Article Abstract:
The arabesque dates from the early 19th century. The term originally referred to a group of dancers performing harmoniously, but came to refer to how an individual dancer distributed weight equally. Some schools of ballet emphasized the concept of perpendicularity as central to the arabesque, while others felt expressiveness was most important. A third position, developed by Agrippina Vaganova, combines the lyricism of one approach with the solidity and plasticity of the other.
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Article Abstract:
The late 16-century musician Emilio de Cavalieri influenced the choreography of his younger contemporaries, Cesare Negri and Fabritio Caroso. Cavalieri used lengthy written descriptions to record his choreography, and the terms he used were also used to describe social dances by Caroso and Negri. Both kinds of dance utilized similar floor patterns, although the ballet was limited to presentation on a raised stage with the audience facing performers from one direction.
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Article Abstract:
Lincoln Kirstein showed the unchanging side of ballet through his operation of ballet companies and his many writings on the subject. His books on dance history were outstanding for their new information and rare illustrations. In his book, 'Movement and Metaphor,' Kirstein discussed 50 ballets in their technical, historical, psychological and political contexts. Lincoln also supported Nijinsky as a choreographer and George Balachine's work.
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