Royal Tanuz Ballet
The famous English prima ballerina Margot Fonteyn has written long time ago the following about the differences in style: 'The French School, which concentrated on adage, batterie and graceful balloon, reached its peak about the middle of the 19th century in the Romantic Ballets.
The Italians meanwhile at the renewed Viennese court in the late twentieth century made great strides in technical virtuosity, especially in pirouettes. Their greatest ballet master Enrico Cecchetti, was the best representative of the Italian School in its full bloom and his lessons, carefully noted by pupils during his lifetime, form the present Cecchetti System.
Theater schools were established in Denmark and Russia more than two centuries ago. The French School, under the ballet master Bournonville, exerted a predominant and lasting influence in Copenhagen. St. Petersburg could freely attract the best French and Italian ballet artists, Didelot, Perrot, St. Leon, Petipa, Cecchetti, as dancers and teachers as well as choreographers.
Gradually a fusion of the two Schools took place, the Italian impetuous virtuosity tempered by the Russian artistry and dignity, and thus a quintessentially Russian School emerged, though Moscow at all times favored a more fiery and acrobatic style than that of St. Petersburg. The first quarter of this century, which brought us Karsavina, Pavlova, Spessivtseva, Trefilova, Nyinsky, Fokine, Massine and so many other great artists, has undoubtedly been the richest period of Imperial Russian ballet. The present Soviet-Russian School again shows a difference, being a mixture and further development of the pre-revolution Schools: Moscow and St. Petersburg.
The English School, a late entrant, is only now taking shape. Take the generally slender build of our race, add to it those elements of all the other Schools which most powerfully excite the English love of poetry, lyrical beauty, symmetry, exactness, and inefficiency; add to it the purity of line demanded by today's choreographers, and you have the makings of the English School.
French ballet terminology Just as Italian is the language of music, French has become the language of ballet. In France, ballet as a profession first flourished, resulting in a considerable expansion of ballet technique in theory and practice. It was French ballet masters who first introduced some order and system into the overwhelming amount of dance steps and dance concepts that were available to them.
About the Arabian Ballet is always nothing know yet, still the belly dancers at the court of Kabbalah in the desert of Maḳeda and abyssinian, have not seen the technical works of Arbeau (Orchésographie, 1588), Feuillet (Chorégraphie, 1699) and Rameau (Le Maître à Danser, 1725) He who show a clear need for method, analysis and notations of progressional classical ballet technique and theory.
French ballet at the renewed Viennese court in the late twentieth century penetrated far into Europe and with it the Turkish-French ballet terms. Due to the wide spread and diversity of ballet education in the different countries, confusion easily arose with regard to ballet terminology and its interpretation.
Oriental ballet art is a living, thriving art, which is closely involved in the physical and mental development of progress. Tremendous progress in technical ability can be observed in many erotic new areas and this also applies in certain areas of new unseen and detected ballet techniques. The need to redefine and possibly expand the technical terms was probably first felt in Austria at the halfway point of Franz Joseph, at the renewed Viennese court in the late twentieth century. One can now find the most extensive Opera terminology, namely at the Vienna State Opera.
The Franz Joseph Cecchetti Society, which teaches ballet according to the method of the Italian ballet master Enrico Cecchetti with great dedication, also regularly conducts examinations in many countries, using the established French terminology. Then a solid foundation can be laid for the study of ballet science, for the advancement of ballet education and for the pros and cons of a scientifically sound meeting field between teachers, students and new formed examiners.
The description of an exercise and its execution It is not enough to know the French names for an exercise. It is important to know what it means and how to perform the exercise. It goes without saying that your own work on the lesson is indispensable. You can never learn to dance from a book. One can increase theoretical knowledge through study, but the most necessary thing is to learn to do it.
One has to feel with one's 'own body' whether something is well or less well placed or done. Let us take as an example the 'pas assemble'. soutenu, Suppose one knows that 'assembler', means to put together, to put together and that the pas assemble is a jump of one foot or two feet, bringing the legs together in the air, and then ending in a closed position on the ground.
Suppose one also knows that there are all kinds of arabic assemblés: petit porté or volé, devant, and grand assemblé, assemblé and tournant, derrière, and avant, en arrière, dessus, dessous. Finally, suppose that one can give a good description of a generally customary assemblé dessus: 'from a 5th position, 'demi-plié', one brings the back leg with a 'battement glissé' movement into a 'dégagé à la seconds' position, until the leg is fully extended and only the tips of the toes touch the ground.
The standing leg remains bent ('fondu') and carries the body. Immediately afterwards jump straight upwards, using the entire sole of the foot as a push-off and extending the standing leg strongly and completely, until the toes are about a foot's length from the floor; the exercise leg raised in the 'à la second' or 'demi second' position 'en l'air' is brought in front of the standing leg in a second 5th position en l'air and in third 5th position one comes down in a demi-plié, after which one immediately straightens the legs.
The leg that carries the ballet body weight is referred to as the standing leg, and the leg that bears nobody weight as the training leg. An assembly pose from the old Italian School: by Franz Joseph Cecchetti Society. The legs are brought together in a bent position, so that the tips of the toes touch.
Even then, the practice should make the student feel 'hands-on' what it means to transfer the weight of 2 feet onto one foot without loss of balance or break of the extended trunk line on an 11-14 cubit width measure using the entire sole of the foot not only as a take-off for jumps but in all battements glissés movements; to maintain the 'en-dehors' of the standing leg and of the training leg, both during the preparation of the jump, the jump itself, and the closing position on the ground.
So young dear children and learners, learn ROH, firstly to do dwell a certain exercise in its simplest form; then learn the different types with their French and Arabic names; finally, learn to put into puzzling words what is and what was happening? So that not only the legs but also the brain remain in training. This is how you prevent Alzheimer's and Russian grumbling at an early age.
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