Final Vocab Flashcards
commedia dell’arte
Europe’s earliest example of professional secular theater, emerged during the Italian Renaissance, gained popularity throughout western Europe in the 16th – 18th centuries. Characterized by masked stock characters and improvised performances of sketches or scenarios with a prologue.
Balthasar de Beaujoyeulx
musician, dance master, and choreographer known for spectacular, hybridized productions, known as magnifiques, precursors to French ballet de cour. Catherine de Medici commissioned him to stage Ballet Comique de la Reine in 1581
Ballet Comique de la Reine (1581)
first ballet de cour, performed at marriage of Marguerite de Lorraine, Queen Louise’s sister, to Duke de Joyeuse on October 15, 1581. Inspired by enchantress Circe from Homer’s Odyssey, and her efforts to self-proclaim as queen of the seasons. 6 hours long, Queen and King performed live
Louis XIV (the Sun King)
reigned from 1643-1715, longest of any European monarch, divine king, educated in dance through youth and performed in ballets weekly, produced and starred in at least 40 major productions, including portraying the Rising Sun in Ballet de la Nuit
Pierre Beauchamp
composer, dance master, and teacher of Louis XIV, highest paid of royal servant staff, contributing founder of Beauchamps-Feuillet notation, influential in development of baroque dance, stressed fundamentals of ballet including the five positions of the feet
Baroque
relating to a style of architecture and art originating in early 17th century Italy and prevalent across Europe through early 18th century; suggests movement and dramatic effect in architecture, visual, performing, and decorative arts, often combined, synonymous with la belle danse, stylistic ancestor to classical ballet
ballet d’action
hybrid genre of expressive and symbolic ballet in the 18th century; emphasized unity and drama (whereas ballet entrée emphasized variety and exhibition), aimed to liberate dance from dialogue, rely purely on movement to communicate all action, motivation, and emotion
Marie Taglioni
One of the most venerated Romantic ballerinas, first to officially dance en pointe, underwent a rigorous six-month training program with Jean-Francois Coulon and her father in Vienna, had a kyphotic spine that caused her to lean forward in her postures
pointe
system of movements in ballet where the dancer supports body weight on the tops of extended feet in pointe shoes, appear weightless and otherworldly; illusion
La Sylphide (1832)
premiered at Paris Opéra, 2-act plot based on a story by Charles Nodier, a sylph lures a farmer from his wedding into an enchanting forest, supernatural female versus cautionary tale of infidelity, created for Marie Taglioni, first ballet danced en pointe with both narrative and aesthetic purpose
Peter the Great
r. 1721 – 1725, first ruler of Russia to self-proclaim title of “emperor”, grandson of Mikhail Romanov, no ballet nor court dance in Russia prior to him
Jean-Baptiste Landé
appointed as dancing master in the military academy for Empress Anna’s sons, then became Imperial Ballet School director (est. 1738), curriculum founded on older, Western traditions fusing ballet and fencing (Beauchamps)
Imperial Ballet School
Est. 1738, students generally serfs, their children, or wards of the court, “civilized” (i.e. European) by state, boys and girls separate except social dancing and pas de deux, students often in ballets mentioning children, ranked by merit and obedience expected, annual exams, graduates owed 10 years state service, trained dancers could be assigned or transferred to other profession against their will, favored professional dancers pampered and oftentimes granted state loans
Imperial Russian Ballet
est. 1740, Russia’s first professional dance company, In an effort to compete with pre-existing European ballet companies, nearly all original faculty and ballet masters were hired out of Western Europe: Charles-Louis Didelot, Jules Perrot, Marius Petipa, Arthur Saint-Léon
Marius Petipa
served as First Ballet Master and principal choreographer of the Imperial Theaters from 1871 – 1903, choreographed over 50 ballets, works include Don Quixote (1869), La Bayadère (1877), The Sleeping Beauty (1890), The Nutcracker (1892), Raymonda (1898), also celebrated revivals including Le Corsaire (1850), Giselle (1858), La Esmeralda (1886), Coppélia (1884), La Fille Mal Gardée (1885), Swan Lake (1895)
Les Ballets Russes
Paris-based touring company, performing throughout Europe, North and South Americas from 1909–1929, never performed in Russia; though founded by Russians, after initial season in Paris, took residence there and later Monte Carlo, considered most influential ballet company of 20th century, conceived by Sergei Diaghilev with founding cast of 13 Imperial Russian Ballet dancers
Sergei Diaghilev
Art critic, patron, impresario of art and ballet, formed Les Ballets Russes in 1909, openly homosexual and public with his romantic relationships, including with Vaslav Nijinsky
Vaslav Nijinsky
Polish dancer/choreographer hailed greatest of early 20th century, key in reintroduction of male ballet, recognized for representations of masculinity, challenged heteronormative gender roles and staging, despite political charge his work appealed to a wide audience, skilled pointe, as well as athletic jumping
Le Spectre de la Rose (1911)
Choreography by Michel Fokine, Nijinsky was the rose, flipped narrative and gendered character form of iconic Romantic ballet
L’Après-midi d’un faune (1912)
choreography/performance by Vaslav Nijinsky, 12-minute ballet, inspired by poem L’Après-midi d’un faune (1876) by Stéphane Mallarmé, movement in profile as if dancers existed in relief, bare feet, internal rotation, extreme, static angles, gestures outside of classical vocabulary integrated for narrative, including outstretched arms/thumbs as erection, erotic subtext ending in dramatized fantasy sequence
George Balanchine
Co-founder of the NYCB and SAB; regarded as the father of American ballet, best known for his musicality, worked closely with musical collaborators such as Igor Stravinsky
Black and White Ballets
Balanchine stripped away costuming to make his androgynous aesthetic fully visible in addition to physique, dancers in simple black or white leotards and tights, 12 modernist works removing narrative, emphasize spatial designs inspired by structure of music, body was focal point and the synthesis of all contributing elements, choreography (particularly in partnering) was complex, athletic, and revolutionary in patterning, female dancer frequently at mercy of heavy-handed manipulation
Agon (1957)
Choreography by George Balanchine, collaboration with Stravinsky, series of movements based on 17th century French court dances, purely abstract, independent of a particular period or style, involving few steps, almost entirely transitions, interracial pas de deux in US era of racial divide
Noh
derivative of the word “skill” or “talent,” an ancient theatrical form evolved from dengaku and sarugaku starting in 14th century Japan
Suri-ashi
“Art of Walking” whereby noh actors move across the stage in its signature slow, gliding walk
Zeami Motokiyo
part of father Kan’ami Kiyotsuga’s famous sarugaku troupe, (noh predecessor meshed mimetic drama with dancing and chanting), in 1374, Shogun Ashjikaga witnessed him perform sarugaku at 12 and became patron, he received a thorough artistic education, leading to acting and writing, wrote 40 plays and various noh treatises, including Kadensho (Book of the Transmission of the Flowers)
Hashigakari
passageway connecting the stage and dressing room; considered a spiritual bridge as actors enter the stage, 3 pine trees line its edge, to assist its actors oftentimes taking long pauses along their way
Kabuki
meaning “song, dance, skill,” a classical Japanese dance-drama with origins in 17th century Kyoto, recognized for its signature makeup and stylized dramatic movement. Presently male-practiced, but lineage of female practitioners including founder, Okuni
yu-jo-kabuki
“pleasure women’s kabuki”, some actors were also yuna, or public bathhouse attendants (female) that would “entertain” clientele, intersection of kabuki artists and prostitutes
Onnagata
tradition of highly trained male actors specializing in female roles, performing hyperbolized representations of Woman in look, gesture, voice, and movement
Aragoto
meaning “rough”, a hyper-masculine style of acting, exaggerated make-up and movement
Butoh
a subversive dance theater genre in post-WWII Japan, influenced by physical, environmental, and psychological devastation of WWII and resistance to Westernization, Co-founders Tatsumi Hijikata and Kazuo Ohno inspired by German Expressionist dance (i.e. Rudolph Laban, Mary Wigman), as well as elements of noh and kabuki
Tatsumi Hijikata
co-founder of butoh, inspired by nature and adolescence during WWII, took “Neue Tanz” dance classes with Ando Mitsuko, as well as studying tap, jazz, flamenco, and ballet
Ankoko butoh
meaning “dance of darkness”, the name Hijikata gave his new genre
Occupation of Japan
following WWII until 1952, headed by U.S. General MacArthur to “revise the Japanese constitution” and demilitarize Japan, parliamentary government with Emperor as symbolic, Empire of Japan renamed Japan in 1947, Allied powers repatriated over 6 million Japanese, Westernization with American music, movies, and culture, Japan emerged as an exporter of culture
Kinjiki (Forbidden Colors) (1959)
considered the first butoh work, adaptation of novel by Yukio Mishima, explored taboo of homosexuality, choreographed by Hijikata, duet for him and Yoshito Ohno (Kazuo’s son): Hijikata had shaven head and black trousers; Ohno with tight white shorts, Hijikata gave Ohno a live chicken as love and courtship, Ohno squeezed it between his thighs as he danced. some interpreted this as choking or silencing, others as sodomy, No music, lights cut before duet finished, Hijikata ousted from association, rift between outraged conventionalists versus the avant-garde in support of Hijikata
Kazuo Ohno
co-founder of butoh, experiences in combat and capture inspired his artistic work, first performed at 43, believed dance should not be fixed but flexible
Angkor Wat
exhibits nearly 2,000 carvings of dancing apsaras, largest religious monument in the world, considered one of the 7 World Wonders. Originally created to honor Vishnu during Khmer Empire, but transformed into a Buddhist temple near end of 12th century, represents Mount Meru, home of devas in Hindu mythology, with a moat and outer wall to symbolize the ocean and mountains
Apsara Dance
a.k.a. Robam Tep Apsara, an iconic cultural performative art and symbol of Cambodia, its debut feature dancer was Princess Norodoom Buppha Devi who became the face of Cambodian classical dance when the Royal Ballet began international touring
Princess Norodoom Buppha Devi
the debut feature dancer in the Apsara Dance
Khmer Rouge
insurgent communist faction that committed genocide, emerging out of Eastern Cambodia in the late 1960s with the support of North Vietnamese army, the Viet Cong, and the Pathet Lao
Jingju/Peking or Beijing Opera
a stylized genre of popular entertainment emerging in mid-19th century China during the Qing Dynasty (1644–1911), combining music, vocal performance, mime, dance, and acrobatics, stock characters identifiable by distinctive costuming and makeup
Mei Lanfang
Internationally recognized as one of the 20th century’s greatest actors, played female dan roles, Fluid, graceful movements were signature, known for Drunken Beauty and Farewell My Concubine, which he co-wrote
Madame Mao
Mao’s fourth wife, led the Cultural Revolution, expressed disdain for jingju, crusade against “Four Olds” and encouraged people to join the Red Guard, launched 8 state-sponsored yangbanxi, or “model works,” the only works approved
The Cultural Revolution
campaign for cultural and artistic reform under Mao, crusade against “The Four Olds” (old ideas, old customs, old habits, and old culture), ancient Chinese temples raided and destroyed, as were educational institutions and homes of intellectuals, artists, and wealthy landowners
yangbanxi
“model works,” 8 approved performances during the Cultural Revolution: 5 operas, 1 symphony, 2 ballets. Themes included the class struggle and heroic triumphs of workers, peasants, and soldiers combatting landowners or other “enemies” of the revolution
The Red Detachment of Women (1964)
a model revolutionary dance drama, follows Wu Qionghua as she escapes her cruel landlord and joins a female section of the Chinese Communist army, aimed to present ballet, with aristocratic origins, in a new, radical perspective.
Tap
one of few truly American dance forms, a confluence of different traditions that concentrate on musicality of percussive footwork: (Middle Eastern Gypsy traditions, kathak, Irish soft and hard shoe, Scottish and English clogging, West African tribal dances), improvisational and polyrhythmic
The First Great Migration
1910 – 1940, mass movement of African Americans from southern regions to northern and western urban centers in response to world wars, search of social and economic opportunities, political protections
“The Harlem Hellfighters”
369th Infantry Regiment, First African American regiment to serve with American Expeditionary Forces during WWI, first NY unit to return to the U.S.
Red Summer of 1919
Violent, prolonged rioting targeting African Americans in over 3 dozen cities, an estimated 1,000 people killed in total, not including injury
Minstrelsy
a 19th century form of variety entertainment centered around the mockery of African Americans, performed by white actors in blackface makeup
Harlem Renaissance
An intellectual, social, and artistic explosion from the African American community in Harlem, New York, spanning the 1920s
Bill “Bojangles” Robinson
American tap dancer and actor, the most known and highly paid black entertainer of the early to mid-20th century, long career echoed change and tension in American society and entertainment, one of first minstrel performers to perform a black character role without blackface, had a solo act, overcoming vaudeville’s “Two-Colored Rule”, appeared in Hollywood film via an interracial act (with Shirley Temple in The Little Colonel, 1935), first African American performer to headline an interracial Broadway production (Blackbirds, 1928
The Nicholas Brothers
Real-life brothers Fayard (1914 – 2006) and Harold (1921 – 2000), approach to tap dance more full-bodied and athletic than predecessors, Clear, refined quality of movement and stature, credited with the acrobatic technique “flash dancing”
“Jumpin’ Jive”
featured the Nicholas brothers in Stormy Weather (1943), ascended and descended a staircase in a series of leapfrogs landing in the splits, rising without any hands. still regarded by many professionals and scholars as the most virtuosic dance performance of all time
Hoofing
tap dance that is stylistically ”close to the floor,” and focusing on the sound and rhythm of footwork. Sometimes referred to as “jazz tap” or “rhythm tap”
Broadway Tap
tap dance genre of mid-20th century infusing new American music and social dance, stylistically more full-body athletic and posed, connects to Lindy hop, rock and roll, new jazz
Bring in ‘da Noise, Bring in ‘da Funk (1995)
by Savion Glover, musical revue of African American history from slavery to 1995 via tap, rhythm, and blues, reclaimed history and authorship of tap dance; confronts cultural appropriation, presents tragic parody of Bojangles, L.A. Riots, War on Drugs and mass incarceration, Integration of Hip-hop dance and music
Syrtos
an open group circle dance where the dancers face sideways and hold hands while moving collectively to the right, National dance of Greece
Hora
a circle dance originating in the Balkans with roots in the dance traditions of Albania (valle), Bosnia (kolo), Bulgaria (horo), Greece (χορός), Macedonia (oro), Montenegro (kolo), Romania (horă), Serbia (kolo), and Turkey (hora), as well as in Russia (khorovod)
Baruch Agadati
Russian-born Israeli classical ballet dancer, choreographer, visual artist, film producer and director, choreographed the “Hora Agadati”
Batsheva Dance Company
est. 1964, Israeli dance company, Martha Graham had influence in the beginning, today is one of the most prestigious contemporary dance companies, roster of dancers is international
Echad Mi Yodea (1990)
Choreography by Ohad Naharin, Performed at a pace almost too difficult to sustain, social commentary regarding exertion and constant state of alert, passover reference metaphor for freedom of social slavery; radical undertones—Naharin questioned the State
Gaga
Research-based movement language developed by Naharin, serves to heighten sensation and imagination for greater sense of form, eliminating habits, and revealing something new or stepping outside comfort, rooted in the belief movement can be healing, Accessible to all abilities, dancers use Gaga to increase agility, stamina, and skills while examining habits and effort
