Methodology of Classcial Dance 7
Name of lecturer(s)
Learning outcomes of the course unit
This course is linked to Classical Dance 6. The instruction aim: analysis of new elements, a la barre, au milieu for the 7th and 8th study years, Ability to independently lead a classical dance lesson at the most advanced stage of instruction.
Mode of study
This course is linked to Classical Dance Method 6, containing a detailed analysis of the elements of Classical Dance technique for the 7th and 8th years of an eight year Dance conservatory curriculum. This is the most advanced phase of instruction. Part of the course is observation at dance conservatories and professional ballet ensembles. Preparations for the Master's thesis.
Prerequisites and co-requisites
Practice and theory knowledge in Classical dance methods for elementary (1st - 3rd), intermediate (4th - 5th) and partly advanced (6th year) phases of study.
Analysis of new elements (orientation list):
a la barre:
exercises at the barre include new elements for detailed analysis. Combinations require perfect mastery of a whole scale elements and expression increasing in difficulty.
all types of grand fouette, all types of grand pirouettes and tours from various preparations and various phrasings, all in reverse.
Based on learning of the most difficult elements, students create difficult phrases and combinations based on 7th and 8th year curriculums, and combinations for work in professional ensembles. This phase of instruction is geared towards the mastery of classical dance technique.
Musical accompaniment is very diverse. The tempos begin, in many case, to become very quick.
Although with A. Vaganova, we find a particular representative of a method of classical dance instruction, students are introduced to other instruction systems whose, rise is linked with other great figures in dance (ex: Cecchetti, Bournonville, Balanchine) and their differences are compared.
Observations in schools and theatres provide opportunities to understand the diversity of work and approaches of instructors to students or professioanl dancers.
Recommended or required reading
A.Vaganovová: Základy klasického tance, 1980 Praha;
N.I. Tarasov: Klasický tanec, 1983 Praha;
V. Mejová - N. Bazarovová: Abeceda klasického tance I.-III., 1980 Praha;
N. Bazarovová: Abeceda klasického tance IV.-V., 1985 Praha;
V. Kostrovická - A. Pisarev: Klasičeskij taněc, 1976 Leningrad;
V. Kostrovická: 100 urokov klasičeskogo taňca, 1972 Leningrad;
Akademija russkogo baleta A. Vaganovovoj (Klasické taneční osnovy), 2000 Petrohrad.;
V. Ždychincová - O. Pásková: Metodické poznámky ke klasickému tanci I. a II., 1973 Praha;
Group authors under the guidance of G.Lorinc: Methodik des klassischen Tanzes, 1975 Berlin;
V. Janeček: Metodika klasického tance v umělecké škole (Cecchettiho metoda), 1993 Praha;
C. Beaumont - Idzikovský: A Manual of the Theory and Practice of Classical Theatrical Dancing - Cecchetti method, 1932 London;
W.Warren: Classical Ballet Technique, 1989 Florida;
S. Lifar: Traité de Danse Academique;
S. Schorer: Balanchine Technique, 1999 New York;
T. Karsavina: Ballet Technique;
J. Gabriel: Ballet School;
Maria Fay: Mind over body, 1997 London;
L. Kirstein: Ballet Alphabet, 1939 New York;
G. Grant: Manual and Dictionary of Classical Ballet, 1967 New York;
CD-ROM: Ballet on CD-ROM by V.Morgan;
Slovník klasického baletu, Balanchine Esseys - SAB (1994 New York);
D. Howard - Beginners (1981 New York), Intermediates,
M.Fay - Faults, Corrections, Perfections (1990 Londýn),
F. Jhung - Basic Ballet ( 2002 New York),
B. Fewster - Pointe by Point (1980 Londýn), Bujones in Class (1986 Danzart)
Assessment methods and criteria
Credit is awarded based on: participation in lectures, ability to methodically work with the given material, presentation
Overall evaluation: 30% participation, 30% methodical work, 30% presentation, 10% exam.
Schedule for winter semester 2019/2020:
The schedule has not yet been prepared
Schedule for summer semester 2019/2020:
The schedule has not yet been prepared