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In 1934, Vaganova wrote Fundamentals of the Classical Dance, which remains a standard textbook for the instruction of ballet technique. In 1948, Vaganova authored a book titled The Foundation For Dance (more commonly known as Basic Principles of Russian Classical Dance ) that outlined her training method and ballet technique.
The dance has several parts beginning with the men and women meeting and going in a procession with the pole. This is followed by a Saltarello-style dance by the couples and then a round dance where the men (unsuccessfully) court the women. A circle is then formed around the pole, the dancers take the colored ribbons and dance a weaving figure.
Ballet technique is the foundational principles of body movement and form used in ballet.It is an important aspect of ballet performance because ballet (especially classical ballet) puts great emphasis on the method and execution of movement. [1]
Dance theory is based on these founding principles, that is the sphere and lines of the body, to derive, show and demonstrate how dance is done. This is achieved by showing which movements to do by and at what speed. It is hypothetically possible to draw and work out a dance by using sphere lines and arrows. Many dance books state how this is done.
Ballet has a long history in Italy, and it is widely believed that the earliest predecessor of modern-day ballet originated in the Italian courts of the Renaissance. Two predominant training systems are used to teach Italian ballet today: the Cecchetti method , devised by Enrico Cecchetti , and that of the La Scala Theatre Ballet School .
The greatest influence on the development of the Cecchetti method was Carlo Blasis, a ballet master of the early 19th century.A student and exponent of the traditional French school of ballet, Blasis is credited as one of the most prominent ballet theoreticians and the first to publish a codified technique, the "Traité élémentaire, théorique, et pratique de l'art de la danse" ("Elementary ...
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In 1977–1978 she conducted a study of cross-cultural methods of movement fundamentals, presenting her findings in a major conference paper. [12] It was the first demonstration of Fundamentals to Bartenieff’s peers in dance research. These projects contributed significantly to the theoretical development of Effort/Shape and Fundamentals.