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In dance (particularly ballet), arabesque (French: [aʁabɛsk]; literally, "in Arabic fashion") is a body position in which a dancer stands on one leg (the supporting leg) with the other leg (the working leg) extended, straight, behind the body. The arm positions can vary and are generally allongé.
Les biches (French: [le biʃ]) ("The Hinds" or "The Does", or "The Darlings") [n 1] is a one-act ballet to music by Francis Poulenc, choreographed by Bronislava Nijinska and premiered by the Ballets Russes on 6 January 1924 at the Salle Garnier in Monte Carlo. [1] Nijinska danced the central role of the Hostess.
La Péri (English: The Peri) [a] is a 1912 ballet in one act by French composer Paul Dukas, originally choreographed by Ivan Clustine and first performed in Paris, about Iskender (the name of Alexander the Great in Persian) searching for immortality and his encounter with a mythological Peri. It was premiered on April 22, 1912.
This ballet brought Marie Taglioni before the French public. She was the first to dance en pointe for artistic reasons rather than spectacle and was also the first to wear the white, bell-shaped, calf-length ballet skirt now considered an essential feature of the romantic ballet. [ 10 ]
Arabesque position with working leg à la hauteur, forming a 90° angle with supporting leg Arabesque penchée. Arabesque (French:; literally, "in Arabic fashion") in dance, particularly ballet, is a body position in which a dancer stands on one leg–the supporting leg–with the other leg–the working leg–turned out and extended behind the body, with both legs held straight.
The Afternoon of a Faun (French: L'Après-midi d'un faune) is a ballet choreographed by Vaslav Nijinsky for the Ballets Russes, and was first performed in the Théâtre du Châtelet in Paris on 29 May 1912. Nijinsky danced the main part himself. The ballet is set to Claude Debussy's symphonic poem Prélude à l'après-midi d'un faune.
Scene from Les Sylphides. The following is a list of ballets with entries in English Wikipedia. The entries are sorted alphabetically by ballet title, with the name of the composer (or the composer whose music the ballet is set to) and the year of the first performance.
The French method is the basis of all ballet training. When Louis XIV created the Académie Royale de Danse in 1661, he helped to create the codified technique still used today by those in the profession, regardless of what method of training they adhere to. The French school was particularly revitalized under Rudolf Nureyev, in the 1980s