The Creation Of Igiselle

The unusual marriage of Romantic ballet and artificial intelligence is an intriguing idea that led a team of interdisciplinary researchers to design iGiselle, a video game prototype. Scholars in the fields of literature, physical education, music, design, and computer science collaborated to revise the tragic narrative of the nineteenth-century ballet Giselle, allowing players to empower the heroine for possible ”feminine endings.” The eight interrelated chapters chronicle the origin, development, and fruition of the project. Dancers, gamers, and computer specialists will all find something original that will stimulate their respective interests. Contributors: Vadim Bulitko, Wayne DeFehr, Christina Gier, Pirkko Markula, Mark Morris, Sergio Poo Hernandez, Emilie St. Hilaire, Nora Foster Stovel, Laura Sydora

The unusual marriage of Romantic ballet and artificial intelligence is an intriguing idea that led a team of interdisciplinary researchers to design iGiselle, a video game prototype. Scholars in the fields of literature, physical education, music, design, and computer science collaborated to revise the tragic narrative of the nineteenth-century ballet Giselle, allowing players to empower the heroine for possible ”feminine endings.” The eight interrelated chapters chronicle the origin, development, and fruition of the project. Dancers, gamers, and computer specialists will all find something original that will stimulate their respective interests. Contributors: Vadim Bulitko, Wayne DeFehr, Christina Gier, Pirkko Markula, Mark Morris, Sergio Poo Hernandez, Emilie St. Hilaire, Nora Foster Stovel, Laura Sydora

Dance theatre has become a site of transformation in the Irish performance landscape. This book conducts a socio-political and cultural reading of dance theatre practice in Ireland from Yeats' dance plays at the start of the 20th century to Celtic-Tiger-era works of Fabulous Beast Dance Theatre and CoisCéim Dance Theatre at the start of the 21st.

Rethinking the Sylph gathers essays by a premier group of international scholars to illustrate the importance of the romantic ballet within the broad context of western theatrical dancing. The wide variety of perspectives -- from social history to feminism, from psychoanalysis to musicology -- serves to illuminate the modernity of the Romantic ballet in terms of vocabulary, representation of gender, and iconography. The collection highlights previously unexplored aspects of the Romantic ballet, including its internationalism; its reflection of modern ideas of nationalism through the use and creation of national dance forms; its construction of an exotic-erotic hierarchy, and proto-orientalist "other"; its transformation of social relations from clan to class; and the repercussions of its feminization as an art form. This generously illustrated book offers a wealth of rare archival material, including prints, costume designs, music, and period reviews, some translated into English for the first time. Ebook Edition Note: All images have been redacted.

Saul Parenti has always been glad that he's second in line in the Arrezzian monarchy. He can concentrate on his business empire…and the delights of his new wife, Giselle…. But when his cousin is killed, Saul must ascend the throne. Instead of pursuing their own dreams, Saul and Giselle must now make their lives about pomp and protocol. But the secret traumas of Giselle's past have scarred her deeply; she never wants to be a mother—and that leaves her marriage in crisis. Because her royal duty is to produce an heir….

This book represents the first extensive introduction to the emerging construct of Educational Self. The new concept describes a specific dimension of the Self, which is elaborated in the course of a person’s school life and is reactivated anytime the person is involved in an educational activity, whether as a student, teacher or parent. The Educational Self (ES) approach was created by the volume editors and is currently being developed at various universities in Europe and Latin America as a way of understanding and operating in educational contexts. The book presents the theoretical framework and the empirical developments of the construct, paving the way for further applications in education. The main locations of the empirical studies are Denmark, Italy, Brazil, Portugal and Colombia, but the research network is steadily expanding to other countries, so that the concept here can be generalized to different cultural contexts. The book addresses a range of contexts and moments in school life. The editors’ introduction presents the construct of ES, the opportunities for further theoretical and empirical developments of the concept, and its potential applications in educational practices. In the remainder of the volume, ES is explored for different age groups (from children to adolescents to higher education), different actors (peers, teachers, parents and their interactions), different contexts (formal education, special institutions, school-family relationships) and different phenomena (disruptive behavior, special needs, value orientation, school failure, etc.). All the studies share a qualitative idiographic approach, which is characteristic of the perspective of cultural psychology in which the ES construct was elaborated.

PLEASE NOTE: This is a summary of the book and NOT the original book. The First Phone Call from Heaven by Mitch Albom | A 30-minute Summary Inside this Instaread Summary:Overview of the entire bookIntroduction to the Important people in the bookSummary and analysis of all the chapters in the bookKey Takeaways of the bookA Reader's Perspective Preview of this summary: Chapter 1 Tess Rafferty receives the first phone call at her home in Coldwater, Michigan. She is not able to get to the phone in time, and the call goes to the answering machine. When she plays the message back, she is stunned to hear her mother’s voice on the line. Her mother has been dead for four years. The police chief of Coldwater, Jack Sellers, receives the second call. His phone call is from his son, Robbie, who died while on a tour of duty as a soldier in Afghanistan. Katherine Yellin receives the third call. Her call is from her dead sister, Diane. She immediately goes to tell the minister of her church, Pastor Warren, about the call. He has been counseling her, trying to help her deal with her grief. Sullivan Harding is released from prison. He is picked up by his parents and his son and taken home. Chapter 2 Sully Harding walked to the Davidson & Sons Funeral Home to pick up his wife, Giselle’s, cremated remains. While there, he meets Horace Belfin, the funeral director. Tess Rafferty receives another phone call. She is sure the voice belongs to her dead mother. The voice speaks the same way her mother did when she was alive. On a Friday one week after the first call, Police Chief Jack Sellers receives a second call from his dead son. The voice tells Jack that it is awesome where he is and that there are no bad days there. He tells his father that he should not worry about what comes next...

This collection presents music from three of the most important scores of the Golden Age of ballet in Paris from 1830–1870. The Romantic ballet had been inaugurated by Meyerbeer’s opera Robert le Diable (21 November 1831) with its ghostly Ballet of the Nuns, risen from their graves and dancing in the moonlight, led by their spectral Abbess; a role created by Marie Taglioni (1804–1884) to her father’s choreography. La Sylphide (1832), inspired by this situation, was the first fully fledged Romantic ballet. Its graceful and atmospheric score was written by the first violinist at the Opéra, Jean Schneitzhoeffer. The story, devised by the great tenor Adolphe Nourrit, similarly introduces spirits and elemental beings, which dominated ballet scenarios for the following decades. Filippo Taglioni’s creation provided the fullest realization of the Romantic ideal, especially in the leading character of the story, and its perfect incarnation in the original interpreter, Marie Taglioni, whose stage personality seemed to be made for the part of the Sylphide. The ballet became the source of theatrically romantic fantasies centred around the hopeless and fatal love between a human being and a supernatural creature. It was performed in Paris until 1860, when the work was abandoned. Only in the late 20th century was Taglioni’s original version revived in a literal reconstruction by Pierre Lacotte at the Paris Opéra on 7 June 1972. Giselle is a central work in the ballet repertory all over the world. It is regarded as the absolute masterpiece of Romantic dance theatre; a wonderful synthesis of style, technique, and dramatic feeling, with an exceptional score. The ballet was devised in 1841 as a result of the collaboration of some of the major talents in literature, choreography and music in the Paris of the time. The author, critic and poet Théophile Gautier, overwhelmed by the art of the ballerina Carlotta Grisi (1819–1899), discovered what he felt would be the perfect theme for her while reading a translation of Heinrich Heine’s book on German legend and folklore, D’Allemagne. Here he found the legend of the wilis—maidens who die before their wedding day and who come out of their graves at night in bridal dress to dance until dawn. Should any man be caught in the wood while the wilis are about their rituals, he is doomed to dance on and on until he drops dead from exhaustion. The choreography was created by Jean Coralli and Jules Perrot. The first act is on a realistic level, with an evocation of a medieval rusticity and emotional-sentimental intrigue, while the second act conjures up the supernatural, an ethereal world of magic symbolism. Both public and the critics greeted the work as a triumph. The score was praised for its “elegance, the freshness and clarity of the melodies, the vigour and novelty of the harmonic combinations, and the vivacity that pervades the musical texture from start to finish”. The ballet has come down the years in a more-or-less unbroken tradition. Perrot emphasized his own special creative imprint in the productions he supervised in London (1842) and St Petersburg (1856). In Russia he collaborated with Marius Petipa who made his own reconstruction of the ballet in 1884. This version became the model for all later revivals in Russia, as well as for Mikhail Fokine’s production for the Ballet Russes in Paris (1910). Byron’s famous narrative poem The Corsair inspired several ballets, with Joseph Mazilier’s proving the most important (1856). Jules-Henri Vernoy de Saint-Georges’s scenario was of a superior quality. Mazilier was maître de ballet at the Paris Opéra between 1853 and 1859, the years of his fullest creativity. The solo parts were infused with an intense dramatic expressiveness, and there was a splendid mise-en-scène. But the great success of the work was due primarily to the quality of the chief performers: the ballerina Carolina Rosati (1826–1905) and the mime Domenico Segarelli (1820–1860). The spectacular shipwreck finale was a sensational feat engineered by the chief mechanist of the Opéra, Victor Sacré, and his crowning glory. Adam’s score—consistently rich in melodic inspiration, engaging in the set dances, imaginative in the many extended mime sequences, and more richly symphonic than ever before in his work—reached a height of inspiration in this last music he ever wrote for the stage. Mazilier’s ballet gained a world-wide popularity, and became a favourite of the leading ballerinas for decades. Marius Petipa produced his own version in St Petersburg in 1868, with additional music by Cesare Pugni and Léo Delibes. In 1899 Petipa revived the ballet again, for the Maryinsky Theatre in St Petersburg, this time completely re-choreographing it for Pierina Legnani, with additional music by Riccardo Drigo. Performances in the USSR and contemporary Russia derive from this version. Drigo’s music for the spectacular pas de deux in act 2 is still performed all over the world as an independent piece.