Ballet Performance Research Articles

How to persevere in a ballet performance career: exploring personal wisdom of retired professional ballet dancers

ABSTRACT Despite the well-documented challenges of professional ballet dancers and anecdotal report of premature retirement, no research has examined what professional ballet dancers do to persevere in their performance careers. This study drew on the perspectives of retired professional ballet dancers to address this question. We conducted narrative interviews with nine retired professional ballet dancers and identified four themes using thematic analysis. Findings show that to persevere in a performance career, dancers need to: (1) Look After Mental Health and Self-Worth; (2) Be Proactive in Navigating Career; (3) Grow as an Artist; and (4) Live as a Whole Person. We suggest these thematic findings illustrate attitudes and behaviours of career adaptability and draw attention to the needs for mental health support and mental skills training, and mentorship and career advice, for helping aspiring and professional ballet dancers persevere in a performance career. Findings have implications and applications for ballet dancers, research, ballet management, dance educators, and dance counsellors.

Ballet in the Court Theatre of Michał Kazimierz Ogiński

The article deals with the theatrical activities of Prince Michał Kazimierz Ogiński (1730–1800) focusing on ballet performances produced in his court in Slanim. Research centres on the ballet Philosophy of Women, the hand-written libretto of which belongs to the Manuscript Department of the Wroblewski Library of the Lithuanian Academy of Sciences. The author presents new information about other productions of Felice Moryni, the choreographer of The Philosophy of Women, and compares its libretto with the libretto of the ballet of the same title produced in Venice by the Italian dancer Anna Beneti. The dramatic scheme of the performance and its possible visual forms, which are linked to the aesthetics of late Baroque and Rococo, are discussed.

THE SEARCH FOR A GEOMETRIC FORM OF DANCE ON THE SCALE OF THE STAGE SPACE

The article reveals the problems of dance geometry, which stand on the verge of choreographic directing and artistic scenography. The search for a geometric form of dance is always in direct connection with the stage space, which has to be solved anew every time in the performance. Taking into account the geometric features of the stage space and perspective spatial structures, the author refers to the functioning of dance in it, using various examples from ballet performances showing the methods of its development. The most characteristic techniques of compositional organization of dance in the geometric and spatial structure of the stage - box, which is traditional until today, are revealed. The lexical component of choreography, which takes part in the spatial determinacy of the ballet performance, is analyzed. Based on specific staged solutions, ballet miseencenes are analyzed, creating their own spatial-bodily geometry, falling into the stream of the viewer's attention. The author also examines modern choreographic practices focused on the avant-garde directions and media environment, which creates new choreography and a new visual space. It is concluded that the geometry of the dance is a dynamic system of non-verbal communication, the unit of which is an image fixed in the movements of the human body, given by the parameters of the stage. The methodological basis for creating a spatial composition on a stage tablet is staged directing, which forms the necessary visual impression. The development of the spatial language of classical dance is based on the choreographer's personal ideas about the movements in a particular fragment, where each element is endowed with its own logic and system of geometric construction.

SWOT Analysis of Art Performance As City Promotional Strategy In Yogyakarta

Aim. Yogyakarta, a famous city in Indonesia, is well known for the Prambanan temple and its Ramayana Ballet performance. As the cultural and culinary city, Yogyakarta has been indirectly promoted by its cultural performances, such as Ramayana Ballet. The aims of the study were to identify the strengths, weaknesses, opportunities, and threats related to Ramayana Ballet Prambanan as a promotion strategy medium in Yogyakarta.
 Methods. This study used a historical approach in understanding the art performance in Ramayana Ballet Prambanan. Besides, this study used the data of tourists’ visits to Ramayana Ballet Prambanan, Yogyakarta.
 Results. This research shows that even though there are not many strengths of the Ramayana Ballet art performance, the opportunities related to this kind of promotional strategy compensate for the weaknesses and the threats.
 Conclusion. We can conclude that Ramayana Prambanan as an example of performance art in Yogyakarta has a positive value and provides a significant contribution to Yogyakarta tourism. These can be seen from the increase of tourist visitors to Ramayana art performance from 2008 to 2016. The art performance has become one of many promotional strategy choices in Yogyakarta.

Балетмейстерська діяльність Миколи Трегубова в одеському академічному театрі опери та балету (1958–1970)

The purpose of the article is to analyze the choreography of Mykola Trehubov at the Odessa Academic Opera and Ballet Theater. Methodology. The historical, historiographic and analytical approaches are applied. Scientific novelty. The article is the first to analyze in detail the choreographies of M. Trehubov at the Odessa Academic Opera and Ballet Theater in 1958–1970. Conclusions. The period of the chief choreographer M. Trehubov’s work at the Odessa Opera is characterized by a significant increase in ballet performances in the theater playbill, but they were not always of equal quality. Trehubov was not stopped by the modest possibilities of the troupe, he was not afraid to take on works that had already been staged by the leading choreographers of the Soviet Union. Performances such as Per Gunt by E. Grieg, The Great Waltz by J. Strauss, Spartak by A. Khachaturian, Othello by A. Machavariani enriched the repertoire of the Odessa Theater. Among many topics that worried the choreographer, there was a contemporary one. The choreographer used the musical works of Soviet composers in the productions of the ballets The Blue Ribbon, The Triumph of Love, The Coast of Hope, and The Song of the Blue Sea. The master’s performances were exciting and memorable, long held in the repertoire of the theater. Theatrical observers spoke and argued about them. In total, on the stage of the Odessa Opera and Ballet Theater, according to our calculations, M. Trehubov staged 21 ballets, as well as various dances in operas. The period of M. Trehubov’s choreography was a difficult time for the restoration of the theater (1965–1967), which the choreographer used to improve the professional level of the ballet troupe and update the repertoire. The leading dancers I. Mikhailichenko, E. Karavaeva, V. Kaverzin, S. Walter, who later became national and honored artists of the Ukrainian SSR, were among the pupils of M. Trehubov.

Прояв тенденцій музичного і хореографічного мистецтв ХХ - початку ХХІ ст. у творах за мотивами поем Ованеса Туманяна

The purpose of the study is to analyze the ballets and the dance fragment of the opera created on the basis of Hovhannes Tumanyan’s poems in the context of the trends in musical and choreographic art of the 20th and beginning of the 21st centuries; to identify the artistic means by which it is possible to embody the images and situations of a literary work in opera and ballet art. Methodology. The operas “Almast” by A. Spendiarov and “Salome” by R. Strauss were analyzed using the method of comparative musicology. An art history analysis of the ballets’ videos was carried out, their comparison with the poems of O. Tumanyan in order to identify the motives that formed the basis of their choreographic embodiment. The scientific novelty. For the first time, an art criticism analysis of ballet performances created on the basis of O. Tumanyan’s poems was carried out through the prism of the 20th and early 21st centuries main trends. (image of rock, visualization of an internal psychological split, interweaving of reality and science fiction, symbolism). Conclusions. The operas of A. Spendiarov “Almast” and R. Strauss “Salome”, in particular the fate of the main characters, have many parallels, which is due to the artistic trends of the late 19th and early 20th centuries. The image of rock (merciless fate), implied or embodied as a specific stage character, was most clearly manifested in A. Spendiarov’s opera Almast, in the dance and plastic theatrics “Anush Olmak” (Anush. To be) L. Taberyan and the ballet “Maro” directed by N. Megrabyan. In the ballet “Anush” directed by R. Kharatyan, the predetermined fate of Anush from above is less expressed. It is replaced by the inexorability of Adat (coming from the ancestors of the indestructible law). The visualization of the internal psychological split of the heroes – their black and white, evil and kind, angelic and diabolical forms, and the clash of conflicting emotions of their inner world are most clearly manifested in the image of Almast in the musical development of her image by A. Spendiarov. In the dance and plastic theatrics “Anush. Olmak” by L. Taberyan, the internal psychological split-bifurcation of the heroine is visualized, since the heroine has two scenic roles. The rock, the evil fate that gravitates over the heroine, is also represented in a concrete stage manner. Beliefs, the interweaving of reality and science fiction, are presented in the choreographic performances of N. Megrabyan “Sako Lori”, “Maro”. The folk rites are reproduced in “Anush. Olmak” (Anush. To be) by L. Taberyan. Symbolism is characteristic of the production of R. Kharatyan’s ballet “Anush” both at the musical and choreographic-production levels. The study proved a significant interpretative potential of the Hovhannes Tumanyan’s works for the opera and ballet art.

ЎЗБЕКИСТОНДА МИЛЛИЙ БАЛЕТ САНЪАТИНИНГ ШАКЛЛАНИШИ ВА РИВОЖЛАНИШИ

This article deals with the issues based on the formation and development of national ballet in Uzbekistan from the 30s of the XIX century to the present day, as well as the expression of the image of a national hero on the national ballet stage. The article also focuses on ballet performances, which have become an important event in the theatrical life of Uzbekistan. Uzbek national ballets are based on rich national folklore.

Effect of a Core Stabilization Training Program on Performance of Ballet and Modern Dancers

Kalaycioglu, T, Apostolopoulos, NC, Goldere, S, Duger, T, and Baltaci, G. Effect of a core stabilization training program on performance of ballet and modern dancers. J Strength Cond Res 34(4): 1166-1175, 2020-The aim of this study was to investigate the effects of a core stabilization training (CST) program on performance of university-level ballet and modern dancers. Twenty-four dancers between the ages of 18 and 24 years participated in the study. Core stabilization training was performed for 45-60 minutes per day, 3 days a week, for 8 weeks. For 2 days, the training was conducted by an experienced physiotherapist, and the other day, each participant exercised on his or her own. Evaluation of physical fitness parameters included vertical jump performance, flexibility, dynamic balance, coordination, proprioception, muscle, and hip flexion isokinetic strength measures. Wilcoxon signed rank test was used to compare pre- and post-test values. Statistically significant increases in vertical jump performance, dynamic balance, proprioception, and coordination parameters between pre- and post-training (p < 0.05) were observed. After the CST program, peak torque values for the hip flexor muscle isokinetic test of the dancers decreased (p < 0.05). Therefore, the results suggest that the CST program might be used to improve several physical fitness parameters such as jumping, proprioception, coordination, and dynamic balance. Such improvements will aid in the development of artistic skills for university modern dancers.

Синтетическая сущность балета

In this article, synthetics is considered as an essential characteristic of ballet, which combines dance, literature, music and paining. Based on the achievements of renowned choreography theorists like J.J. Noverre, P.M. Karp, V.V. Vanslov, the authors structure the article chronologically and by heading in order to study in more detail the results of the interaction of dance with each of the listed types of arts. The main postulate of the synthetic union of various types of art with dance is their submission to choreography, its features and laws of formation. Therefore, literature, music and visual art appear in the ballet performance in changed forms: on the one hand, adapting to the needs of a choreographic art, on the other, introducing new things from their own environment.

National Performance Art and Pedagogics in the Ukrainian Ballet

The aim of the article is to analyze the creative work of Ukrainian choreo-graphers in the field of ballet theatre. The paper reveals the key features of national performance, choreography and teaching.Research methodology. The following methods are used: a historical method (for studying the development of performance and pedagogics), biographical method (for revealing the main aspects of Ukrainian choreographers’ creative works), the method of comparing (for revealing the constant links among different generations of tutors, choreographers and dancers) and the theoretical method (for making results of research). The normative and methodological literature by G. Berezova, L. Zikhlinskaya, V. May, G. Kirilova, L. Tsvetkova has been analyzed.Results. The study has revealed that choreography education in Ukraine is based on A. Vaganova’s method. Her system made possible to teach lots of famous ballet dancers. All of them made Ukraine well known in the chorographical world. G. Berezova, A. Vasiliva, G. Kirilova are considered as Vaganova’s method followers and developers.The main features of Ukrainian ballet performance show individual and professional abilities of a performer and the creation of duets in which members can double their skills, such as L. Gerasimchuk — M. Apukhtin, S. Kolivanov — T. Popescu, T. Tayakina — V. Kovtun, A. Dorosh — M. Chepik etc. The author argues that the development of national performance is going on due to the interception of work of a tutor, a choreographer and a performer.Novelty. An attempt is made to provide insight into Vaganova’s method and its impact on the Ukrainian ballet performance. The input of choreographers into development of this method is identified.The practical significance. The results of the research can be used in field of art history and teaching history and theory of dance art.

Swans of the Kremlin: Ballet and Power in Soviet Russia. by Christina Ezrahi, Pittsburgh: University of Pittsburgh Press, 2012. xi + 322 pp. $27.95 paper.

<i>Swans of the Kremlin: Ballet and Power in Soviet Russia</i>. by Christina Ezrahi, Pittsburgh: University of Pittsburgh Press, 2012. xi + 322 pp. $27.95 paper.

Балет С.С. Прокофьева «Сказ о каменном цветке»: замысел, создание, премьера

The article is the first attempt to recreate the history of the emergence and early existence of the final ballet by Prokofiev. The composer worked on this opus from July 1948 until the last day of his life. The article analyses the conception, the formation of the ideological basis and choreography of the ballet based on a range of documentary evidence that has never been studied before. It includes sketches of the libretto and musical themes, scores and piano transcriptions, diary notes, letters, business documents as well as transcripts of theatrical discussions of the ballet after Prokofiev’s death. The evidence clearly shows that the creators of the performance perceived it at all the stages of development as a promising and significant step forward. Another interpretation of the Russian national theme had a clearly defined social backbone, spectacular stage “miracles” and a touching lyric thread. All these promised success even at the stage of project approval. Nevertheless, the premiere of the The Tale of the Stone Flower did not create much hype. The Bolshoi Theater ran only 17 performances of the ballet— the premiere on February 12, 1954, the last performance on April 28, 1955. The literature on the ballet is scarce. A few studies, reviews and memoirs generally leave an impression of a creative failure. It may seem surprising, but this clumsy and ponderous performance did not give way to any theatrical legends or usual “jokes”. Possibly, the necessary bibliographic layer simply did not have time to form, since the impressions of the premiere were soon supplanted by an extremely bright, spectacular, and innovative second production (1957, the Kirov Theater), which really became a landmark event. To understand the reasons for what happened, it is not enough to trace the appearance of the musical text. Prokofiev, who worked in close collaboration with the choreographer L.M. Lavrovsky, composed and instrumentalized only the first edition of the score. The composer passed away on the eve of those changes that usually turn an integral musical canvas into a ballet performance, where music plays a far from dominant role. Thus, of special interest for us are the details of how the ballet was written. For decades, these data have been outside the scope of musicological research.

Śladem kulturowego dziedzictwa melodramatu o charakterze tanecznym

The proposal to look at the topic of melodrama through the prism of dance seems to be not only cognitively interesting, but also justified in terms of academic research. This theatre performance, established in the 18th century, becoming a new genre of popular art, clearly emphasized the close relationship between word, music and dance. The creators of melodramatic works tried to use all means of stagecraft, focusing on eye-catching forms of expression (stage machinery, scenery, costumes) or special effects framing the show’s spectacularity – including dance. We can find melodramatic themes in ballet performances (for example, referring to well-known novels: Leo Tolstoy, Anna Karenina, or by Alexander Dumas (son), The Lady with the Camellias). Dance plays an important role in Bollywood productions (the most common combination used by filmmakers is the musical and melodrama combination). We can already talk about a specific canon of film melodramas in which the main theme is dance (Dirty Dancing, 1987 starring Patrick Swayze; a role unforgettable for of today’s 40-year-olds). Following tracks of popular culture, we can also refer to the form of music videos, often in their narrative, close to the form of melodrama.

КАЗКА ЯК ЛІТЕРАТУРНА ОСНОВА ХОРЕОГРАФІЧНИХ ТВОРІВ

The article examines the synthesis of literature and choreographic art. The literary work is considered in the context of the libretto of a ballet performance, special importance is given to such a literary genre as a fairy tale, the plots of which served as a source of inspiration for choreographers of different eras, different countries. The role of literature in choreographic art is determined, the literary basis in a choreographic work from the origin of ballet art to the present is investigated. A historical excursion on the interpenetration of literature and choreography, from the XIII century. to date. Literary plots and literary images have been actively used in choreographic art at all times. However, the complete "fusion" of literary work and choreographic vocabulary took place only in the XX century, with the emergence of drama. It is believed that the drama flourished in the works of J. Neumayer, a choreographer with a flair and knowledge of philology. He created a unique author's genre of literary ballet. The specificity of depicting the events of a literary work by means of expression in choreography is studied. Ballet drama, features of construction of a choreographic work on a literary plot are analyzed. The essence of the concepts plot and plot and composition is determined. In fiction, the plot is a system of events. The plot and the plot are inseparable from each other and are the basis of the composition. Composition is the structure of a work of art due to its content. As for the disclosure of the content in the choreographic work, this process occurs through the means of expression. The specifics of the choreographer's work on creating a one-act choreographic performance are revealed; the main stages of the director's work are listed, namely: the choice of a literary work and its ideological and thematic analysis; own interpretation and director's concept of the work; writing a compositional plan; selection and analysis of musical material; staging and rehearsal work. The work of modern directors, who take a fairy tale as the main idea of their choreographic work, is studied.

Українські балети як етномаркери

The purpose of the article is to identify the main aspects of the ethnomarking role of Ukrainian ballets. Methodology. The study used the analysis of scientific literature, a comparison of the "Ukrainian national ballet performance" concept’s definitions, systematization, art history analysis. Scientific novelty lies in clarifying the concept of "Ukrainian national ballet performance", identifying ethnomarkers in Ukrainian ballets. Conclusions. Ukrainian national ballet performances as elements of spiritual culture play a differentiating function, acting as original ethnomarkers of domestic ballet in the world choreographic palette. Despite the functional incoherence of ballet with the traditions of folk art, folklore, synthesized with academic choreographic and musical forms, leads to the emergence of a peculiar phenomenon – the Ukrainian national ballet. "Ukrainian National Ballet Performance" is a ballet performance, saturated with elements of national identification, namely: worldview, moral, aesthetic, psychological characteristics and the like; score with elements of folk melos; choreography is based on a combination / synthesis of classical dance and Ukrainian dance folklore. The external and internal components of the artistic image in national ballets are ethnomarked – they are the embodiment of purely choreographic signs of belonging to the Ukrainian ethnic group (vocabulary, drawings, etc.) and national (mentality, temperament, moral attitudes, behavioral stereotypes, etc.). The artistic image as a whole and its components in national ballet performances acquire the features of a symbol, plays an important role in ethnomarking at many levels: figurative, lexical, spatial-compositional, thematic, attributive, and the like.

Do Grade II Ankle Sprains Have Chronic Effects on the Functional Ability of Ballet Dancers Performing Single-Leg Flat-Foot Stance? An Observational Cross-Sectional Study

Ballet dancers have a higher risk than the general population of ankle sprains. Ankle proprioception is of the utmost importance for executing static and dynamic positions typical of ballet dancing. Ankle sprains can create changes in functional ability that may affect ballet performance. The aim of this cross-sectional observational study is to evaluate if non-professional ballet dancers that were previously injured with a grade II ankle sprain carry a long-term stability deficit in ballet specific positions (passé, arabesque) and in single-leg flat-foot stance, thereby affecting ballet performance. We enrolled 22 amateur female ballet dancers, 11 who previously had a grade II ankle injury and 11 who had no history of ankle injury. Stabilometric data (Center of Pressure Speed and Elipse Area) were assessed with the postural electronic multisensory baropodometer in normal, arabesque, and passè positions with both open and closed eyes. Using an unpaired t-test, we compared healthy and pathological feet of the ankle injury group for a standard monopodalic position and two ballet-specific positions. No difference between pathological and healthy feet of non-professional ballet dancers who suffered grade II ankle injury was detected. According to the parameters considered in this study, grade II ankle sprains seem to have a favorable prognosis in the sample that we evaluated.

Збагачення традицій чоловічого виконавства у балетній творчості Миколи Прядченка

The aim of the article is to identify the features of the leading soloist of the National Opera and Ballet Theater named after T. Shevchenko Nikolay Priadchenko in the 1970–1990s. Methodology. To carry out scientifically objective research, we used analytical (analysis of literature and sources, events), comparative-historical means (conducting research in chronological sequence, comparing various stages of creativity, taking into account the historical context) and biographical methods (analysis of the reflection of his personal life events in the creative work). Scientific novelty. The scientific novelty lies in the fact that for the first time the features of M. Priadchenko’s artistic style were analyzed, which contributed to the traditions’ enrichment of the domestic choreographic school of male performance. Conclusions. An analysis of the problem’s historiography showed considerable attention on the part of ballet critics and scientists to the work of M. Priadchenko, however, a comprehensive study of the characteristics of the performing style and the role in enriching the school of domestic male ballet performance were not found. Features of the performing manner of M. Priadchenko in the roles of academic heritage consisted in the fact that he introduced a personal understanding of the images of his heroes into the traditional classical parties, a subtle sense of romantic academic choreographic style. In ballets on Ukrainian themes, M. Priadchenko convincingly reproduced the necessary artistic images, often endowed with a mythological nature. A universal dancer, M. Priadchenko was equally convincing in the ballets created by his contemporaries (A. Shekero, H. Maiorov, B. Eifman, etc.). In them, for each character, he found unexpected acting details that emphasized the individuality and significance of their characters. The stage achievements of famous Ukrainian dancers require further research attention, because an analysis of stage heritage will help to identify and understand the basic artistic principles of the male ballet school in Ukraine.

Changes in Body Composition, Energy Metabolism, and Appetite-Regulating Hormones in Korean Professional Female Ballet Dancers Before and After Ballet Performance.

This study investigated changes in body composition, energy balance, and appetite-regulating hormones in professional female ballet dancers before and after 3 days of ballet performances. The subjects were 43 professional female ballet dancers in Korea. The mean age of the subjects was 25.9 ± 2.8 years, and they had over 13 years of ballet training on average. For body composition, the body mass index (BMI), percent body fat (%BF), lean body mass (LBM), and total body water (TBW) were evaluated. By way of blood analysis the serum levels of ghrelin, leptin, and insulin were examined. The calculations of energy intake (EI) and expenditure (EE) were based on journals that were self-recorded by the subjects for 14 days. For statistical analysis, the dependent sample t-test was applied (p < 0.05). The results showed no significant change in %BF, but the BMI, LBM, and TBW increased significantly in the post-performance measurement. Energy balance results demonstrated a significant increase in EI and decrease in EE. Both the ghrelin and leptin levels increased significantly. Although reported energy intake increased after performances, it remained below estimated energy requirements. Ballet dancers should be aware of the need to maintain energy balance in order to optimize their health and performance.

«Forgotten name... Yakov A. Rosenstein»

«Forgotten name... Yakov A. Rosenstein»

Зінаїда Лур’є: балерина високого рангу

The purpose of the article is to recreate the creative way of the Honored Artist of the USSR Zinaida Lurie which is based on the analysis of archival documents, periodicals and special literature. Methodology. The author has prepared an article using historical, historiographic and analytical approaches that have allowed to comprehend Zinaida Lurie’s creative path from an intern, a ballet dancer to a recognized teacher. Scientific novelty. The article is the first attempt to recreate little studied part of the Zinaida Lurie’ creative way, including her performing, teaching and social activities. Conclusions. The creative way of Z. Lurie began in the period of the ballet theater formation and development in Ukraine. The artist has passed a difficult path from an internship to a ballet soloist. For ten years of work in the Kharkiv Theater, Z. Lurie has performed a lot of roles in opera and ballet performances: Odette-Odile in Swan Lake by P. Tchaikovsky, Raymond and Esmeralda in A. Glazunov and Ts. Pugni ballets, and Medor in Corsar A. Adam, Diva in the “Golden Age” by D. Shostakovich. The actress distinguished herself with solo performances in productions of “Joseph the Beautiful” and “In the Sunlight” by S. Vasilenko, “Ferendji” by B. Yanovsky and in the ballet “Pan Kanevsky” to the music of M. Verikivsky. On the Kyiv stage, the ballerina’s talent was revealed in the images of Odette-Odiliya, Princess Florin, Aurora, Zarema, Cherkeshenka, Laurencia and Gayane. Z. Lurie sang various parts in Ukrainian comedy and lyrical ballets. This is Agrafena in the play “The Night of the Besa” by V. Yorish, Lilia in the ballet of the same name by K. Dankevich and Mavk in “The Forest Song” by M. Skorulsky. The works of Z. Lurie were highly appreciated by theatrical observers. Her performance harmoniously combined dance and dramatic basis of the role. When interpreting her heroes, the honored artist of the Ukrainian SSR searched for her own original paints for their stage embodiment. With her performing art she approved the heroic style in the ballets of that time. Z. Lurie paid special attention to the Ukrainian national repertoire, however her parts in the ballets “Ban Kanevsky”, “Besovoy Nosch”, “Forest Song” are not sufficiently illuminated and require further scientific research.