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Ashton fashioned a humorous number from this music for Simone and four ballerinas, at the beginning of which Lise tempts her mother with a pair of clogs, which she cannot resist. She puts them on and whirls into one of Ashton's most celebrated numbers, which also features the dancers using the clogs to perform sur la pointe (on their toes).
A Tragedy of Fashion (music by Eugene Goossens, arranged by Ernest Irving) (1926); Various dances for a Purcell Opera Society production of The Fairy-Queen: (music by Henry Purcell) (1927)
Ashton included in many of his ballets a signature step, known to dancers as "the Fred step". It is defined by David Vaughan as "posé en arabesque, coupé dessous, small développé a la seconde, pas de bourrée dessous, pas de chat ". [45]
Troentorp Clogs (formerly known as Båstad Clogs) have gained international recognition, especially during the 1970s when Swedish clogs became a widely popular footwear. The clogs have been made by Troentorp Toffelfabrick (Troentorp Clog Factory) in the same location since 1907 and continue to be produced with the original wood and leather design.
This is a list of musical compositions or pieces of music that have unusual time signatures. "Unusual" is here defined to be any time signature other than simple time signatures with top numerals of 2, 3, or 4 and bottom numerals of 2, 4, or 8, and compound time signatures with top numerals of 6, 9, or 12 and bottom numerals 4, 8, or 16.
Ashton's Cinderella is his own realised dream of a Petipa ballet and the ballet itself enacts the realisation of dreams, notably Cinderella's own. When we first see her she is a demi-caractere dancer dreaming of being a ballerina—that seems to be the balletic point of her solo with the broomstick in the kitchen—and it is as a ballerina that she magically enters the ballroom, stepping en ...
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