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BOURNONVILLE AND BALLET TECHNIQUE BY: ERIK BRUGHN+LILLIAN MOORE
BOURNONVILLE AND BALLET TECHNIQUE BY: ERIK BRUGHN+LILLIAN MOORE
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FEATURES: BOURNONVILLE AND BALLET TECHNIQUE
BY: ERIK BRUGHN+LILLIAN MOORE
BY: ERIK BRUGHN+LILLIAN MOORE
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A) CONDITION BOOK: VERY GOOD - HARD BOUND
B) CONDITION DUST JACKET: VERY GOOD - PRICE CLIPPED
C) FIRST EDITION SECOND PRINTING [OR. 1961] - ADAM+CHARLES BLACK [1963]
D) NOTE: BRUGHN, A DAME BY BIRTH WAS A BALLET DANCER OF ENORMOUS INTERNATIONAL REPUTE. LAID IN IS TWO TICKET STUBS FROM A BALLET. ALSO A CHANGE OF PERFORMER CARD, WHICH BRUGHN HAS SIGNED IN RED INK. ILLUSTRATED BY PHOTOGRAPHS. 71 PAGES.
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BOOK GRADING CATEGORIES:
FINE
VERY GOOD
GOOD
FAIR
POOR
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The distinctive style and technique of the dancers of the Royal Danish Ballet have always aroused great interest and enthusiasm in the world of ballet. Their special quality derives from the work of August Bournonville over a century ago. A great teacher and choreographer, his teaching and his ballets, such as La Sylphide, have remained unchanged through the years.
Erik Bruhn, indisputably one of the greatest dancers of the twentieth century, was trained in the Bournonville tradition, and in his appearances as guest artist in the USA, Russia and elsewhere he had the unique opportunity of comparing his training and technique with other methods. This interest impelled him to study anew Bournonville s principles as set down in his Études chorégraphiques, and in collaboration with Lillian Moore, the distinguished critic and dancer, he compiled what is modestly described as a book of studies and comments.
The authors emphasize that, In calling attention to Bournonville s Études chorégraphiques and his own teaching, we have not the slightest intention or desire to urge a new and different system of teaching upon the world... Our purpose here is much more modest. We simply want to discuss a few things which are sometimes neglected even in the best schools, and describe the ways they are taught in the Danish school where they are still remembered.
Erik Bruhn, indisputably one of the greatest dancers of the twentieth century, was trained in the Bournonville tradition, and in his appearances as guest artist in the USA, Russia and elsewhere he had the unique opportunity of comparing his training and technique with other methods. This interest impelled him to study anew Bournonville s principles as set down in his Études chorégraphiques, and in collaboration with Lillian Moore, the distinguished critic and dancer, he compiled what is modestly described as a book of studies and comments.
The authors emphasize that, In calling attention to Bournonville s Études chorégraphiques and his own teaching, we have not the slightest intention or desire to urge a new and different system of teaching upon the world... Our purpose here is much more modest. We simply want to discuss a few things which are sometimes neglected even in the best schools, and describe the ways they are taught in the Danish school where they are still remembered.
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arabesque arms assemblé attitude audience August ballet barre beats body
Bournonville Bournonville's called Cecchetti changing choreographer close Copenhagen cou de pied course croisé dance dancers Danish Ballet demanded described dessous developing difficult direction double effacée elevation enchaînement entire Erik Bruhn Études chorégraphiques executed exercises face feet finishing floor followed foot forward front girls give given grand head held Illus important included jeté jump kind knee landing later leading lightness looks master movement Music Napoli never Paris pass performance period pirouettes placed plié pointe position practice preparation pupils quick raised Repeat role rond de jambe Royal Theatre sauté seems sequence shoulder shows side sometimes stage steps sth pos straight strength stretched strong style supporting teacher teaching technical
technique things tournant travelling turn variations weight
Bournonville Bournonville's called Cecchetti changing choreographer close Copenhagen cou de pied course croisé dance dancers Danish Ballet demanded described dessous developing difficult direction double effacée elevation enchaînement entire Erik Bruhn Études chorégraphiques executed exercises face feet finishing floor followed foot forward front girls give given grand head held Illus important included jeté jump kind knee landing later leading lightness looks master movement Music Napoli never Paris pass performance period pirouettes placed plié pointe position practice preparation pupils quick raised Repeat role rond de jambe Royal Theatre sauté seems sequence shoulder shows side sometimes stage steps sth pos straight strength stretched strong style supporting teacher teaching technical
technique things tournant travelling turn variations weight
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