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Chassé in ballet. The chassé (French:, French for 'chased'; sometimes anglicized to chasse / ʃ æ ˈ s eɪ, ʃ æ s /) is a dance step used in many dances in many variations. All variations are triple-step patterns of gliding character in a "step-together-step" pattern. The word came from ballet terminology.
The Ballet Companion: A Dancer's Guide to the Technique, Traditions, and Joys of Ballet. New York: Simon and Schuster. ISBN 0-7432-6407-X. OCLC 58831597. Glossary of Dance Terms. New York: New York City Ballet. 2010. Ryman, Rhonda S. (1998). Dictionary of Classical Ballet Terminology (2nd ed.). London (Hightstown, NJ): Royal Academy of Dancing ...
Chassé (French, "to chase") is a dance step with a triple step pattern used in many forms of dance. [1] It is a gliding, flowing [citation needed] step with the feet essentially following a step–together–step pattern. Timing and length of steps vary from dance to dance.
The chassé (, French for 'to chase'; sometimes anglicized to chasse / ʃ æ ˈ s eɪ, ʃ æ s /) is a waltz ballroom dance figure. Like chassés in other dances, it involves a triple-step where one foot "chases" the other in a "step-together-step" pattern. It is derived from a ballet step. [1]
Some terms that are similar or equivalent in some contexts are slide, sweep bend, smear, rip (for a loud, violent glissando to the beginning of a note), [1] lip (in jazz terminology, when executed by changing one's embouchure on a wind instrument), [2] plop, or falling hail (a glissando on a harp using the back of the fingernails). [3]
Le pas d'acier was a major success for Prokofiev and Diaghilev in Paris, where it was performed for three consecutive seasons. Diaghilev was a confirmed supporter of Prokofiev's compositions, going so far as to term him "my second son" (Stravinsky being his metaphorical "first"), and Diaghilev's death in 1929 removed Prokofiev's primary source of ballet commissions and practical support in the ...
Today, act 2 is a ballet blanc (a "white" ballet in which all the ballerinas and the corps de ballet are dressed in full, white, bell-shaped skirts and the dances have a geometric design). [ 50 ] Sets and costumes
[1] The following year Rambert founded the Ballet Club, forerunner of the Ballet Rambert, with Alicia Markova as prima ballerina and Ashton as the main choreographer and one of the leading dancers. [1] Ashton's ballets of the early 1930s included La péri (1931), The Lady of Shalott (1931), Façade (1931), Foyer de danse (1932) and Les Masques ...