Reperatory of Classical Dance 2
Name of lecturer(s)
Learning outcomes of the course unit
The instruction aim is to introduce student to selected choreographies created based on classic dance technique. This is a composition o traditional Romance and Post-Romance ballets and choreographers of the 20th century. Through dance learning of the given choreography students penetrate deeper in to the logic of the choreographic though in the given dance movement code.
Mode of study
Prerequisites and co-requisites
Good practical knowledge of classical dance is required.
Student, in this semester, continue learning to work on developing performance knowledge and abilities in conferring this to pupils or dancers. They are introduced to the most typical examples in the repertoire of classical dance ensembles. Examples: Dance of the Snowflakes from The Nutcracker (choreographer V. Vajnonen), Fairy variations from the Prologue to the ballet Sleeping Beauty, Pas De Trois (Shadows) from Bajadera in the choreography by M. Petipa, Pas de Trois, entree and Coda from Swan Lake, Kitri variations from Don Quijote, Variations from Paquita, Pas de Deux, variations and coda from The Corsair in the choreography by M. Petipa, Tarantella and Pas de Six from Napoli, variations and Pas de deux from The Flower Festival in Genzano in the choreography by A. Bournonville, Trantella.
Optionally, students will be introduced to frequent choreographies from the repertoire of G. Balanchine, for example, Tchaikovsky's Pas de Deux in the choreography and Pas de Deux from Who Cares or, upon agreement, in cooperation with the responsible ballet master, an introduction to the complete structure of this selected repertoire. This also covers the selection of contemporary repertoire which is currently playing in a theatre's season. For example: Some of Kylian's choreographies and others which were created based on classical dance technique. Important, in particular,is the method of rehearsing and systematization of the choreographic text, music definition, artistic presentation, spatial composition and particularly effectiv correction of errors (so called „cleaning“) and exercise memory.
Recommended or required reading
Vaganovová A.: Základy klasického tance, 1981;
Tarasov N. I.: Klasický tanec, 1983;
Kostrovická V. , Pisarev A.: Klasický tanec, 1968;
Kostrovická V.: 100 hodin klasického tance, 1981;
W. Warrenová W.: Klasická baletní technika,1989;
Janeček V.: Tělo a tanec, 1997;
Lifar S.: Traité de Danse Academique, 1952;
Kensley L., Sinclair J.: A Dictionary of Ballet Terms, 1977 ;
Bazarovová.N., Mejová V.: Abeceda klasického tance, 1980;
Video recordings ov selected choreographies, ex; Ballanchine Essays.
Assessment methods and criteria
Activity in exercises.
Schedule for winter semester 2018/2019:
The schedule has not yet been prepared
Schedule for summer semester 2018/2019:
Studio 1 Ballet Academy
(Dům Černá Labuť - Na Poříčí 25, 110 00 Praha 1)