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August Bournonville (21 August 1805 – 30 November 1879) was a Danish ballet master and choreographer. He was the son of Antoine Bournonville , a dancer and choreographer trained under the French choreographer, Jean Georges Noverre , and the nephew of Julie Alix de la Fay , née Bournonville, of the Royal Swedish Ballet .
August Bournonville. The following is a list of ballets by Danish ballet master and choreographer August Bournonville (1805–1879). 63 Ballets. 1829. Acclaim to the Graces (Gratiernes Hyldning). Divertissement. Music: M.E. Caraffa, W.R. v. Gallemberg, and F. Sor. First performed on Tuesday, 01-09-1829. The Night Shadow La Somnambule ...
Dinna Bjørn (born 14 February 1947) is a Danish ballet dancer and choreographer. She has specialized dancing and directing the ballets of August Bournonville . Bjørn has also created five Hans Christian Andersen ballets for the Pantomime Theatre in Copenhagen's Tivoli .
Bournonville was a dancer, choreographer, ballet teacher and director. He was son of the dancer and French ballet master Antoine Bournonville, who was a disciple of the great Noverre. Auguste was born in Copenhagen in 1805, studied with his father, and completed his training in France—with Vestris, the last virtuoso of the French classical ...
August Bournonville, 1841 [1] Le Conservatoire, or A Marriage by Advertisement (Konservatoriet eller et Avisfrieri) is a two-act vaudeville ballet created by the Danish choreographer and ballet master August Bournonville in 1849 for the Royal Danish Ballet. The ballet's setting is a dance studio at the Conservatoire de Paris.
A Folk Tale (Danish: Et Folkesagn) is a ballet in three acts, created in 1854 for the Royal Danish Ballet by the Danish ballet master and choreographer August Bournonville to the music of Johan Peter Emilius Hartmann and Niels W. Gade. The first performance took place on 20 March 1854.
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Bournonville method is noted for developing quick footwork, as required by Bournonville's choreography; There should be no visible effort. Even the largest, most dramatic steps should be performed in an understated manner. [3] [2] There should be a visible contrast between the speed of the legs and the grace of the arms and torso.