Article Abstract:
George Balanchine's teaching style did not teach a revolution in ballet's elemental technique. The key aspect of his style is an economy of movement which did not, however, mean a simplification of steps. Balanchine modified classical ballet technique and this enabled him to express more of a variety of human feelings. He was able to leave behind fantasy and enter real life. These were the conclusions of former Balanchine dancers in a symposium on Balanchine's contribution to their training held on Jan 4, 1996, at the New York Punblic Library.
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Article Abstract:
George Balanchine as seen in most modern American and German dance groups has the gestures of primitive ritual or the miming of basic physiological activities. Balanchine revitalizes by bringing the Petipa ballet tradition close to present feelings. Balanchine's choreography sometimes seems similar to modern dance technique, but is in direct contrast. In the interrelations of the people on the stage can be seen a great difference between modern dance and the Balanchine style.
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Article Abstract:
The author uses a 1997 production of George Balanchine's 1962 ballet 'A Midsummer Night's Dream' to reflect on how this ballet was created. Excerpts from a 1978 interview with Balanchine, including his original intention to have the Virgin Mary appear at the end later changed to the middle, are discussed.
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