first ballet audition for a professional company.
An essential part of each ballet dancer’s world, ballet shoes are beautiful and play an important part in every ballet dance. Designed in ways to enable swift movement, ballet shoes help dancers to perform more beautifully without hurting their feet and endangering themselves while dancing.
According to many, dancing is considered to be one of the oldest art forms, which comprises of structured movements and expresses joy of free, physical motion. The rhythmic motion involved in dancing reflects human reaction to various emotions and presents a perfect synthesis between the human mind and the abstract.
