Ballet Today

It's a dance, dance, evolution! Get to know the plie, arabesque, and other basic steps, and see how ballet has changed over the years. From Anna Pavlova to Mikhail Baryshnikov to Misty Copeland, discover the dancers who added their signature style to this graceful dance form. Go behind the curtain to see what it takes to become a prima ballerina and how a performance comes together.

This enchanting introduction to the wonderful world of ballet has been updated to include a removable poster and access to 25 downloadable music tracks. Young dancers have fallen in love with this charming, illustrated exploration of the world's great ballets. Featuring twenty-five famous and beloved pieces such as Swan Lake, The Nutcracker, Peter and the Wolf and Fancy Free, these stories bring iconic performances to life, and inspire readers to listen and dance along to the music that has made them enduring classics. Woven into these tales is a captivating history of ballet, filled with information and profiles of the world's greatest dancers, choreographers, and composers. Young readers will also enjoy fun facts and dancing how-tos all while listening to excerpts of classical music. Also included is a removable, fold-out poster depicting the five positions of ballet.

 Dancer Robert Barnett trained under legendary choreographer Bronislava Nijinska. His professional ballet career was launched when he joined the Colonel de Basil Original Ballet Russe company. In the late 1940s, when George Balanchine and Lincoln Kirstein formed the New York City Ballet, Barnett was among the first generation of dancers. Under Balanchine's direction, he rose from corps de ballet to soloist. In 1958 he became principal dancer and associate artistic director of the Atlanta Ballet--the oldest continuously operating company in America--and served as artistic director for more than thirty years. He was head coach of the American delegation to the International Ballet Competitions in Varna, Bulgaria, in 1980 and in Moscow in 1981. Barnett's autobiography recounts the life of a dancer and artistic director, offers insight into what is involved in pursuing a professional career in dance and provides a history of ballet in America from the early 1920s through 2019.

"Nearly four hundred and fifty years in, ballet still resonates-though the stages have become international, and the dancers, athletes far removed from noble amateurs. While vibrations from the form's beginnings clearly resound, much has transformed. Nowadays ballet dancers aspire to work across disciplines with choreographers who value a myriad of abilities. Dance theorists and historians make known possibilities and polemics in lieu of notating dances verbatim, and critics do the daily work of recording performance histories and interviewing artists. Ideas circulate, questions arise, and discussions about how to resist ballet's outmoded traditions take precedence. In the dance community, calls for innovation have defined palpable shifts in ballet's direction and resultantly we have arrived at a new moment in its history that is unquestionably recognized as a genre onto its own: Contemporary Ballet. An aspect of this recent discipline is that its dancemakers, more often than not, seek to reorient the viewer by celebrating what could be deemed vulnerabilities, re-construing ideals of perfection, problematizing the marginalized/mainstream dichotomy, bringing audiences closer in to observe, and letting the art become an experience rather than a distant object preciously guarded out of reach. Hence, the practice of ballet is moving to become a less-mediated and more active process in many circumstances. Performers and audiences alike are challenged, and while convention is still omnipresent, choices are being made. For some, this approach has been drawn on for decades, and for others it signifies a changing of the guard, yet however we arrive there, the conclusion is the same: Contemporary Ballet is not a style. That is to say, it is not a trend, phase, or fashionable term that will fade, rather it is a clear period in ballet's time deserved of investigation. And it is into this moment that we enter"--

Ninette de Valois was an extraordinary woman. Not only did she create The Royal Ballet, The Royal Ballet School and the company that has become Birmingham Royal Ballet – in themselves great achievements – but she was a gifted choreographer, dancer, teacher, administrator, speaker and writer. She also identified and developed so many of the talented dancers, choreographers and teachers who went onto make Britain a world leader in ballet and dance. During the 50th Anniversary Celebrations of The Royal Ballet in 1981, Ninette de Valois accepted an invitation to speak to the Yorkshire Ballet Seminars. In that illuminating talk, printed here for the first time, she focuses on what ‘English Ballet’ is. Combined with her 1955 article, Some Problems of Ballet Today, and Sir Peter Wright’s fascinating Madam’s Memorial Address, this volume raises questions as meaningful today as they were when de Valois first addressed them. In an increasingly connected dance world, what does it mean to have a national style? Why is a national style important? How might a national style be identified, developed and nurtured? This volume provides thought-provoking and fascinating reading for all lovers of ballet, dance and art.

A collection of essays by international writers on the evolution of ballet.

In 1866, when the ballet La Source debuted, the public at the Paris Opera may have been content to dream about its setting in the verdant Caucasus, its exotic Circassians, veiled Georgians, and powerful Khan. Yet the ballet's botany also played to a public thinking about ethnic and exotic others at the same time-and in the same ways-as they were thinking about plants. Along with these stereotypes, with a flower promising hybridity in a green ecology, and the death of the embodied Source recuperated as a force for regeneration, the ballet can be read as a fable of science and the performance as its demonstration. Programmed for the opening gala of the new Opera, the Palais Garnier, in 1875 the ballet reflected not so much a timeless Orient as timely colonial policy and engineering in North Africa, the management of water and women. One Dead at the Paris Opera Ballet takes readers to four historic performances, over 150 years, showing how-- through the sacrifice of a feminized Nature-- La Source represented the biopolitics of sex and race, and the cosmopolitics of human and natural resources. Its 2011 reinvention at the Paris Opera, following the adoption of new legislation banning the veil in public spaces, might have staged gender and climate justice in sync with the Arab Spring, but opted instead for luxury and dream. Its 2014 reprise might have focused on decolonizing the stage or raising eco-consciousness, but exemplified the greater urgency attached to Islamist threat rather than imminent climate catastrophe, missing the ballet's historic potential to make its audience think.