Techniques of Classsical Dance 6
Subject is not scheduled Not scheduled
Name of lecturer(s)
Learning outcomes of the course unit
The aim of the course is to provide students a detailed knoweldge of classical dance technique, provide an understanding of the principles of creating individual elements and phrases so one may work with them in instruction. Instruction follows dance conservatory curricula.
Mode of study
This course is linked to Classical Dance Technique 5. It continues elements of the 6th study year at a dance conservatory. The level of demand in phrases and combinations is increased with an emphasis on an understanding of instructional issues in adopting dance technique at the advanced level of instruction.
Prerequisites and co-requisites
Presumed developed knowledge of classical dance technique. The aim is not performer but instructor training. Instruction is linked from semester to semester. The completion of the previous semester is necessary.
Systematic development of new elements of classical dance for the 6th year to which we add some others of the most important elements of the 7th and 8th study year. We focus on the mastery and understanding of the most demanding elements and phrases in this the final phase of instruction. Though new elements are explained and executed in simple forms, subsequent combinations and phrases are now more complex, choreographically diverse and technically, often, very demanding. Our aim is the training of the instructor and not the performer. The only practical practice, based on one's experience can the instructor make an impact professionally.
Along with the continual development of all types of pirouettes and grand pirouettes, grand adagio, we place an emphasis on grand allegro which in the final phase of instruction is very challenging. Battu technique should be a matter of course. The difference between male and female allegro is completely evident.
We continue to develop movement dynamics which in the final phase is considered fundamental to future artistic performance.
Musical accompaniment should be very divers and creative. Allegro variations are executed at very fast tempos.
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;
Ballet on CD-ROM by V.Morgan;
Slovník klasického baletu, Balanchine Esseys - SAB (1994 New York);
D. Howard - Beginners (1981 New York), Intermediets,
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: advance technique skill in classical dance. Active participation.
No schedule has been prepared for this course