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The Nutcracker (2011) grand pas de deux A grand pas de deux is a structured pas de deux that typically has five parts, consisting of an entrée (introduction), an adagio, two variations (a solo for each dancer), and a coda (conclusion). [1]
In a grand pas classique, classical ballet technique prevails and no character dances are included. A grand pas de deux serves as the pièce de résistance for the principal male and female characters of a full-length ballet. A grand pas danced by three or four dancers is a grand pas de trois or grand pas de quatre, respectively.
It was a standard pas de deux classique, with a short entrée, a grand adage, a variation for the danseur, a variation for the ballerina, and a coda. [6] Madame Sobeshchanskaya was, apparently, pleased. For more than seventy years, this pas de deux was forgotten. [5]
The Grand Adagio of the Pas de Deux in Act II was made almost into a Pas de Trois, as Drosselmeyer enters the festivities at the Land of Sweets to coax Clara back to reality but she refuses to go. In order to provide a dramatic climax to the story, the adagio was made the penultimate dance in the ballet, coming just before the Final Waltz and ...
pas de deux lit. "step for two"; in ballet, a dance or figure for two performers, a duet; also a close relationship between two people. [43] pas de trois lit. "step for three"; in ballet, a dance or figure for three performers. passe-partout a document or key that allows the holder to travel without hindrance from the authorities or enter any ...
The famous Grand Pas de Deux from the ballet's final scene was staged in the West as early as the 1940s, given first by the Ballet Russe de Monte-Carlo. The first full-length production mounted outside of Russia was a completely new staging, produced and choreographed by Ninette de Valois for The Royal Ballet in 1950.
Gorsky's version of the Grand pas de deux from the second act, loosely known as La Fille mal gardée pas de deux, is now a famous repertory excerpt on the gala and competition circuit, and is still performed regularly by the Vaganova School as part of their annual graduation performances at the Mariinsky Theatre.
During the classical era, Marius Petipa was largely responsible for creating choreographic structures that are still used in ballets today. For one, Petipa was the first to use the grand pas de deux in his choreography. Additionally, he cemented the usage of the corps de ballet as a standard part of a ballet. Despite his ushering in of the ...