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 T H E H O W A N D W H Y W O N D E R BOOK OF

B > r

W r i t t e n by L E E WYNDHAM
I l l u s t r a t e d by R A F A E L L O BUSONI
Editorial Production: D O N A L D D. W O L F

E d i t e d u n d e r t h e s u p e r v i s i o n of
D r . P a u l E. B l a c k w o o d
W a s h i n g t o n , D. C . \

T e x t a n d i l l u s t r a t i o n s a p p r o v e d by
O a k e s A. W h i t e
Brooklyn Children's Museum
Brooklyn, New York

WONDER BOOKS • NEW YORK

 Introduction

The world had known many forms of the dance when ballet w a s
introduced. But this was a new kind of dance that told a story in movement
and pantomime, and over the years, it has b e c o m e a very highly developed
and exciting art form.
T h e more you k n o w about ballet, the more you can enjoy it. It helps
to know how finished ballet productions depend on the cooperative efforts
of many people — producers, musicians, choreographers, ballet masters,
scene designers — in addition to the dancers. It helps to know that ballet
is based on a few basic steps and movements with many possible variations.
A n d it helps to know that great individual effort is required to become a
successful dancer. Y e t one sees that in ballet, too, success has its deep and
personal satisfactions.
In ballet, the teacher is very important. N e w ideas and improvements
have been introduced by many great ballet teachers. A n d as you will read
here, "A great teacher is like a candle from which many other candles can
be lit — so many, in fact, that the whole world can be made brighter."
The How and Why Wonder Book of Ballet is itself a teacher, and it
will make the world brighter because it throws light on an exciting art
form which, year by year, is becoming a more intimate and accepted part
of the American scene.

Paul E. Blackwood

Dr. Blackwood is a professional employee in the U. S. Office of Education.

This book was edited by him in his private capacity and no official support or
endorsement by the Office of Education is intended or should be inferred.

© 1961, by Wonder Books, Inc.

All rights reserved under International and Pan-American Copyright Conventions.
Published simultaneously in Canada. Printed in the United States of America.
 C o n t e n t s

Page Page
WHAT IS BALLET? 4 How are modern ballet dancers trained
to dance? 26
BEGINNINGS OF BALLET What are some modern ballets? 27
How does ballet differ from other dancing? 7 What is character dancing? 30
What was early ballet like? 7
Where did ballet come from? 7 PANTOMIME - A L A N G U A G E OF
Where was the first ballet school started? 8 THE DANCE 31
How did ballet change? 9 What is pantomime? 31
What was the most important change
in ballet? PEOPLE WHO MAKE BALLET 33
Who supports the ballet companies? 33
EARLY BALLERINAS 10 Who supports ballet in the United States? 33
Who was the first leading ballerina? 10 What is the job of the company manager? 34
What contributions did Marie Camargo What job does the artistic director do? 34
make to ballet? 10 What is the role of the choreographer? 34
Who was Marie Taglioni? 10 What is a ballet master? 35
How did Marie Taglioni change ballet How does a composer serve in the ballet? 35
dancing? 12 What is the job of a wardrobe mistress
Which ballerinas were commanded to in a ballet company? 35
dance for a queen? 12 What part does a scene designer play
Did male dancers perform during this in ballet? 36
period? 13 In what way does a costume designer aid
ballet dancers? 36
BALLET IN RUSSIA 13 What does the stage manager do? 37
What contributions to ballet were made Who are some other important backstage
by Italian dancers? 13 help? 37
What costume was designed for the
classic ballet? 14 PRESENT-DAY BALLERINAS AND
DANSEURS 38
RUSSIAN BALLET DANCERS 14 Margot Fonteyn 38
Which ballerina got a special title from Michael Somes 38
the Czar of Russia? 15 Maria Tallchief 38
How did Pavlova become a dancer? 15 Andre Eglevsky 38
What was Pavlova's most famous dance? 17 Alicia Alonso 39
Who was the most famous male dancer Igor Youskevitch 40
of all time? 17 John Kriza 40
How did Nijinsky manage his leaps? 17
Who was Serge Diaghilev? 17 WHAT IT TAKES TO BE A
How were ballets created during BALLET DANCER 40
Diaghilev's time? 18 How old should one be to take ballet
lessons? 42
THE BALLET RUSSE 19 How does ballet training for boys and
Who were the main artists of Diaghilev's girls differ? 42
Ballet Russe? 19 What is the role of the danseur? 42
What contributions did Michel Fokine
make to the ballet? 70 BALLET DRESS 43
Who taught the dancers of the What is the costume for the class? 43
Ballet Russe? 20 How are ballet slippers made? 43
What other ballets were presented by the What kind of stage costumes are used? 43
Ballet Russe? 21
BALLET TALK 44
BALLET TODAY 22
What is classic ballet? 22 LABANOTATION - DANCE IN
What are some classic ballets? 23 WRITING 46
What are romantic ballets? 25 How can dance movements be written
Which is the most popular of the down? 46
romantic ballets? 25
What is modern ballet? 26 HOW YOU CAN ENJOY BALLET 48
The Firebird, a ballet by
the choreographer Mi-
chel Fokine, was first
done in Paris in 1910.
The composer Igor Stra-
vinsky wrote the music
for this famous ballet.

..*

Maria Tallchief, as the

magical Firebird, leaps
with graceful elegance.
Her power and control
make her seem almost
weightless in the air.

W h a t Is Ballet?

D a n c i n g is n o t o n l y o n e of t h e o l d e s t stage d a n c e that tells a story in move-

arts, b u t it is a l s o o n e of o u r b a s i c in- m e n t a n d p a n t o m i m e a n d is p e r f o r m e d
stincts, a n d a w a y t o e x p r e s s o u r feel- by a group of persons."
ings. E v e n the smallest children d a n c e A n y o n e w h o has seen ballet k n o w s
— for joy, or with anger, or with pain t h a t t h i s a v e r y p l a i n d e f i n i t i o n of t h e
— a n d so d o grownups, for the s a m e magnificent spectacle that ballet can be.
reasons. T o d a y , almost everyone has seen ballet
B u t t h a t k i n d of d a n c i n g i s not bal- either on television, on the movie
let! T h e d i c t i o n a r y s a y s t h a t b a l l e t is "a s c r e e n , o r — l u c k i e s t o f all — o n t h e
Suit. * 4 *

i l l if

^#&

stage, performed b y living, breathing

dancers, so wonderfully skilled that
small children h a v e been heard to ask
their m o t h e r s , " A r e t h o s e p e o p l e r e a l l y
real?"
T h e p e o p l e a r e real, i n d e e d . They
m o v e with lightness and unbelievable
g r a c e a n d s p e e d b e c a u s e o f their m a n y
years of special training in a dance
f o r m w h i c h h a s a t e c h n i q u e all its o w n .
B u t t h a t i s n o t all t h a t m a k e s b a l l e t s o

The Firebird and the hunter-prince

who captures her do a Pas de Deux.
Shown are the five po-
sitions of the feet and
arms on which all ballet
movements are based.
Every movement in bal-
let starts and ends in one
of these basic positions.
"Closed" positions: feet
touch. "Open" posi-
tions: feet are parted.

w o n d e r f u l t o see. T h e o t h e r p a r t s t h a t More than that, ballet speaks to

m a k e u p the breath-taking w h o l e are e v e r y o n e w h o s e e s it i n t h e l a n g u a g e o f
t h e finest m u s i c i n t h e w o r l d , s p l e n d i d movement, gesture and facial expres-
s t a g e s c e n e r y t h a t stirs t h e i m a g i n a t i o n , s i o n , w h i c h all t h e w o r l d c a n u n d e r -
glittering costumes that excite our emo- s t a n d — w i t h o u t w o r d s . T h e r e f o r e , bal-
t i o n s , t h e d r a m a o f t h e story, o r t h e l e t i s a u n i v e r s a l l a n g u a g e w h i c h girls
h u m o r o f i t — f o r t h e r e a r e all k i n d s of a n d b o y s in the U n i t e d States, in France,
ballets — or the sheer b e a u t y of the G e r m a n y , Spain, P o l a n d , Italy, Russia,
m o v e m e n t s of the dance. Denmark, Sweden, Japan, Thailand,
A l l t h e c r e a t i v e arts a r e r e p r e s e n t e d I n d i a , A f r i c a — i n f a c t , e v e r y w h e r e in
in ballet. It portrays n o t o n l y the high- t h e w o r l d — c a n e n j o y . E v e n if all t h e
e s t d e v e l o p m e n t o f skill, b u t i t i s a l s o a children could b e seated into some huge
m e a n s of personal self-expression for theater, e a c h one, n o matter w h a t his
m a n y artists — those before the foot- native language, w o u l d understand the
lights as well as those behind the scenes. story told b y the dancers.

Beginnings of Ballet

A l t h o u g h t h e w o r d "ballet" c o m e s k i n d o f d a n c i n g w i t h a t e c h n i q u e all its

f r o m t h e I t a l i a n ballare, which means o w n . B y " t e c h n i q u e " w e refer t o t h e
"to d a n c e , " n o t all f o r m s o f d a n c i n g a r e things that a person needs to k n o w and
b a l l e t . T h i s is b e c a u s e b a l l e t is a s p e c i a l p r a c t i c e i n o r d e r t o b e c o m e skillful i n
a n a c t i v i t y . I t t a k e s m a n y y e a r s o f spe- boots or shoes. O f course, weighted
c i a l a n d difficult t r a i n i n g t o p e r f e c t bal- d o w n l i k e this, t h e g e n t l e m e n h a d t o
let technique. d a n c e slowly and sedately, in rows and
in interesting patterns. Incidentally,
A l l the principles of ballet m o v e m e n t they did not dance o n a stage, but often
are b a s e d on the m i n g l e d w i t h their a u d i e n c e if n o s p a c e
How does ballet
plie, or knee-bend, w a s s e t a s i d e f o r t h e m i n w h i c h t o per-
differ from
t h e five f o r m a l p o - form.
other dancing?
sitions of the feet, T h e first r e c o r d o f s u c h a n e n t e r t a i n -
and o n the "turnout" of the legs from m e n t d a t e s b a c k t o 1 4 8 9 , a little b e f o r e
the hip. The knee-bend enables the C o l u m b u s discovered America. It w a s
d a n c e r t o s p r i n g h i g h i n t o t h e air a n d in h o n o r of an Italian D u k e .
to land like thistle-down. T h e all-im-
portant "turnout" allows h i m to m o v e Ballet w a s brought to France from Italy
gracefully from side to side o n the stage, about the time Cather-
while facing front. It also m a k e s pos- Where did i n e
d e M 6 d i c i s married

sible t h e b e a u t i f u l h i g h e x t e n s i o n s o f *- - King Henry II of

come from? «*
t h e l e g s , a s i n t h e arabesque. T h i s is the
F r a n c e . S h e w a s a n ex-
foundation o n w h i c h ballet is built.
pert dancer herself a n d adored ballet.
A t her wish, performers were brought
B u t this w a s n o t the ballet of several
from her native Italy to entertain the
hundred years ago.
What was early y o u n g q u e e n a n d t h e c o u r t . T h e enter-
T h e n it w a s a f o r m
ballet like? t a i n m e n t w a s a h u g e s u c c e s s . S o o n , it
of court entertain-
set a n e w fashion, a n d before l o n g the
ment, really a magnificent pageant.
dance w a s imitated in every European
T h e r e w e r e n o b a l l e r i n a s , a n d all t h e
c o u r t . B u t if y o u w e r e t o s e e t h i s e a r l y
parts were danced by men wearing
d a n c i n g , y o u w o u l d n e v e r r e c o g n i z e it
masks, heavy, colorful costumes and
as the ballet y o u k n o w today! In fact,
The seventeenth century
court ballets were per-
formed in a large hall,
where the king and queen,
seated at the head of the
room, were surrounded by
their household. Nobles
and other members of the
court sat in long galleries
along the sides of the hall.

Female dancers were

not permitted to perform
at the time. Male danc-
ers, dressed in the cos-
tumes of the period and
wearing masks, took the
assigned female roles.
Male dancers of the eighteenth century,
dressed as girls, performed at the court.

s o m e of the extravagant performances parts in the entertainments, including

l a s t e d a s l o n g a s six h o u r s ! the role of the Sun King. H i s greatest
contribution to ballet, however, w a s the
L o n g after C a t h e r i n e ' s t i m e , i n 1645, establishment of the R o y a l A c a d e m y of
history records that Dancing and M u s i c in 1661. This was
Where was the
Louis X I V danced t h e first s c h o o l i n t h e w o r l d f o r t h e in-
first ballet
before the royal struction of ballet dancing, and even
school started?
French court. He m o r e w o n d e r f u l , it h a s c o n t i n u e d d o w n
w a s then seven years old! H e always to the present d a y at the Paris Opera.
loved ballet and himself danced m a n y It w a s in this a c a d e m y that the five

8
 w e r e n e v e r i n v i t e d t o t h e p a l a c e spec-
tacles, w e r e able t o see ballet.

Although Louis X I V allowed w o m e n to

study at the R o y a l
What was the
Academy, they
most important
were not per-
change in ballet?
mitted to perform.
A l l t h e d a n c e r s w e r e still m a s k e d , a n d

P-
m

i r i % y

positions of the classic dance were

established in 1671 b y the king's o w n
dancing master, Pierre B e a u c h a m p . It
is t h e s e b a s i c p o s i t i o n s , refined a n d per-
fected, that are taught today!

N o w ballet b e g a n to improve rapidly.

W i t h a training school for
How did
dancers, professionals be-
ballet
gan to replace the nobles
change?
of the court, a n d dancing Ballet changed when women were permitted to study
b e c a m e m o r e lively. A n o t h e r change at the Royal Academy, and in 1681, to perform.
came when dancers were m o v e d from
t h e b a l l r o o m floor t o a s t a g e . R a i s e d u p b o y s d r e s s e d a s girls t o o k t h e f e m a l e
i n this w a y , t h e a u d i e n c e h a d a n en- roles. B u t o n M a y 1 6 , 1 6 8 1 t h e m o s t
tirely n e w v i e w o f t h e m a n d t h e m o v e - significant c h a n g e of all t o o k place.
m e n t s of t h e d a n c e r s ' f e e t b e c a m e m u c h F o u r y o u n g ladies danced in a ballet
more important. created b y the great composer, Jean-
N o w , along with the palace perform- B a p t i s t e L u l l y . T h e s e f o u r w e r e h i s en-
ances, ballet was also performed in tire c l a s s , a n d w i t h t h e m , ballerinas
t h e a t e r s . F o r t h e first t i m e , p e o p l e w h o t o o k t h e i r rightful p l a c e i n b a l l e t .
 Early Ballerinas

T h e girls w h o s t u d i e d at t h e A c a d e m y C a m a r g o , w h o first d a n c e d p u b l i c l y i n
wore bulky clothing, 1 7 2 1 . S h e r e v o l u t i o n i z e d b a l l e t b y dar-
Who was the
tight-boned bodices, i n g t o s h o r t e n h e r l o n g skirts s o t h a t
first leading
skirts t h a t r e a c h e d t o her feet a n d lovely ankles c o u l d b e seen.
ballerina?
the ground and heeled W h a t ' s m o r e , s h e h a d t h e h i g h h e e l s re-
s h o e s — all of w h i c h h a m p e r e d m o v e - m o v e d f r o m h e r slippers. A l l this g a v e
m e n t . B u t t h e v e r y first b a l l e r i n a w a s h e r m u c h m o r e f r e e d o m of m o v e m e n t .
Mademoiselle Lafontaine, w h o made a She b e c a m e quite f a m o u s for her
triumphant debut in 1 6 8 1 . She w a s very j u m p s i n t h e air — s o m e t h i n g l a d i e s d i d
beautiful and she h a d great charm and not attempt before her time. S o another
g r a c e . T h e r e i s v e r y little i n f o r m a t i o n exciting c h a n g e h a d c o m e to ballet. Be-
a b o u t her, b u t t h e g r e a t s t e p h a d b e e n fore Camargo, the dancer scarcely
taken — a ballerina w a s born. m o v e d anything m o r e than her head
a n d arms. S h e w a l k e d gracefully and
Other ballerinas followed Lafontaine, she glided, but n o o n e could see her
and when they feet. N o w s o m e of the ballet steps w e
What contributions retired f r Q m ^ k n o w c a m e into being, particularly the
did Marie Camargo d ,
entrechat quatre. T h i s is a j u m p into
make to ballet? stage they
taught. One of t h e air, w i t h a q u i c k c h a n g i n g o f t h e

the most famous pupils was Marie legs from front to back — in her case,
f o u r t i m e s . I t i s a t w i n k l i n g , brilliant
step that is wonderful to watch.
A u d i e n c e s l o v e d C a m a r g o . H e r hair
dress w a s copied b y others, hats were
n a m e d after her, a s w e l l a s s h o e s a n d
dresses, and even court ladies imitated
her w a y of walking. C a m a r g o h a d taken
b a l l e t off t h e g r o u n d .

A n o t h e r f a m o u s ballerina w a s Marie
Taglioni, w h o came from
Who was
an Italian family of danc-
Marie
ers. H e r g r a n d f a t h e r h a d
Taglioni?
been a dancer, her aunts
and uncles were dancers. And her
father, too, w a s a dancer, as well as a
great teacher. H e r mother w a s Swedish,
however, and Marie w a s born in Stock-
holm, where her father w a s engaged as
Camargo's costume and steps altered the ballet.
ballet master for the R o y a l Opera.

10
 Marie Taglioni danced in La Sylphide, a ballet orig-
inally created for the ballerina by her father. The
ballet, first performed in 1832, is still done today.

W i t h s u c h a b a c k g r o u n d , it i s no
wonder that her father decided to m a k e
a g r e a t d a n c e r of her, e v e n t h o u g h little
M a r i e w a s t h i n a n d frail. S h e h a d r a t h e r
long arms and such rounded shoulders her. A n d t h e n a m i r a c l e t o o k p l a c e . A t
that she l o o k e d almost humpbacked. s o m e time, during these lessons, M a r i e
But none of this c o n c e r n e d Marie's learned to like dancing!
father, a n d h e p a c k e d h i s d a u g h t e r off Her debut was arranged to take place
to study with another teacher. after h e r e i g h t e e n t h b i r t h d a y . H e r ex-
M a r i e w a s a m o s t indifferent p u p i l cellent training and her unique, airy
a n d m a n a g e d t o l e a r n a s little b a l l e t a s s t y l e of d a n c i n g m a d e h e r a n i n s t a n t
p o s s i b l e . A d r e a d f u l d a y of r e c k o n i n g success. But, actually, the m a i n subjects
came, however, when she w a s sum- o f t h e b a l l e t s of t h a t t i m e w e r e not
m o n e d to d a n c e before her father. A s s u i t e d t o her. G r e e k a n d R o m a n m y t h s
she stumbled through her exercises, h e d i d n o t s h o w off h e r a i r y g r a c e , a n d t h e
b e c a m e m o r e a n d m o r e horrified. T h e n costumes, cluttered with drapery and
h e set u p a p l a n t o t e a c h h e r h i m s e l f . trimmings, looked m u c h too heavy. T h e
T h i s w a s t h e e n d o f n o n s e n s e a n d skip- ballet shoes were n o longer heeled. T h e y
ping classes for Maria. w e r e soft slippers, b u t n o o n e d a n c e d
T h e lessons were divided into two- o n the toes as yet.
hour sessions, given three times daily. A l t h o u g h M a r i e h a d captivated her
Poor, fragile M a r i e used to collapse at P a r i s a u d i e n c e at h e r d e b u t , s h e w a s t o
t h e e n d of t h e d a y . B u t n o t h i n g s t a y e d e n c h a n t t h e m five y e a r s later. A n e v e n t
the d e m a n d s that her father m a d e u p o n t o o k p l a c e o n M a r c h 12, 1 8 3 2 , w h i c h

11
 It is often said that "comparisons
are odious."
Which ballerinas
It means that
were commanded to
m a d e b a l l e t different f o r e v e r after — people do not
dance for a queen?
and Taglioni's dancing d i d it. That like to b e com-
n i g h t , at t h e P a r i s O p e r a , s h e d a n c e d i n p a r e d t o o t h e r s — e s p e c i a l l y if t h e c o m -
a n e w b a l l e t , La Sylphide, created for p a r i s o n i s l i k e l y t o b e unflattering! W e l l ,
her especially b y her father. in her time, Taglioni w a s not the only
famous dancer. There were others
Before a stunned audience, the tiny w h o m a u d i e n c e s a d o r e d just a s m u c h .
dancer floated out T h e r e were Carlotta Grisi, F a n n i e Ce-
How did Marie
i n h e r w h i t e , bell- rito a n d L u c i l e G r a h n — all o f w h o m
Taglioni change
s h a p e d dress, t i g h t had earned considerable acclaim in
ballet dancing?
England in individual performances.
in b o d i c e , with
Q u e e n Victoria decided that she w o u l d
n e c k a n d shoulders bare. She looked
like to see the world's four greatest
truly l i k e t h e n y m p h w h o s e r o l e she
b a l l e r i n a s p e r f o r m t o g e t h e r ! A n invita-
w a s performing. B u t w h a t added to the
t i o n t o p e r f o r m b e f o r e r o y a l t y is c a l l e d
illusion, besides her totally different
"a c o m m a n d p e r f o r m a n c e , " a n d it i s
c o s t u m e , w a s h e r d a n c i n g . She was per-
practically unheard of for a n y o n e or
forming on the tips of her toes — so
any group to refuse such a c o m m a n d .
delicately, so lightly, she did n o t s e e m
But handling four delicately tem-
t o t o u c h t h e earth.
pered ballerinas m u s t h a v e b e e n a great
M a r i e Taglioni h a d darned the tips
ordeal for everyone concerned. The
o f h e r l i m p little s l i p p e r s u n t i l t h e a r c h
f a m o u s ladies d a n c e d just o n e perform-
a n d t o e w e r e firm. W i t h this a d d e d sup-
a n c e o f t h e s p e c i a l l y c r e a t e d Pas de
port, she revolutionized ballet over-
Quatre — D a n c e for F o u r — before the
night. H e r costume for that night w a s
Q u e e n , a n d t h e n r e f u s e d e v e r t o ap-
a l o n g w h i t e t u t u , w h i c h is still stand-
pear together again!
ard for w h a t w e call the "romantic"
ballet. H e r shoes h a v e e v o l v e d into the B a l l e r i n a s n o w w e r e stars, w i t h de-
t o e s h o e s w h i c h are t h e d r e a m o f e v e r y v o t e d a u d i e n c e s a n d i m p o r t a n t digni-
little girl w h o t a k e s u p t h e s t u d y o f bal- taries v y i n g w i t h e a c h o t h e r t o b r i n g
let. T o d a y , hardly anyone thinks of t h e m t o k e n s of a p p r e c i a t i o n . B a l l e r i n a s
b a l l e t w i t h o u t this d a n c i n g o n t h e t o e s , were cheered wildly and sometimes
yet not so long a g o — less than 150 b o r n e t h r o u g h t h e streets o n t h e s h o u l -
years — dancing o n the toes w a s un- d e r s of their a d m i r e r s . C a r r i a g e h o r s e s
h e a r d o f ! T a g l i o n i w a s t h e first t o m a k e were unhitched and the carriages drawn
toe dancing popular and a required by enthusiastic young men.
a c c o m p l i s h m e n t for all b a l l e r i n a s . O n e story tells of Taglioni's visit to
Russia. After her performance there,
s o m e R u s s i a n s b o u g h t her toe shoes for

L
a h u g e price. T h e y then stewed t h e m in
Ballet in Russia
a pot and solemnly drank the broth in
her honor! T h e Russians were so impressed by
T a g l i o n i ' s d a n c i n g t h a t t h e F r e n c h bal-
B u t w h a t h a d b e c o m e o f t h e o n c e all- let teachers at the Russian schools
important male b e g a n t o train their o w n p u p i l s t o d a n c e
Did male dancers
dancers? At this h e r r o l e s a n d t o d u p l i c a t e h e r style.
perform during
time they seemed
this period?
to have faded into T h e n a g r o u p of I t a l i a n d a n c e r s c a m e
the scenery. A l l the public attention w a s to R u s s i a and
f o c u s e d o n t h e b a l l e r i n a s . T h e magnifi- What contributions a s t o u n d e d the
to ballet were made „ -
c e n t s t r e n g t h of t h e m e n , t h e i r a b i l i t y by Italian dancers? audiences there
to leap high and wide and to support by their tre-
t h e b a l l e r i n a w h i l e s h e s h o w e d off h e r m e n d o u s jumps and turns a n d general
v a r i e d skills, w a s s e l d o m u s e d . air of l i v e l i n e s s a n d v i t a l i t y . Virginia

At the Command Per-

formance for Queen
Victoria of England in
1845, four leading bal-
lerinas of the day per-
formed in a Pas de
Quatre, especially cre-
ated for them. The
dancers were Taglioni,
Carlotta Grisi, Fannie
Cerito and LucileGrahn.
Zucchi's audiences were breathless F o r m a n y y e a r s it w a s h e l d u p a s t h e
when she performed her steps. The s y m b o l of b a l l e t p e r f e c t i o n t o t h e rest
Russians promptly invited Enrico Ce- of t h e w o r l d .
c c h e t t i t o t e a c h t h e m t h e brilliant Ital-
i a n style o f d a n c i n g . T h i s k i n d of d a n c i n g b e c a m e k n o w n a s
After Zucchi c a m e Pierina Legani. t h e " c l a s s i c " bal-
W h a t costume w a s let T Q ^ ft
S h e set t h e d a n c e w o r l d a g o g w i t h h e r
designed for the „> . t -
performance of continuous multiple classic ballet? off t o i t s best ad-
t u r n s c a l l e d fouettes. S h e m a d e a series v a n t a g e , a spe-
of t h i r t y - t w o of t h e s e s e n s a t i o n a l w h i p - cial c o s t u m e k n o w n as the classic tutu
ping turns around the stage. T h e peo- w a s d e s i g n e d . I t w a s c u t s o v e r y short
ple applauded so enthusiastically that t h a t t h e d a n c e r s ' l e g s w e r e free t o exe-
s h e at o n c e r e p e a t e d t h e feat. T h e c h e e r s cute the n e w vigorous turns and leaps
of t h a t a u d i e n c e h a v e e c h o e d d o w n t o devised for the classic ballets.
the present time.
F o r m a n y y e a r s thereafter, t h i r t y - t w o
fouettes r e m a i n e d t h e w o n d e r of the
ballet world. T h e y were performed b y Russian Ballet D a n c e r s
only a few accomplished dancers.
T o d a y , h o w e v e r , this is n o l o n g e r c o n - T h e f a m e of t h e I t a l i a n b a l l e t h a d
s i d e r e d e x t r a o r d i n a r y , t h o u g h it r e m a i n s b e g u n to fade w h e n ballet in Russia
a p a r t of t h e d a n c e v o c a b u l a r y of e v e r y t o o k o n n e w life. R u s s i a n - b o r n balle-
a d v a n c e d student. Thirty-two, or even rinas suddenly leaped to stardom in the
sixty-four fouettes are still e x c i t i n g t o ballet world.
see, e v e n if t h e y are n o l o n g e r a g r e a t
wonder. Y o u m a y have seen a ballerina
o n television or in a theater w h o spins
a b o u t l i k e a t o p a n d t h e n s t o p s short,
n o t e v e n o u t of b r e a t h , t o t a k e h e r b o w .
W e l l , it t a k e s m o r e t h a n this w h i p p i n g
about the stage without getting dizzy to
m a k e a b a l l e r i n a — b u t it is s h o w y !
T h e i m p o r t a n c e of Z u c c h i a n d L e -
g a n i is their effect o n R u s s i a n b a l l e t .
N o w the Russian teachers and compos-
ers, m a n y of w h o m w e r e F r e n c h o r Ital-
i a n b y birth, c o m b i n e d t h e o l d F r e n c h
m o v e m e n t s of slow grace a n d beauty
with the vibrant Italian technique. As
time w e n t on, this w a s blended with the
native qualities of R u s s i a n ballet. N o w
t h i s i s c a l l e d t h e R u s s i a n s t y l e of b a l l e t .

14
An exquisite prima ballerina of the R e v o l u t i o n broke out, she h a d to flee
Russian Imperial Russia. She settled in Paris and o p e n e d
Which ballerina
Ballet w a s O l g a Pre- a b a l l e t s c h o o l there.
got a special
obrajenska. B u t she M a n y of t h e b a l l e t s p e r f e c t e d i n h e r
title from the
Czar of Russia? was surpassed by d a y are still p r e s e n t e d , a n d w i l l m o s t
Mathilde Kchessin- probably b e enjoyed in future genera-
s k a y a — tiny, l i g h t a s air itself, and tions as well. Giselle, The Sleeping
p e r f e c t . I n f a c t , b y o r d e r of t h e I m p e r i a l Beauty, Coppelia, a n d The Nutcracker
C o u r t , s h e w a s g r a n t e d t h e title of prima have qualities to k e e p them popular.
ballerina assoluta, which was another
w a y of s a y i n g , "the first a n d m o s t a b s o - T h e Russian ballerina w h o b e c a m e the
lutely perfect ballerina." most famous in
How did Pavlova
Of course, some ballerinas w h o c a m e the world was
become a dancer?
after h e r w o u l d h a v e e a r n e d t h e s a m e Anna Pavlova.
g r a n d title. B u t b y t h a t t i m e R u s s i a w a s S h e is still a h o u s e h o l d w o r d , a n d girls
in t h e m i d s t of a terrible r e v o l u t i o n a n d t h e w o r l d o v e r d r e a m of " d a n c i n g l i k e
the Czar h a d b e e n killed. A s the Im- Pavlova." A n n a was only seven when
perial C o u r t n o l o n g e r e x i s t e d , n o s u c h her mother t o o k her to a ballet perform-
title c o u l d b e g r a n t e d b y it a g a i n . T h u s , a n c e a s a C h r i s t m a s treat. T h e n and
Kchessinskaya was the only dancer to t h e r e t h e c h i l d fell i n l o v e w i t h the
g e t t h i s title f r o m t h e C z a r . dance. B u t she was not old e n o u g h even
She became the wife of a Grand t o try t o e n t e r t h e f a m o u s Imperial
D u k e , w h i c h gave her added influence School. She had to wait two long years
in t h e b a l l e t w o r l d . H o w e v e r , w h e n t h e t o d o so.
In the Imperial School the children
r e c e i v e d their t r a i n i n g a n d s c h o o l les-
s o n s free, b e c a u s e t h e s c h o o l w a s sup-
ported by the Czar. However, appli-
cants were chosen with the greatest care
a n d h a d t o p a s s a stiff e x a m i n a t i o n t o b e
admitted. This included appearance,
g o o d h e a l t h , n a t u r a l g r a c e , a f e e l i n g for
music and rhythm, and intelligence. T h e
fortunate ones were given a year to
prove themselves. T h e y had to show
real p r o g r e s s t o b e a l l o w e d t o stay.
H o w t h e frail little A n n a e v e r p a s s e d
the health test is a mystery, but pass
s h e d i d . A n d p r o g r e s s s h e did. Her

Anna Pavlova (foreground) and other pupils took bal-

let lessons at the famous Imperial School in Russia.

15
 Anna Pavlova performed her unforgettable
role in the ballet The Dying Swan. It was
choreographed by Michel Fokine to the music
of French composer Camille Saint-Saens, and
was the ballerina's most famous creation.

Vaslav Nijinsky was noted for his

sensational leaps, which were un-
equaled then as now. At the top of
the page are shown Nijinsky and
Anna Pavlova in one of their mem-
orable performances with the noted
Ballet Russe company in France.

16
 fragile, s e n s i t i v e b e a u t y c a s t a s p e l l o f graved in the public minds, and today
enchantment wherever she danced. Peo- ballet m i g h t just as well be spelled
p l e still s p e a k o f h e r w i t h r e v e r e n c e . "pavlova."
M a n y present-day ballerinas are said
to be m o r e perfect than Pavlova. In her V a s l a v Nijinsky also studied in the Im-
o w n day she never performed the showy perial School, a n d
t h i r t y - t w o fouettes, or multiple pirou- W h o w a s the h e w a s Q n e o f pav.
most famous , , *
ettes. Yet she b e c a m e the unofficial . . l o v a s s e v e r a l part-
r
prima ballerina assoluta of the world. m a l e dancer ,
ners H l s
It never mattered t o her public w h a t of all time? ' dancing
s h e d a n c e d . I t w a s how s h e d a n c e d t h a t was superb, strong
m a d e h e r t h e s y m b o l o f b a l l e t t o mil- a n d manly. O n stage h e s e e m e d illumi-
lions of people throughout the world. n a t e d b y s o m e i n n e r fire. T h e m o s t diffi-
S h e h a d a p e r s o n a l m a g i c t h a t trans- cult steps were easy for him. H i s leaps
p o r t e d h e r a u d i e n c e . S h e w a s l i g h t , airy, were sensational. W h e n he w a s asked
a n d d a n c e d effortlessly a n d r a d i a n t l y . h o w h e p e r f o r m e d t h e m , h e s a i d t h a t it

She could be a sylph, or a cloud or she w a s quite simple. " Y o u merely pause a

c o u l d b e t o u c h e d w i t h fire a l m o s t r e a l little i n t h e air — a n d t h e n c o m e d o w n

again." H e was the most famous male
e n o u g h t o set e v e r y t h i n g a r o u n d her
d a n c e r of all t i m e .
ablaze.
Of course Nijinsky was only joking
E v e n r e a d i n g a b o u t t h e w a y s h e per- w h e n he said h e
How did Nijinsky * . ^
formed The . . . * p a u s e d i n t h e air.
What w a s Pavlova's ^ . r m a n a g e his leaps? * .•
xr . ^ Dying Swan
most famous dance? « I t just h a p p e n e d
has brought that he possessed extraordinary physical
t e a r s t o m a n y a n e y e . S h e floated a c r o s s strength a n d h a d splendid training. A t
t h e s t a g e i n t i n y bourres (fluttering, the p e a k of his leaps, h e thrust his legs
weaving steps), she curved her lovely o u t further — a n d it w a s t h i s w h i c h
n e c k , h e r b o d y t r e m b l e d , s h e s a n k *. . . m a d e h i m a p p e a r t o p a u s e i n t h e air.
and died . . . and people wept. H e h a d something else, too, a God-
A n n a Pavlova brought ballet to the given talent, that special ingredient
whole world. She traveled everywhere, w h i c h m a k e s p e o p l e g r e a t i n their o w n
meeting schedules that would make s p e c i a l fields w h e t h e r t h e y b e d a n c e r s ,
s t r o n g m e n t u r n p a l e . T h i s f r a g i l e balle- teachers, musicians, writers or baseball
rina was made of something much players.
s t r o n g e r t h a n steel. S h e t o o k b y s t o r m
Serge Diaghilev w a s not a dancer. H e
England, France, the United States.
w a s a cultured gentle-
She went to Egypt, South Africa, Whowas m a n w h o l o y e d b a U e t
Burma, Costa Rica, Malay, Australia,
A t t h e t u r n of t h e twen
Java. H u n d r e d s of thousands of miles, D^ghilev? "
tieth century h e felt that
thousands of performances, millions
ballet w a s n o longer m a k i n g any prog-
saw her dance. H e r n a m e seems en-

17

• i • • •
 ress. T h e s a m e t h i n g s w e r e b e i n g d o n e tion, they vied w i t h o n e another in feats
over a n d over again — l o n g ballets in o f t e c h n i c a l b r i l l i a n c e . N i g h t after n i g h t
lavish settings a n d complicated stories in the f a m o u s M a r y i n s k y T h e a t e r he
of u n e a r t h l y b e i n g s . c o u l d hear p e o p l e softly counting the
Ballet had become bogged down by n u m b e r of pirouettes (a turn o r se-
tradition. T r a d i t i o n i s a fine t h i n g t o q u e n c e of t u r n s o n o n e f o o t ) o r fouettes
b u i l d o n , b u t c e r t a i n l y it is n o t g o o d t o m a d e b y their f a v o r i t e d a n c e r s .
live completely in the past a n d ignore A l t h o u g h t o d a y w e r e a l i z e t h a t bal-
t h e n e e d s a n d d e v e l o p m e n t s of t h e pres- let i s a c o m b i n a t i o n o f s e v e r a l arts —
ent. t e c h n i c a l b a l l e t skill, m u s i c a n d art —
T r u e , w e still k n o w a n d l o v e s o m e of i n D i a g h i l e v ' s d a y n o o n e t h o u g h t of
t h e s e b a l l e t s a n d thrill t o t h e b e a u t i - creating ballet as a c o m b i n e d w h o l e !
ful m u s i c of T s c h a i k o v s k y , a s i n The
Sleeping Beauty. B u t this b a l l e t has Ballet creators searched for suitable
b e e n r e v a m p e d f o r t h e m o d e r n taste. stories. T h e n t h e y
How were ballets
T h e s a m e is true of Swan Lake, where arranged steps
created during
most usually only the second act is that would tell
Diaghilev's time?
given. these stories.
D i a g h i l e v d i d n o t l i k e t h e rivalries W h e n the dancers started to learn the
t h a t e x i s t e d a m o n g t h e b a l l e r i n a s . In- steps, c o s t u m e a n d s c e n e r y designers
(
s t e a d of c o n c e n t r a t i n g o n fine expres- went to work. T h e y were told what the
s i o n i n their d a n c i n g a n d characteriza- b a l l e t w a s a b o u t , b u t t h e y n e v e r dis-
cussed any of their p l a n s with the
choreographers, w h o are the creators
of t h e b a l l e t steps. W h a t is m o r e , w h e n
t h e l e a d i n g d a n c e r s l e a r n e d their parts,
they often asked to have steps and move-
m e n t s left o u t , b e c a u s e t h e s e d i d n o t
h a p p e n t o s h o w t h e m off t o their b e s t
a d v a n t a g e . T o fill i n t h e g a p , s o m e t i m e s
they w e r e a l l o w e d to put in steps they
liked from s o m e other ballet.

Nijinsky was the slave Zobeldas in the ballet Schehe-

razade, with music by Rimsky-Korsakov, done in 1910.

; w

;<*
 Nijinsky's greatest leap
was in Spectre of the Rose.

Diaghilev did not approve of this at

all. H e felt t h a t all t h e artists w h o m a d e
u p a b a l l e t c o m p a n y s h o u l d w o r k to-
g e t h e r a n d u n i f y all their efforts i n t o
one glorious whole. H e w a s not alone in
this o p i n i o n .
A young dancer and choreographer,
Michel Fokine, w h o had created The
Dying Swan d a n c e for P a v l o v a in 1 9 0 5 ,
felt e x a c t l y a s D i a g h i l e v d i d . B u t w h e n
he proposed n e w ideas to his superiors
at t h e I m p e r i a l T h e a t e r , t h e y w e r e re-
jected. T h u s , w h e n D i a g h i l e v decided - /
to form a c o m p a n y of R u s s i a n dancers
to take to Paris, F o k i n e w a s very glad
t o g o a l o n g a s its c h o r e o g r a p h e r .

T h e Ballet R u s s e

Diaghilev w a s a great and imagina- s i c i a n s w e r e t h e finest i n R u s s i a . E v e r y -

tive i m p r e s a r i o . A n " i m p r e s a r i o " i s t h e o n e in his c o m p a n y contributed his or
organizer or m a n a g e r of a concert com- h e r t a l e n t t o a final b r i l l i a n t result. N o
pany, but Diaghilev w a s m u c h more w o n d e r their ballet season w a s such a
t h a n that. H e w a s a g e n i u s w h o c o u l d t r e m e n d o u s s u c c e s s . N o t o n l y t h e first
inspire g r o u p s of h i g h l y t e m p e r a m e n t a l season, but the next and the next and
artists t o w o r k t o g e t h e r t o w a r d a c o m - the n e x t — for twenty wonderful years!
m o n goal. H e w a s not so m u c h con- I t w a s o n e g r e a t s p e c t a c l e after a n o t h e r .
c e r n e d w i t h b o x office profits a s h e w a s Of course, the company changed
with perfection. A n d his c o m p a n y w a s from time to time. D a n c e r s accepted
artistically p e r f e c t . I t w a s o n M a y 18, c o n c e r t e n g a g e m e n t s o r left t o form
1909 that Diaghilev's Ballet Russe c o m p a n i e s a n d s c h o o l s of t h e i r o w n .
o p e n e d f o r i t s first s e a s o n i n P a r i s . B u t wherever they went, they carried
w i t h t h e m the D i a g h i l e v influence.
Diaghilev's principal dancers were A m o n g the m a l e dancers in Diag-
Anna Pavlova, Ta- hilev's c o m p a n y w e r e M o r d k i n , Voli-
Who were the
mara Karsavina and nine, Massine, Dolin, Lifar. Fokine
main artists
Vaslav Nijinsky. performed as well as created, and Cec-
of Diaghilev's
Ballet Russe? Young Michel Fokine chetti took on numerous character
was his choreogra- roles, including Charlatan in the ballet
pher. H i s d e s i g n e r s , c o s t u m e r s a n d m u - Petrouchka.

19
 The clown Petrouchka
was one of the four prin-
cipals of the production.

Diaghilev constantly sought out and i n i t i a t e t h e i d e a of u s i n g m u s i c a s p a r t

encouraged talented people. A m o n g his o f t h e b a l l e t itself, r a t h e r t h a n a m e r e
composers — a n d b a l l e t h a s s o m e of accompaniment to the dancing.
t h e finest m u s i c i n t h e w o r l d — were A g o o d e x a m p l e of this n e w w a y to
D e b u s s y , R a v e l , R i c h a r d Strauss, Stra- u s e m u s i c is i n t h e b a l l e t Petrouchka,
vinsky, Faure, Prokofiev and many w h i c h is a s t o r y of p u p p e t s c o m e t o life.
others. T h e m u s i c is p a r t of t h e a c t i o n itself.
His designers included such famous T h e instruments s e e m to quarrel w h e n
painters as Picasso, Benois, Bakst, M a - the characters do. T h e orchestra
tisse a n d o t h e r s . "shrieks" w h e n t h e p u p p e t P e t r o u c h k a
A n d a m o n g his choreographers were is s u p p o s e d t o shriek. T h i s m u s i c is b y
Fokine, Nijinsky, Massine, Nijinska Stravinsky, and the dances were created
and George Balanchine, w h o became by Fokine.
t h e artistic d i r e c t o r of t h e w o r l d - f a m o u s
N e w Y o r k City Ballet. D a n c e r s n e v e r s t o p l e a r n i n g a n d trying
t o p e r f e c t their art.
It w a s F o k i n e w h o c h a n g e d the nature Who taught the TV U-I J
dancers of the Diaghilev engaged
of t h e stories t h a t
W h a t contributions u n u u Ballet Russe? the great Imperial
J-J KA- u i c u- ballet told. He
did Michel Fokine t % t t School teacher En-
m a k e to the ballet? c h a n g e d t h e s t y l e
rico Cecchetti to instruct his dancers.
of d a n c i n g , t o o ,
Although Cecchetti was delightfully
by introducing vivid, living characters
s o c i a b l e i n e v e r y d a y life, i n t h e class-
to the dance. W h a t is more, he helped
r o o m h e w a s a strict d i s c i p l i n a r i a n . H e

20
 • • • • • • • • i Scenery for the ballet Petrouchka was designed by
Alexander Benois and used at the 1911 Paris opening.

<L t jjf
E g o r o v a , N i j i n s k a ( t h e sister of V a s l a v
Nijinsky), and Alicia Markova, to men-
t i o n just a f e w . ( D i a g h i l e v e n g a g e d t h i s
E n g l i s h girl f o r h i s c o m p a n y w h e n s h e
w a s only fourteen years old.)

O n e of t h e m o s t p o p u l a r p r o d u c t i o n s o f
the Ballet Russe
What other ballets „700 n * -.« .
was, a n d s t i l l is,
were presented by
Firebird. T h i s is a
the Ballet Russe?
v e r y c o l o r f u l bal-
l e t of a g l o r i o u s b i r d w i t h m a g i c p o w e r s ,
of a wicked magician, a princess held
captive and a handsome prince who
finally r e s c u e s a n d m a r r i e s her.
T h e b a l l e t Le Spectre de la Rose is
w a s n e v e r satisfied w i t h m e r e t e c h n i c a l n o t so m u c h story as beautiful dancing.
p e r f e c t i o n . H e d e m a n d e d c o m p l e t e un-
derstanding of their roles from the
dancers, coupled with an inner glow, a In Fokine's Petrouchka, with music by
fire, w h i c h m a d e their d a n c i n g m e m o r - Stravinsky, the Sorcerer (left) brings
able. U n d e r his guidance, the dancing to life the puppets Petrouchka, the
Ballerina, and the Moor (below).
reached the perfection Diaghilev de-
m a n d e d , a n d all t h e b a l l e t s w e r e per-
formed exactly as they were planned by
the choreographers!
N o matter h o w harsh Cecchetti might
have been with the dancers in his
classes, all h i s p u p i l s r e m e m b e r e d h i m
k i n d l y . H e h e l p e d d e v e l o p t h e t a l e n t s of
m a n y b a l l e t stars still a c t i v e t o d a y —
and through t h e m the talents of y o u n g e r
d a n c e r s t h e y , i n turn, h a v e t a u g h t . A
g r e a t t e a c h e r is l i k e a c a n d l e f r o m w h i c h
m a n y o t h e r c a n d l e s c a n b e lit — so
many, in fact, that the w h o l e w o r l d c a n
b e m a d e brighter.
Besides those already mentioned,
Cecchetti taught Danilova, Sokolova,
A y o u n g girl h a s r e t u r n e d f r o m a b a l l . Ballet T o d a y
W h e n s h e t a k e s off h e r c a p e , w e s e e t h a t
s h e is still h o l d i n g a r e d r o s e t h a t w a s B e c a u s e p e o p l e before us had freed
given to her b y her sweetheart. H o l d i n g b a l l e t of m e a n i n g l e s s c o n v e n t i o n s a n d
it c l o s e , s h e d a n c e s d r e a m i l y . T h e n s h e h a d n o t b e e n afraid to experiment w i t h
s i n k s i n t o a c h a i r a n d falls a s l e e p . A t n e w i d e a s , w e n o w c a n e n j o y all k i n d s
this m o m e n t , t h e r o s e c o m e s t o life a n d of ballet — romantic, classic and
executes a magnificent dance. T h e n , as m o d e r n . T h e r e are b a l l e t s w h i c h tell
d a w n lights u p the w i n d o w , the rose says dramatic or tragic stories as well as
f a r e w e l l t o t h e girl a n d , i n w h a t s e e m s ballets which are filled with humor.
like a never-ending leap, soars out T h e r e are a l s o b a l l e t s w h i c h express
t h r o u g h t h e c a s e m e n t s . T h i s w a s o n e of only a m o o d in music and m o t i o n and
Nijinsky's f a m o u s leaps, and he w a s the b a l l e t s t h a t are r i c h i n c o l o r a n d bril-
first t o d a n c e t h i s r o l e t o F o k i n e ' s c h o r e - l i a n c e . O f t e n y o u c a n s e e e x a m p l e s of
ography. T h e ballerina w a s Tamara each o n the same theater program, as
Karsavina. f o r e x a m p l e , Swan Lake, Firebird,
T h e b a l l e t Prince Igor s e r v e d t o in- Afternoon of a Faun, and Western
troduce Western Europe to the color, Symphony.
m u s i c a n d d a n c i n g of R u s s i a . T h e m u s i c
is f r o m t h e s e c o n d a c t o f a n o p e r a b y A l l b a l l e t t r a i n i n g i s c l a s s i c a l . T h a t is,
Alexander Borodin. This ballet has n o it is b a s e d o n a s t a n d a r d
What is
c o n n e c t i o n w i t h t h e p l o t of t h e o p e r a . of rules which evolved
classic
I t is just w o n d e r f u l m u s i c , s e t t i n g a n d from the Academy of
ballet?
d a n c i n g , s h o w i n g d a n c e artists i n n a t i v e Dance established by
costume performing with unbelievable L o u i s X I V . T h e student learns a basic
energy, speed a n d vigor. " v o c a b u l a r y " of s t e p s f r o m w h i c h c o u n t -
Diaghilev toured Europe and Amer- l e s s v a r i a t i o n s c a n b e m a d e s o t h a t all
ica, and everywhere that his troupe k i n d s of m o v e m e n t a r e p o s s i b l e .
danced, there w a s b o t h an upsurge of
interest in ballet a n d a t r e m e n d o u s ac-
claim for his company. B y the time
Serge Diaghilev died in 1929, the w h o l e
world had been influenced by his idea
of w h a t b a l l e t s h o u l d b e . T h e s e e d s f o r
present-day dancing, which he had
h e l p e d t o ripen, w e r e n o w scattered
e v e r y w h e r e i n t h e f o r m of h i s d a n c e r s ,
musicians and choreographers — and
f r o m t h e m g r e w b a l l e t a s w e k n o w it
today.

22
 T h e c l a s s i c d a n c e is f u n d a m e n t a l m a - q u e e n . O n l y a t m i d n i g h t , f o r o n e brief
terial o u t of w h i c h n e w b a l l e t s c a n b e hour, can she resume her h u m a n form.
m a d e , a n d it g i v e s t h e d a n c e r a s u r e I t is t h e n t h a t a p r i n c e a n d h i s f r i e n d s ,
k n o w l e d g e t o d r a w o n w h e n h e is re- o u t o n a h u n t , d i s c o v e r her. A s O d e t t e
q u i r e d t o p e r f o r m a w o r k t h a t is n e w begs the prince not to shoot her swans,
to him. h e f a l l s i n l o v e w i t h her. S o m e o f t h e
W h e n y o u see a ballet listed o n the most beautiful dancing can b e seen in
p r o g r a m a s "classic," it d o e s n o t m e a n , this b a l l e t , a n d it is t h e a m b i t i o n of
t h e r e f o r e , t h a t t h i s is g o i n g t o b e s o m e - every ballerina to dance the role of
t h i n g o l d . W h a t it r e a l l y m e a n s is t h a t Odette.
h e r e is a n e x a m p l e of t h e finest o f its A m o t i o n picture, in color, w a s m a d e
kind. That is p r e c i s e l y what classic of this b a l l e t b y T h e R o y a l B a l l e t C o m -
m e a n s : "a w o r k o f t h e h i g h e s t c l a s s a n d p a n y of E n g l a n d , a n d it affords a m a g -
acknowledged excellence." nificent v i e w of c l a s s i c d a n c i n g . O d e t t e
Therefore, ballets can be romantic is d a n c e d here by Margot Fonteyn,
and classic as well as modern and p r i m a b a l l e r i n a of t h e c o m p a n y . The
classic, because they combine the p r i n c e is M i c h a e l S o m e s , a l s o o n e of
k n o w l e d g e a n d skills d e v e l o p e d o v e r t h e England's greatest dancers.
centuries which have been handed The Sleeping Beauty is a c l a s s i c bal-
d o w n , teacher to pupil, to our o w n time.

Probably the most popular a m o n g the

classic ballets is
What are some
Swan Lake. I t is per-
classic ballets?
formed by almost
every c o m p a n y in the world. T h e story
is a b o u t a b e a u t i f u l girl, O d e t t e , w h o i s
transformed by a magician into a swan

The bar helps dancers

keep their balance when
they learn and practice.

Pupils of a present-day
ballet school exercise
at the bar — or barre.

23
l e t w h i c h is b a s e d o n t h e w e l l - k n o w n H e takes her to Fairyland, through the
fairy t a l e of t h e s a m e n a m e . Moira S n o w C o u n t r y a n d i n t o t h e K i n g d o m of
S h e a r e r of E n g l a n d m a k e s a b e a u t i f u l the Sugarplum Fairy. T h e r e a grand
Princess Aurora. Perhaps y o u have seen c e l e b r a t i o n is h e l d i n C l a r a ' s h o n o r . T h e
her dance in the m o t i o n picture entitled s u b j e c t s of t h e Q u e e n p e r f o r m many
The Red Shoes. dances toTschaikovsky's beautiful flow-
The Nutcracker is o f t e n performed ing music. T h e r e are Spanish Dancers,
at C h r i s t m a s t i m e , b u t if y o u c a n ' t s e e Candy Canes, an Arabian Dancer,
it o n a l i v i n g s t a g e , r e m e m b e r t h a t it is M o t h e r G i n g e r a n d h e r d e l i g h t f u l little
often given on television during the children, F l o w e r s a n d Sugar Angels.
holiday season. T h e ballet opens with Finally the Sugarplum Fairy and her
a f a m i l y C h r i s t m a s p a r t y , a n d t h e r e is P r i n c e d a n c e a grand pas de deux —
a large, r i c h l y d e c o r a t e d C h r i s t m a s tree a d a n c e for t w o — a n d that is w h e n
i n t h e setting. T h e b e s t p r e s e n t , a s far children whisper to their mothers, "Are
a s little C l a r a i s c o n c e r n e d , is a c l e v e r l y those p e o p l e really real?"
devised Nutcracker which looks like a W i t h N i c h o l a s M a g a l l a n e s f o r a part-
s o l d i e r — t h e gift of h e r r a t h e r m y s t e - ner, M a r i a T a l l c h i e f a s t h e S u g a r p l u m
rious godfather. F a i r y e x h i b i t s s o m e of t h e finest c l a s s i c
T h a t n i g h t , w h e n t h e p a r t y is o v e r , dancing for which George Balanch-
Clara dreams that the Nutcracker has ine's N e w Y o r k C i t y B a l l e t C o m p a n y
c o m e t o life a s a c h a r m i n g y o u n g p r i n c e . is famous.

The Prince falls in love with the Swan Queen in Marius

Petipa's Swan Lake. The music is by Tschaikovsky.
Clara is taken to the Kingdom of the
Sugarplum Fairy in The Nutcracker.

Clara dreams that the Nutcracker, a

gift from her godfather, comes alive.

T h e ballets w e call " r o m a n t i c " a r e a

k i n d of classical ballet.
What are
They are romantic in
romantic
m o o d . T h e d e s i r e t o ex- Giselle is t h e s t o r y of a p e a s a n t g i r l w h o
ballets?
press this m o o d and to falls in love with
Which is the most D u k e A l b r e c h t
g i v e t h e d a n c e r s m o r e of t h e a p p e a r a n c e
p o p u l a r of t h e f - t. -
of s p i r i t - l i k e c r e a t u r e s w a s r e s p o n s i b l e w h o h a s
romantic ballets? disguised
f o r t h e d e v e l o p m e n t of t o e d a n c i n g . I t himself as a peas-
is i n t h e s e r o m a n t i c b a l l e t s t h a t d a n c e r s ant. W h e n t h e girl discovers his real
first r o s e t o t h e t i p s of t h e i r t o e s . i d e n t i t y a n d l e a r n s t h a t h e is e n g a g e d
It w a s at this time, also, t h a t the to m a r r y a princess, she loses her m i n d
w h i t e b a l l e t , o r ballet blanc, came into a n d d i e s of g r i e f .
being — and the delicate, romantic In the second act, the remorseful
tutu w e k n o w in such productions as p r i n c e visits h e r g r a v e a t night. The
Giselle, Swan Lake a n d Les Sylphides c e m e t e r y is h a u n t e d b y t h e w i l i s , s p i r -
was created. i t s of b r i d e s - t o - b e w h o h a v e d i e d b e f o r e

25
Alicia Markova as Gi-
selle and Anton Dolin as
Duke Albrecht dance in
the ballet Giselle. The
romantic ballet was
originally performed in
the year 1841 in Paris
and is the work of the
composer A. C. Adam.

their w e d d i n g d a y . N o w t h e y a p p e a r , T h e m o v e m e n t s o f m a n y of these
with Giselle among them, and force her b a l l e t s , at first g l a n c e , m i g h t l o o k n o t h -
to dance with Albrecht. D a w n c o m e s in i n g a t all l i k e t h o s e o f t h e c l a s s i c a n d
t i m e t o s a v e h i m f r o m ill f a t e . r o m a n t i c b a l l e t s . I n s o m e of t h e s e bal-
T h i s ballet, the m o s t popular of the lets the dancers use straight m o v e m e n t s
r o m a n t i c o n e s , w a s first p r o d u c e d i n of t h e a r m s r a t h e r t h a n t h e r o u n d e d
Paris in 1841. It is the "Hamlet" of the classic ones. B o d y lines are sometimes
ballet world. Just as every actor w a n t s angular.
to play Hamlet, so every ballerina wants
to d a n c e the part of Giselle a n d bring Y e t the modern ballet dancer begins
t o t h e r o l e h e r o w n p a r t i c u l a r gifts a n d training in exactly
How are modern
interpretation. the same w a y as the
ballet dancers
In our time, Giselle w a s danced b y earlier d a n c e r s d i d
trained to dance?
Alicia Markova, Margot Fonteyn, — with the five
Alicia A l o n s o , M o i r a Shearer, U l a n o v a , positions of the feet, the ninety-degree
the Russian prima ballerina and m a n y t u r n o u t of t h e l e g f r o m t h e h i p , a n d all
others. the other exercises which give the body
suppleness, grace a n d balletic ease of
S o m e of the m o d e r n ballets of today m o v e m e n t . T h e n the acquiring of mod-
tell a story. W h e n t h e y d o , e r n s t e p s t o fit t h e specific n e w d a n c e s
What is
the costumes and scenery is e a s y . T h e v o c a b u l a r y — or visible
modern
fit t h e p e r i o d a n d s e t t i n g of l a n g u a g e of ballet — h a s b e e n used in
ballet?
that story. Other modern e a c h era to express that particular time.
ballets express only a m o o d or a feeling. O n c e it w a s full o f p o m p a n d c i r c u m -
In that case, the c o s t u m e s a n d settings s t a n c e . T h e n it w a s filled w i t h t h e ro-
are d e s i g n e d f o r l i n e a n d c o l o r a n d t o fit m a n t i c q u a l i t i e s of t h e n i n e t e e n t h cen-
the m o o d or feeling to be expressed. tury, f o l l o w e d b y t h e realist p r e s e n t a -

26
 wamm

t i o n s of F o k i n e a n d D i a g h i l e v . N o w it
is crisp w i t h m o d e r n d e s i g n s a n d t h e Some of the steps done
in ballet are shown be-
d r e a m s a n d realities of t o d a y ' s w o r l d .
low. Their names are in
French, for it was in
Probably the best k n o w n modern Amer- France that ballet grew.
i c a n b a l l e t is A g n e s
What are some
De Mille's Rodeo.
modern ballets? PIROUETTE PASSE
Set in the Southwest,
o n a r a n c h , it d e a l s w i t h a t o m b o y ' s des-
p e r a t e efforts t o a t t r a c t t h e a t t e n t i o n of
the H e a d C o w b o y . A l l her attempts to
c h a r m h i m w i t h h e r c o w g i r l skills fall
i n t o r i d i c u l e u n t i l s h e s e e s t h e error of
her ways. Everything changes w h e n she
a p p e a r s d r e s s e d a s a girl, w i t h b e c o m i n g
feminine manners. N o w the H e a d C o w -
b o y d a n c e s right u p t o her, b u t she
chooses the C h a m p i o n R o p e r instead.
O f all t h e p e o p l e o n t h e r a n c h , h e , a l o n e ,
w a s k i n d t o h e r earlier w h e n s h e be-
haved so foolishly.
Rodeo w a s first p r e s e n t e d i n New
Y o r k o n O c t o b e r 16, 1 9 4 2 — a n d at
that m o m e n t a great A m e r i c a n chore-
ographer w a s discovered. N o t h i n g like
it h a d e v e r b e e n s e e n b e f o r e , a n d f r o m
that m o m e n t , the particular style of
dancing presented by A g n e s D e Mille
b e c a m e part of the A m e r i c a n dance
s c e n e . S h e , herself, d a n c e d t h e p a r t of
the Cowgirl. Frederic Franklin was the
Champion Roper.
Other ballets designed by A g n e s D e
M i l l e w e r e i n c l u d e d i n t h e m o t i o n pic-
t u r e s Oklahoma a n d Carousel. These
w e r e m u s i c a l p l a y s first a n d t o u r e d t h e
country, playing before enthusiastic
audiences everywhere. T h e ballets were
w o v e n right i n t o t h e s t o r y a n d many
people w h o had never seen ballet before, DEVELOPPE A LA SECONDE
d e c i d e d t h a t t h e y l i k e d it. I t w a s n ' t h i g h -
b r o w a n d stuffy a t all!

GRAND JETE
 In Agnes De Mille's American ballet
Rodeo, the Cowboys try to impress the
Eastern Girls at the Saturday dance.

The Cowgirl, looking like a

tomboy, kicks out with dis-
pleasure when she is ignored.
A m o d e r n b a l l e t t h a t is q u i t e differ-
e n t i s Graduation Ball. T h i s is set in a
f a s h i o n a b l e girls' s c h o o l i n V i e n n a . A The Head Cowboy and
the Rancher's Daughter.
gala entertainment is arranged for the
graduates of a nearby military acad-
e m y . W h e n the girls a n d b o y s meet, i s b a s e d o n G i l b e r t a n d S u l l i v a n oper-
t h e r e are s o m e a w k w a r d m o m e n t s . T h e ettas. T h e s t o r y of this b a l l e t is t a k e n
b o y s are bashful, t h e girls a r e shy. from Gilbert's ballad, The Bumboat
S o m e b o d y f a l l s d o w n a n d is h o r r i b l y Woman s Story. A bumboat, by the
embarrassed. B u t then the party gets w a y , is a b o a t that carries provisions
under w a y and everyone has fun, includ- — fruit, v e g e t a b l e s , t r i n k e t s — o u t t o
ing the headmistress and the p o m p o u s s h i p s a t a n c h o r . P i n e a p p l e P o l l is a
old general. pretty young girl who stows away
T h e b a l l e t Fancy Free is a b o u t t h r e e a b o a r d t h e HMS Hot Cross Bun, in
American sailors on shore leave in order to be near Captain Belaye. T h e n
N e w Y o r k . It w a s c r e a t e d b y c h o r e o g - s h e d i s c o v e r s t h a t a l s o a b o a r d are a
rapher Jerome Robbins, with composer number of other very un-sailor-like
Leonard Bernstein. The slapstick sailors, w h o t u r n o u t t o b e girls w i t h
humor and clever dance steps always t h e i d e n t i c a l i d e a s h e h a s ! I t is q u i t e
h a v e a u d i e n c e s l a u g h i n g at t h e sailors' a situation, especially w h e n the Cap-
antics. tain brings a b o a r d his n e w bride. T h e
N o t to be outdone, the British navy "sailors" fall o v e r i n a m a s s f a i n t —
has t o be remembered in m o d e r n ballet, b u t e v e n t u a l l y all e n d s w e l l .
t o o . It is d o n e i n Pineapple Poll, which E l a i n e F i f i e l d w a s t h e first t o d a n c e

28
Pineapple Poll. D a v i d Blair was Cap-
tain Belaye.
Serge Prokofiev, who wrote Peter
and the Wolf as a musical fairy tale to
teach children the difference between
various instruments in the orchestra,
a l s o w r o t e t h e m u s i c f o r Gala Perform-
ance. T h i s is a s p o o f o n b a l l e t , a
c o m e d y , involving three self-important
b a l l e r i n a s f r o m t h r e e different coun-
tries w h o c o n s e n t t o d a n c e t o g e t h e r .
Just before the actual performance,
t h e t h r e e stars a p p e a r o n s t a g e o n e b y
one. First c o m e s the Russian, the Q u e e n
FANCY FREE
of the D a n c e , a h a u g h t y overdressed
lady. T h e n the sparkling F r e n c h balle-
rina r u n s o n , w e a r i n g a fluffy c o s t u m e .
S h e at o n c e tells t h e c o n d u c t o r w h a t
kind of t e m p o she expects from him.
S h e s e e m s t o talk, talk, talk. N o w c o m e s
the Italian ballerina, f a m e d as G o d d e s s
o f t h e D a n c e . S h e is overpoweringly
dignified, a n d w a l k s a s if n o t sure t h e
floor b e n e a t h is w o r t h y t o r e c e i v e h e r
precious footsteps. All this time the
b o y s a n d girls o f t h e corps de ballet are
watching from the background, con-
vulsed with laughter.
T h e p e r f o r m a n c e of t h e trio i s i n
keeping with their established char- GRADUATION BALL
acters — exaggerated and ridiculous.
PINEAPPLE POLL
A n d at t h e e n d , t h e l a d i e s p r a c t i c a l l y
fight o v e r t h e a p p l a u s e .
W h e n first g i v e n i n t h e U n i t e d S t a t e s ,
the cast w a s headed by N o r a Kay, N a n a
Gollner, Karen Conrad, H u g h Laing,
and A n t o n y Tudor, w h o also did the
choreography for this ballet.

The popular, modern ballets Fancy Free, Graduation

Ball and Pineapple Poll were originally performed in
New York, Sydney, Australia and London, respectively.
 In this scene from Serge Prokofiev's ballet Peter \
and the Wolf, the Wolf is shown chasing the Bird.

The Russian, French and

Italian ballerinas have
their "say" in the bal-
let Gala Performance.
The music is by the com-
t poser Serge Prokofiev.

In ballet, roles w h i c h require dramatic father, D r o s s e l m e y e r , is a c h a r a c t e r —

interpretation are called white-haired, sinister, with a black
What is i 0
, character parts. Some- patch over o n e eye! In the magnificent
r
character Firebird, the wicked magician, Kast-
t i m e s
dancing? these roles require chei, w a s played b y the f a m o u s Enrico
character dancing, com- C e c c h e t t i of t h e D i a g h i l e v c o m p a n y .
pletely in keeping with the person or I n The Sleeping Beauty, Frederick
creature being portrayed. Sometimes, A s h t o n p o r t r a y s t h e w i c k e d fairy C a r a -
n o d a n c i n g is r e q u i r e d , a n d t h e char- b o s s e . It is a b a l l e t t r a d i t i o n t h a t t h e
a c t e r m e r e l y w a l k s a b o u t t h e s t a g e per-
roles of ugly, grotesque o r evil old
forming his role. In Coppelia, the
women should usually be played by
o w n e r of t h e life-size d o l l is D r . C o p -
men.
pelius. T h i s character role has been
C h a r a c t e r d a n c i n g a l s o i n c l u d e s na-
played by the gifted R o b e r t H e l p m a n n .
tional folk dances adapted for ballet,
Perhaps y o u h a v e seen h i m in the m o -
such as the p o l k a or the Italian Taran-
t i o n p i c t u r e Tales of Hoffman in which
tella. S c o t t i s h , S p a n i s h , R u s s i a n , Irish
he played the character role of the
— a n y k i n d of n a t i o n a l d a n c e m a y b e
wicked Dr. Miracle.
a d a p t e d t o g i v e t h e flavor of t h o s e c o u n -
T h e M o t h e r i n Giselle is a c h a r a c t e r
tries t o p a r t s of v a r i o u s b a l l e t s .
role. I n The Nutcracker, Clara's god-
30
 P a n t o m i m e — a L a n g u a g e of the D a n c e

T o help the audience understand the A n i n v i t a t i o n t o dance is e x p r e s s e d

e m o t i o n s in a dance, by circling the hands around e a c h other
What is
many pantomime ges- above the head.
pantomime?
tures have b e e n devel- F o r a kiss, t h e l i p s are t o u c h e d w i t h
o p e d . T h a t is, g e s t u r e s of t h e h a n d s , the finger.
f a c i a l e x p r e s s i o n s a n d t h e g e n e r a l atti- Stop is s u c h a u n i v e r s a l g e s t u r e , it is
t u d e of t h e b o d y . D o n e w i t h restraint, the s a m e the w o r l d o v e r — a n d in dance,
they can express serious feeling, but a too. Here the performer holds up the
clever character dancer can transform hand, p a l m out.
them into anything he wants with a Anger is e x p r e s s e d b y raising the
slight e x a g g e r a t i o n . W h e n y o u b e c o m e arms above the head, with the elbows
familiar with the p a n t o m i m e samples to the front, a n d shaking fists.
g i v e n h e r e , w a t c h for t h e m i n t h e b a l l e t A c o m m a n d t o obey is s h o w n by
performances y o u see and notice h o w pointing to the floor w i t h a v e r y de-
t h e y are u s e d . T h i s a w a r e n e s s w i l l a d d cided gesture.
greatly to your enjoyment. T o s a y no, t h e d a n c e r h o l d s t h e a r m s
For example, t o e x p r e s s love, the at t h e side, t h e n c r o s s e s t h e m b e f o r e t h e
d a n c e r h o l d s b o t h h a n d s o v e r t h e heart. b o d y i n a definite g e s t u r e a s h e s h a k e s
A wish to marry is e x p r e s s e d by his head.
p o i n t i n g t o t h e w e d d i n g - r i n g finger w i t h A dancer w h o wants to say that he
t h e i n d e x finger of t h e right h a n d . forgot, will h o l d the h a n d s out loosely,
T o say /, the dancer points toward p a l m s u p , a n d s h a k e t h e h e a d slightly.
h i m s e l f w i t h t h e m i d d l e fingers of b o t h W h e n h e remembers, he holds the
hands. i n d e x finger t o t h e t e m p l e .
F o r you, h e p o i n t s t o t h e p e r s o n w i t h T o s a y friends, the dancer clasps the
a n o p e n h a n d . If a n g r y , t h e n h e p o i n t s hands together on a level with the waist.
w i t h t h e finger i n a v i o l e n t g e s t u r e . F o r sadness, the dancer traces tears
Beautiful or girl is expressed by running d o w n the face with his fingers.
circling t h e f a c e g e n t l y w i t h t h e b a c k F o r a c t u a l weeping, he hides the face
of t h e h a n d . T h e b a c k of t h e m i d d l e in b o t h hands, or rubs his eyes with
finger outlines the face. clenched fists.

MADGE, THE WITCH,

/,-*• —Sk
IN LA SYLPHIDE

DR. COPPELIUS
IN COPPELIA SPANISH
FOLK
DANCER

ASTROLOGER
IN COQ DOR

31
 T o beg for mercy, the dancer holds
the arms out, palms together as if
praying.
A blessing is g i v e n w i t h t h e h a n d s
t o u c h i n g t h e h e a d of t h e p e r s o n b l e s s e d .
Sleep is indicated b y inclining the
h e a d a g a i n s t t h e b a c k of t h e h a n d s .
A child is indicated w i t h the p a l m s
of t h e h a n d s . T h e d a n c e r r a i s e s the
p a l m s i n t h r e e s t e p s , a s if m e a s u r i n g t h e
h e i g h t of a g r o w i n g c h i l d .
Thank you is s h o w n very simply b y
i n c l i n i n g t h e h e a d . O n e h a n d is b r o u g h t
d o w n from a position o n the chest and
extended toward the person thanked.
A king is i n d i c a t e d b y a flourishing
gesture a n d the raising of the right h a n d
above the head to indicate a feather
p l u m e , w h i c h is u s u a l l y w o r n i n the
h a t s of n o b i l i t y .
A queen is s h o w n b y t h e i n d e x finger
o f t h e r i g h t h a n d t o u c h i n g t h e t o p of
the forehead at points w h e r e a c r o w n
w o u l d touch the head.
T h i s t y p e of p a n t o m i m e is u s e d f o r
the m o s t part in the older, classical
b a l l e t s a n d if y o u k n o w it, y o u will
understand the stories more clearly.
W a t c h f o r it e s p e c i a l l y o n television
a n d in movies, where the dancers are
brought so close to the viewer, y o u can
e v e n s e e t h e flicker of a n e y e l a s h .
 P e o p l e W h o M a k e Ballet

T h e ballet productions y o u see from In the U n i t e d States, d a n c e students

stu
"out front" — in the a u d i e n c e — didn't . .. dy at their
W h o supports ballet o w n
just h a p p e n . T h e y w e r e c r e a t e d and •in the
*L United
11 •* J States?
c* o e x pr e n s e ,
made possible by people, many of although many
w h o m are n e v e r s e e n b y t h e p u b l i c a n d p r i v a t e l y - o w n e d s c h o o l s offer scholar-
many whose names never appear on ships to promising students. T h e cost
the program. o f m a n y y e a r s of s t u d y is h i g h , and
d a n c i n g s c h o o l s are c o m p l e t e l y sepa-
P r o d u c i n g a b a l l e t , a n d p a y i n g all t h e r a t e f r o m i n s t i t u t i o n s of a c a d e m i c stud-
e x p e n s e s a n d sal- ies. H o w e v e r , i n N e w Y o r k C i t y t h e r e
Who supports the
a r i e s i n v o l v e d re- are t w o public h i g h schools w h i c h are
ballet companies?
quires a vast d e v o t e d t o t h e arts. O n e is t h e H i g h
outlay of m o n e y . In the past, kings and S c h o o l of P e r f o r m i n g A r t s , t h e o t h e r i s
queens supported royal ballet com- the H i g h S c h o o l of M u s i c and Art.
panies. T o d a y , m a n y ballet companies H e r e t h e arts c a n b e s t u d i e d a n d per-
overseas are supported b y the govern- f e c t e d w h i l e o n e i s still v e r y y o u n g .
ment. Though governments in those M a n y people h o p e that s o m e day
countries m a y have changed from time the U n i t e d States will have a N a t i o n a l
to time, e a c h successive o n e has con- Foundation for the performing arts,
tinued to support not only the ballet w h i c h will give qualified y o u n g p e o p l e
companies, but ballet schools also. Tal- from even the smallest towns and ham-
ented y o u n g p e o p l e are able to get a lets a c h a n c e to perfect their talents.
classic ballet education and an aca- I n the U n i t e d States, ballet depends
d e m i c e d u c a t i o n o n a scholarship basis. o n private individuals to underwrite the
France, through all her political h u g e e x p e n s e s of p r o d u c t i o n s . It a l s o
troubles, has continued to maintain the depends on "patrons" — p e o p l e who
academy founded by Louis X I V . The contribute various sums annually to-
Russian Academy, founded by the w a r d t h e s u p p o r t of their f a v o r i t e c o m -
Czars, continues under Communism. pany. Actually, y o u also help to support
Italy, D e n m a r k , S w e d e n a n d Austria a c o m p a n y e a c h time y o u b u y a ticket.
g i v e b a l l e t official s u p p o r t . A n d r e c e n t l y A n "angel" in theater language, is a
Great Britain has b e g u n to subsidize a p e r s o n w h o p u t s u p all o r p a r t of t h e
national ballet. m o n e y to m a k e a production possible.
Some South American countries, T h e greater his investment in a produc-
w h i c h h a v e t a k e n g r e a t strides f o r w a r d tion which b e c o m e s a financial success,
in m a n y c u l t u r a l d i r e c t i o n s , n o w sup- t h e g r e a t e r h i s profit.
port ballet. A n d in M e x i c o , the govern-
m e n t n o t o n l y s u p p o r t s t h e arts, b u t
pays dance students while they g o to
school.

33
E v e r y c o m p a n y n e e d s a n e x e c u t i v e di- h u m a n e x p e r i e n c e of h i s s t o r y . Then
rector — a he translates these movements into the
What is t h e job of
i- . company m e a n i n g f u l l a n g u a g e of b a l l e t . A c h o r -
r J
the company manager? eographer must be a dancer — and a
m a n a g e r good one. This has always been true.
— to supervise everything. H e usually A l l t h e d i s t i n g u i s h e d c h o r e o g r a p h e r s of
h a s assistants, for n o o n e p e r s o n could t h e p a s t w e r e fine d a n c e r s i n t h e i r o w n
e v e n h o p e t o t a k e c a r e of a l l t h e d e t a i l s right. T h e y studied ballet t e c h n i q u e for
alone. Also, w i t h so m a n y tempera- many years, joined ballet companies
m e n t a l a r t i s t s i n v o l v e d , it is a d v i s a b l e a n d d a n c e d m a n y roles. T h e y associ-
t o h a v e a c o m p a n y " S o l o m o n " w h o is ated with designers, musicians, other
tactful e n o u g h to settle noisy disputes. d a n c e r s — l e a r n i n g all t h e while, ob-
T h e m a n a g e r has that job, too. s e r v i n g , a b s o r b i n g a l l k i n d s of k n o w l -
edge. T h e y also studied history, art a n d
m u s i c a s w e l l a s t h e w o r l d of human
cr^-*. e m o t i o n a r o u n d t h e m . W h e n e v e r pos-
sible, they traveled and studied the
T h e a r t i s t i c d i r e c t o r t a k e s c h a r g e of t h e d a n c e s of o t h e r l a n d s . T h e choreogra-
b a l l e t a s a w o r k of
W h a t job d o e s ^ R e b r i ^
the artistic , t . . . .
t h e beSt m hlS artlStS
director d o ? '
overcomes the worst
a n d d e v e l o p s all t h e p o t e n t i a l s . H e d o e s
n o t s p a r e himself — o r a n y o n e else — p h e r of t o d a y d o e s p r e c i s e l y t h e s a m e
and makes everyone work harder than thing to p r e p a r e himself for his pro-
they t h o u g h t possible. H e "lives" each fession.
p a r t a n d helps e a c h d a n c e r interpret his T h e r e are n o schools in which chore-
or her role properly. T h e y m u s t perform ography can be taught. Schools can
u p t o his ideals a n d s t a n d a r d s , a n d it teach technique, they can outline a
is t h i s f a c t o r w h i c h g i v e s a p a r t i c u l a r c o u r s e of s t u d y , b u t t h e w o u l d - b e c h o r -
c o m p a n y its distinctive c h a r a c t e r . e o g r a p h e r h a s t o d e v e l o p h i s o w n spe-
cial talents.
T h e c h o r e o g r a p h e r , m u s t h a v e infinite
patience a n d the ability to teach others,
because he h a s to show his dancers
how to perform certain movements
T h e choreographer creates the dances. which he has created. H e must have a
H e is a n a r t i s t w h o clear understanding of t h e s t e p s and
W h a t is t h e
works with motion. movements a dancer can and cannot
H e s e a r c h e s f o r t h e d o . T h a t is w h y h e m u s t b e a dancer
cho^Igmpher?
basic movements himself.
which express the emotion behind the I n t h e c o u r s e of g a t h e r i n g h i s o w n

34
experience, the choreographer b e c o m e s rapher. Either w a y , there m u s t b e close
a walking encyclopedia of dances, association and understanding between
dance steps and m a n y ideas for using these t w o persons.
t h e m . H e is u s u a l l y a tireless perfec- T h e r e must be an orchestra to play
tionist, a s m i n o r f a u l t s c a u s e h i m a g o - t h e m u s i c of t h e c o m p o s e r . S o there
nies, e v e n t h o u g h n o o n e e l s e is a w a r e must be musicians and a conductor to
of t h e m . B u t t h a t is h o w o n e arrives a t s e e t o it t h a t t h e m u s i c is l e a r n e d a n d
p e r f e c t i o n — b y t a k i n g infinite pains played in the t e m p o indicated by the
o v e r t h e s m a l l e s t details. choreographer.
The choreographer is a creative
artist, a n d h e is e x p e c t e d c o n s t a n t l y t o
p r o d u c e s o m e t h i n g n e w , s o m e t h i n g sur-
prising, s o m e t h i n g b e a u t i f u l . V e r y o f t e n
he does!

A l t h o u g h the choreographer and the It is s a i d t h a t t h e w a r d r o b e m i s t r e s s w a s

artistic d i r e c t o r c a n born with a needle
What is a What is the job
demonstrate the and thread in her
ballet master? of a wardrobe
steps and move- h a n d , b u t h e r feel-
mistress in a
m e n t s t h e y w a n t f r o m their d a n c e r s , it ballet company? i n g for a n d k n o w l -
is t h e b a l l e t m a s t e r — o r b a l l e t m i s t r e s s e d g e of b a l l e t a n d
— w h o s e e s t o it t h a t t h e y l e a r n t h e m ballet people sometimes suggests that
e x a c t l y . M a n y , m a n y h o u r s are s p e n t there is dancer's b l o o d in her veins. In a
in such rehearsals, first in rehearsal b a l l e t c o m p a n y s h e is i n d i s p e n s a b l e . H e r
halls, t h e n i n t h e t h e a t e r itself. r u l e is o v e r all t h e c o s t u m e s — f o r l o r d s
and ladies, witches, knights, goblins and
fairies, s n o w f l a k e s a n d s u n b e a m s , w a l t z -
i n g flowers, n u t c r a c k e r s a n d t o y s w h i c h
c o m e t o life. S h e k e e p s b u t t o n s on,
moths out, s t a r c h in. S h e f o l d s and
p a c k s w i t h secret tricks a g a i n s t crush-
A composer creates or arranges music ing. S h e l a b e l s a n d p u t s a w a y — a n d
for the ballet. finds what she wants w h e n she wants
How does a composer TT ., . it. S h e is i n g e n i o u s w h e n it c o m e s t o
*u u n *o H o w this is
serve in the ballet?
c l e a n i n g , p a t c h i n g o r m e n d i n g . A t per-
worked out
f o r m a n c e t i m e she h o o k s , zips, ties, n i p s
depends o n h o w the choreographer gets
a w a i s t in, takes a tuck out, fluffs,
his i d e a f o r t h e ballet. If t h e s t o r y o r
m o o d c o m e s first, t h e n s u i t a b l e m u s i c
must either b e written or arranged from
e x i s t i n g scores. If a b a l l e t is t o b e w r i t t e n
t o e x i s t i n g m u s i c , t h e n this is a r r a n g e d
to fit t h e s t e p s d e v i s e d b y t h e c h o r e o g -

35
The scene designer builds
a miniature stage for the
ballet after he has drawn
sketches of the scenery.

s m o o t h s d o w n . S h e s c o l d s , she com- costumes or c h a n g e them from beauty

forts, s h e p r a y s , t o o . O n e t h i n g is cer- into ugliness. On the other hand, a
t a i n — w i t h o u t her there w o u l d be c h a o s simple backdrop curtain can b e m a d e
in t h e d r e s s i n g r o o m s . t o look like "scenery" b y clever lighting.

T h e s c e n e r y is d e s i g n e d a n d planned Costumes must be designed to harmo-

b y a n artist, first nize with the
What part
r does ___ ~n~**- +i^~ ™ In w h a t w a y does g c e a n d tQ
_ . o n paper, then o n
a scene designer \ . a costume designer ~ - ~
i i L .1 .11 a m m i a t u r e stage.
fe .,, „ , , 0 fit t h e story.
J But
play in ballet? aid ballet dancers?
It is v e r y i m p o r t a n t there are many
t o h a v e t h e b a c k g r o u n d suit t h e story m o r e c o n s i d e r a t i o n s t h a n this. T o b e g i n
of t h e ballet. A t t h e s a m e t i m e , it is w i t h , t h e d e s i g n e r m u s t r e m e m b e r that
very important to have the scenery so a dancer has to m o v e in a costume —
designed that dancers can c o m e o n and and n o matter h o w forcefully, costume
off t h e s t a g e a n d p e r f o r m w i t h o u t c a t c h - and dancer must n o t part c o m p a n y .
ing their costumes awkwardly. Nor Also, the costume must not be draped
m u s t t h e y b e c r o w d e d or o v e r s h a d o w e d i n s u c h a w a y t h a t it b e c o m e s a trap
b y t h e sets. — catching a foot in a leap, flying
L i g h t i n g effects are a l s o v e r y i m p o r - across the face and obscuring vision or
t a n t a n d are p l a n n e d m o s t carefully. t a k i n g p i e c e s of s c e n e r y w i t h it.
Incorrect lighting can completely spoil T o guard against these nightmares
t h e m o o d of a b a l l e t , w a s h c o l o r o u t of that haunt both dancers and designers,

36
m a n y c o n f e r e n c e s a n d fittings t a k e p l a c e T h e property m a n is in charge of the
with the designer, dancers, dressmaker, scenery and the
c h o r e o g r a p h e r a n d t h e set d e s i g n e r . Who are some
props. H e oversees
other important
the stage manager,
backstage help?
T h e s t a g e m a n a g e r is c o m p l e t e l y re- takes care of the
sponsible for the p r o p e r l i g h t i n g effects f o r e a c h scene
What does the
operation of a n d o v e r s e e s t h e m e n w o r k i n g t h e spot-
stage manager do?
each perform- lights. T h e c a r p e n t e r is i n c h a r g e o f all
ance. H e has to k n o w a great many t h e c a r p e n t r y t o b e d o n e o n t h e sets.
things in order to cue the light crew a n d The flyman oversees the raising and
the curtain men. F r o m the m o m e n t h e lowering of the h u g e backdrops for the
orders, "Places, everybody!" to the settings. The curtainman raises and
e c h o of t h e l a s t a p p l a u s e , h e is l i k e a l o w e r s t h e c u r t a i n at t h e right m o m e n t s ,
c a p t a i n at t h e h e l m , k e e p i n g e v e r y t h i n g o n cue from the stage manager.
under control and maintaining the pace
of t h e s h o w . H i s w i t s m u s t b e s h a r p a n d
ever ready to cope with any emergency
t h a t m i g h t arise.

Dancers wait for their cue in the wings of the stage or behind the scenery while a performance is in progress.

37
 P r e s e n t - d a y Ballerinas a n d D a n s e u r s

T h e radiant Q u e e n of the R o y a l Ballet, service in the British army — with n o

M a r g o t F o n t e y n , is i m p a i r m e n t t o h i s art.
Margot Fonteyn
as popular in the
U n i t e d S t a t e s a s s h e is i n E n g l a n d . H e r A truly A m e r i c a n Q u e e n of Ballet is
ballet technique is so perfect that her Maria Tallchief.
Maria Tallchief
dancing a p p e a r s effortless and spon- She was born on an
taneous. O s a g e reservation in O k l a h o m a . Her
H e r father, a m i n i n g engineer, w a s father is an Indian, her mother of
a Yorkshire m a n and her mother of Scottish descent. E n o r m o u s l y talented,
Brazilian-Irish extraction, w h i c h prob- s h e first s t u d i e d p i a n o . A t t w e l v e s h e
ably accounts for Fonteyn's exotic b e g a n s e r i o u s s t u d y of b a l l e t w i t h t h e
beauty. A s a child she traveled over sister o f N i j i n s k y , a n d b e f o r e l o n g , t h e
m u c h of the world, but the family finally dance became her first love. Later,
settled in E n g l a n d . A t thirteen, M a r g o t George Balanchine had m u c h to d o with
e n t e r e d t h e Sadler's W e l l s S c h o o l . H e r perfecting her technique.
first a p p e a r a n c e o n s t a g e w a s a s o n e of Maria Tallchief has tremendous
t h e t h i r t y - t w o s n o w f l a k e s i n The Nut- p o w e r a s a d a n c e r , b u t it is a l w a y s u n d e r
cracker. She passed quite unnoticed. perfect control. H e r leaps in the air
Alicia M a r k o v a was her idol and are p h e n o m e n a l , h e r entrechats fabu-
ideal, and M a r g o t studied every m o v e lous. She can beat her legs together
t h e g r e a t prima made, never thinking eight times in a dazzling twinkle of
she could c o m e even close to her in perfect form. Only Nijinsky could
p e r f o r m a n c e . W h e n M a r k o v a left S a d - b e t t e r that, a n d h i s r e c o r d w a s ten. H e r
ler's W e l l s , h o w e v e r , F o n t e y n b e g a n t o s t y l e is c l a s s i c e l e g a n c e t i p p e d w i t h fire;
rise rapidly. A t seventeen she d a n c e d h e r p e r f o r m a n c e s are u n f o r g e t t a b l e .
Giselle, and her sensitive interpretation
o f t h e r o l e left n o d o u b t t h a t h e r e w a s A l t h o u g h h e is c o n s i d e r e d a n A m e r i c a n
a n e w prima ballerina. •#m . dancer, A n d r e
Andre Eglevsky ^ . , ,
Eglevsky was born
I t m i g h t b e s a i d t h a t M i c h a e l S o m e s is
in M o s c o w . H e studied in Paris with
the King of the
Michael Somes Volinine, one of Pavlova's partners,
Royal Ballet. His
and in L o n d o n with N i c h o l a s Legat,
title i s premier danseur noble, and he
a l s o of D i a g h i l e v ' s f a m o u s company.
has b e e n M a r g o t Fonteyn's partner for
H e m a d e h i s d e b u t at t h e a g e o f fifteen
m a n y y e a r s . H e w a s t h e first b o y t o w i n
w i t h t h e r a n k of premier danseur.
a scholarship t o Sadler's W e l l s . His
E g l e v s k y is tall a n d r a t h e r h e a v i l y
m a n l y a p p e a r a n c e , n o b l e air a n d skill
built, but h e has a catlike grace a n d a n
have e n h a n c e d every role he has under-
e x c e p t i o n a l j u m p i n g ability. I n h i s soar-
taken. H i s dancing career w a s inter-
i n g l e a p s , h e , t o o , c a n c r e a t e t h e illu-
r u p t e d b y f o u r y e a r s of distinguished
s i o n of b e i n g s u s p e n d e d i n mid-air.
38
 W h e n , at t h e a g e of e i g h t , little A l i c i a S o m e years a g o she w a s threatened
w a s sent to a ballet w i t h b l i n d n e s s . A series of o p e r a t i o n s
Alicia Alonso f o l l o w e d , a n d for a y e a r s h e l a y i n b e d ,
s c h o o l i n H a v a n a , it
was to acquire poise and grace. T h e r e her eyes bandaged, forbidden even to
w a s n o t h o u g h t of m a k i n g a b a l l e r i n a of cry for f e a r of t h e effect of s u c h e m o -
her. S u c h a c a r e e r w a s c o n s i d e r e d u n - tion o n the delicate nerves a n d tissues
t h i n k a b l e f o r t h e d a u g h t e r of a p r o m i - that n e e d e d healing.
nent C u b a n family. B u t Alicia's talent Y e t s h e d i d n o t w a s t e t i m e i n self-
could not b e denied and eventually she pity. Instead, A l i c i a visualized in her
c o n t i n u e d h e r s t u d i e s at t h e S c h o o l of active mind every role she had danced,
A m e r i c a n Ballet in N e w Y o r k . She be- and so clearly that she w a s able to pick
c a m e a prima ballerina of Ballet o u t w h a t s h e r e g a r d e d a s flaws i n h e r
Theater, but she and her husband also performances. T h e healing ordeal over,
founded the Ballet Alicia Alonso. This t h e r e w a s t h e m a t t e r of r e s t o r i n g h e r
later b e c a m e k n o w n a s B a l l e t d e C u b a , flabby muscles. Alicia's courage never
which was government-supported. flagged. W h e n she returned to the stage

H e r artistic r a n g e is a m a z i n g . She it w a s t o further t r i u m p h s a s a m o r e

c a n b e the glittering B l a c k S w a n or the m a t u r e , m o r e g l o r i o u s prima, who had

g e n t l e h e r o i n e of Romeo and Juliet, for n o w a l s o e a r n e d t h e title of Dama, the

s h e is a n a c c o m p l i s h e d a c t r e s s a s w e l l highest honor bestowed by C u b a on

as a dancer. a civilian.

•3

£ £ X - J $ ~ - .

^^~n *

MARGOT FONTEYN
and
ALICIA ALONSO and IGOR YOUSKEVITCH MARIA TALLCHIEF MICHAEL SOMES
 The Prince dances with Cinderella
while her stepsisters observe them.

A v i r t u o s o is o n e w h o has special
k n o w l e d g e o r skill
Igor Youskevitch
i n a n y field. I n b a l -
let, I g o r Y o u s k e v i t c h is c o n s i d e r e d n o t
only a virtuoso but also a genius. He
w a s trained as an athlete in Yugoslavia,
b u t t u r n e d t o b a l l e t w h i l e a t t h e uni-
versity in Belgrade. A l t h o u g h usually
it t a k e s y e a r s t o p e r f e c t b a l l e t t e c h n i q u e ,
this y o u n g m a n w a s able t o perform
after o n l y a y e a r of f o r m a l s t u d y . H e
d a n c e s w i t h virile e l e g a n c e a n d is t h e
f a v o r i t e p a r t n e r of A l i c i a A l o n s o . D u r -
ing the war he served with the U n i t e d
States N a v y .

Illinois-born J o h n Kriza studied in Chi-

cago and m a d e his debut
John Kriza
in the C h i c a g o Opera
Ballet. His first outstanding success
w a s a s o n e o f t h e sailors i n Fancy Free.
H e is e s p e c i a l l y w e l l s u i t e d t o b a l l e t s
with American themes and has danced
i n A g n e s D e M i l l e ' s Rodeo and Eugene
L o r i n g ' s Billy the Kid.

W h a t It T a k e s to

B e a Ballet D a n c e r

Having read about the dancers of

y e s t e r d a y a n d t o d a y , y o u k n o w t h a t it
is n o t easy to b e c o m e a great performer.
S i n c e m a n y y e a r s of s p e c i a l i z e d physi-
c a l t r a i n i n g a r e i n v o l v e d , o n e of the
r e q u i r e m e n t s is g o o d p h y s i c a l condi-
tion. H o w e v e r , there are exceptions to
all rules, a n d s o m e of o u r finest d a n c e r s
b e g a n s t u d y i n g because of handicaps.
A l i c i a M a r k o v a , o n e of the greatest
John Kriza (right) dances in the ballet Billy the Kid. ballerinas in the world, w a s ordered to

40
 The slipper fits the foot of Cin-
derella — the Prince is overjoyed.

The story of Cinderella, Charles Perrault's beloved

fairy tale, has attracted many choreographers and
composers. All the ballet versions have comic and dra-
matic differences as well as grand classic dancing.

£ * £ > • «

take ballet lessons b y her family doctor.

S h e w a s frail a n d h a d k n o c k - k n e e s . B u t
ballet discipline a n d carefully super-
Eugene Loring's Billy the Kid is a ^%
vised exercises cured her ailments — favorite modern American ballet.
a n d h e r t a l e n t w a s u n c o v e r e d f o r all t h e
w o r l d t o see.
N a n a Gollner's limbs had been weak- s o a m b i t i o u s f o r her, it m a y b e t h a t h e
ened by polio and ballet was suggested also k n e w w h a t ballet training could d o
as a m e a n s of strengthening them. H e r f o r a frail, u n b e a u t i f u l b o d y .
progress w a s so rapid that b y the a g e of B u t t h e s e a r e t h e exceptions. Ordi-
sixteen she attained the rank of prima narily, p e o p l e d o n ' t start b a l l e t s t u d i e s
ballerina. with such handicaps. Certainly one
Marie Taglioni, with long arms and should h a v e a g o o d , strong heart, a
a h u n c h i n h e r b a c k , w a s b u i l t all w r o n g sense of rhythm, a feeling for music and
for a ballerina. A l t h o u g h her father w a s an overpowering desire to dance.

41
Ballet should not be studied before the
a g e of e i g h t . N i n e o r M
How old should t e n is n Q t tQO l a t e tQ
^
one be to take
begin either. Toe • T L - j i - ^ J
ballet lessons?
work should never
be attempted before the age of ten, a n d
t h e n only after t h r e e y e a r s of s t u d y w i t h
a c o m p e t e n t t e a c h e r . T h a t m u c h t i m e is
needed to strengthen the foot, leg and
b a c k m u s c l e s p r o p e r l y ; o t h e r w i s e , seri-
o u s p e r m a n e n t i n j u r i e s c a n result.

B o y s a n d girls o f t e n t a k e c l a s s e s to- lent war records and were decorated

gether, but there a n d a c c o r d e d o t h e r h o n o r s f o r their out-
How does ballet
are some things standing courage.
training for boys
which are taught
and girls differ?
to t h e m separately. A l t h o u g h a t o n e t i m e t h e danseur s role
Ballerinas should be light and graceful. h a d shrunk so that
What is the role
T h e y must be supple and they do, even- h e w a s c a l l e d "the
of the danseur?
t u a l l y , d a n c e o n their t o e s . B o y s n e v e r ballerina's third
d a n c e o n their t o e s . M a n y of t h e s t e p s leg," times have changed. A l l he did
t h e y l e a r n r e s e m b l e t h o s e o f t h e girl then w a s to support her and wear an
d a n c e r s , b u t t h e y are d o n e i n a m a n l y admiring expression o n his face. There
w a y . B o y s are t r a i n e d a s p a r t n e r s f o r is m u c h m o r e t o b e i n g a p a r t n e r t o d a y .
t h e b a l l e r i n a s . T h e i r m u s c l e s are d e v e l - O f c o u r s e , t h e danseur must always be
o p e d s o t h a t t h e y c a n lift a b a l l e r i n a the cavalier and s h o w a proper gal-
shoulder-high without apparent effort lantry toward the ballerina, but now
— not an easy thing to do, for she m a y t h e r e is f a r g r e a t e r d e p t h i n h i s roles.
weigh one hundred pounds or more. H e must not only be an excellent dancer,
B e i n g s t r o n g e r t h a n girls, t h e y c a n l e a p but also a dramatic actor—as Albrecht
higher and wider. in Giselle or Prince Siegfried in Swan
T h e r e is n o t h i n g "sissy" a b o u t b a l l e t Lake, for example.
d a n c i n g f o r a b o y . If y o u h a v e the S o m e of t h e m e n , i n c l u d i n g E g l e v -
chance to observe boys taking class, s k y a n d Y o u s k e v i t c h , h a v e s u c h out-
y o u will s e e h o w m u c h e n d u r a n c e i s standing talent that parts are especially
required of them. Incidentally, m a n y of written for them. A g o o d danseur is
our foremost dancers have h a d excel- a welcome addition to any company.
 Ballet D r e s s

T h e s i m p l e s t c o s t u m e s a r e b e s t f o r class. into." T h e black ballet slippers are

Girls wear jersey leo- made of soft leather, with the toes
What is the
tards over their tights pleated o n the bottom, and with flex-
costume for
( w i t h o u t feet, because i b l e , n o n s k i d soles.
the class?
they last longer that T h e satin t o e s h o e s s h o u l d n o t b e
w a y ) , ankle socks and practice shoes. h e a v y a n d h a r d a n d stiff. T h e well-pre-
S o m e schools favor a short tunic for pared student can easily work in the
girls. B o y s w e a r t i g h t s a l s o a n d a j e r s e y soft, I t a l i a n - t y p e s h o e s , w h i c h are h a n d -
shirt. T h e i r p r a c t i c e s h o e s are some- sewn and only lightly boxed. T h e dancer
times held over the instep by an elastic m u s t at all t i m e s b e a b l e t o "feel" t h e
band. floor. T o e s h o e s are d a r n e d a t t h e tips
In order to correct faults, a teacher not only to m a k e them grip the floor
must easily see the lines and m o v e m e n t s better, but also to make them last
of t h e b o d y . Frills, b o w s , p l e a t s and l o n g e r . T o e s h o e s are e x p e n s i v e , and
ruffles w o u l d c o n c e a l s u c h faults. A n d professional dancers sometimes wear
tights also serve to k e e p the leg m u s c l e s o u t s e v e r a l p a i r s d u r i n g a s i n g l e per-
w a r m . M o r e injuries r e s u l t f r o m cold formance.
muscles than from any other cause.
( T h a t is o n e r e a s o n w h y b a s e b a l l p l a y - The stage costumes of today vary
ers w e a r full u n i f o r m s i n s t e a d of s h o r t s greatly in design.
What kind of stage
and tee-shirts.) B e s i d e s t h e tra-
costumes are used?
A n o t h e r reason w h y b o y s wear tights ditional, long
i n s t e a d of r e g u l a r t r o u s e r s is t o g i v e r o m a n t i c tutu a n d t h e s h o r t c l a s s i c tutu,
them unhindered movement. t h e r e are h u n d r e d s o f v a r i a t i o n s , l i m i t e d
only b y the subject of the ballet a n d the
T h e dancer's feet are her m o s t precious designers' imagination.
equipment, and so C o s t u m e s f o r t h e danseurs are varied,
How are ballet
d a n c e s h o e s m u s t al- too, from the accepted classic tights
slippers made?
ways fit perfectly. and velvet jerkin to anything the part
T h e y must never be bought to "grow m a y c a l l f o r — a R o m a n t o g a , a full-
 COPPELIA
A light-hearted story and an ex-
cellent example of ballet panto-
mime is Coppelia. It involves a
romance between Franz and a
life-like doll which almost ends
his courtship of Swanilda, a very
real young lady. All the difficul-
ties get solved, however, and
the ballet closes with a divertisse-
ment or a sequence of steps.
•' ' ' .. : '...:••..

d r e s s suit, a b u s i n e s s suit, o r a b a t h i n g
suit a s i n t h e b a l l e t Jones Beach.
National costumes for character
d a n c i n g are a d a p t e d f o r b a l l e t u s e a l s o .
T h e i r p u r p o s e is o n l y t o g i v e a n a u t h e n -
tic flavor, a n d t h e y are n o t i n t e n d e d t o
b e r e p l i c a s of n a t i v e dress.

Ballet Talk

S i n c e b a l l e t , a s w e k n o w it, c a m e t o
us from France, m o s t of the l a n g u a g e
o f t h e b a l l e t is a l s o F r e n c h . B u t s o m e o f
t h e t e r m s are d e r i v e d f r o m t h e I t a l i a n ,
b e c a u s e t h e e a r l y f o r m s of b a l l e t w e r e
brought to F r a n c e from Italy. Inevita-
bly, the country w h e r e ballet h a p p e n s
t o b e s t u d i e d , a d d s its o w n v o c a b u l a r y .
I n the main, however, students every-
w h e r e in the world learn the s a m e terms.

44
 ON STAGE!
The one-act modern ballet On
Stage! will give you a behind-the-
scenes glimpse of a rehearsal and
an audition. There is a very grand
ballerina in it and several young
hopefuls, including the one who is
not hired at first, but who finally
wins a place in the company, too.

COQ D'OR, OR
THE GOLDEN COCKEREL
The ballet Coq D'or, or The Golden
Cockerel, is based on a poem by
the Russian writer Aleksander Push-
kin. Old King Dodon is given a
marvelous golden cockerel which
always warns him of coming dan-
ger. Along with the superb dancing,
there are beautiful costumes and
scenery; the whole is a spectacle.

45
Therefore, German, Italian, Danish, country and proceed with the lesson in
Swedish, Russian and English dancers, progress without too m u c h misunder-
a s w e l l a s p e r f o r m e r s f r o m o t h e r na- s t a n d i n g . T h e t e a c h e r w i l l call f o r t h e
tions, can step into class in any other steps in ballet's universal language.

L a b a n o t a t i o n — D a n c e in Writing

Labanotation is a m e t h o d f o r w r i t i n g in the proper c o l u m n to s h o w which

down dance move-
H o w can dance m e n t s , o r i g i n a t e d b y part is t o m o v e .
movements b e ~> , i r T t -
J o Rudolf Laban. It
written d o w n ?
can be compared to

Leg Gesture
Leg Gesture
w r i t i n g m u s i c , b e c a u s e a staff a n d s y m -

Head
Body
Steps
Steps
Body
Head

Arm
Arm
b o l s a r e u s e d t o "spell o u t " t h e m o v e -
ments which are to be performed.
T h o s e w h o understand this m e t h o d c a n
read and study dance scores n o matter
what language they speak.
A n y a n d all m o v e m e n t s c a n b e re- Left Right
corded — even the fluttering of the
fingers. I t is h o p e d i n t h e n e a r f u t u r e 2 . Directions: I n t h e m i d d l e , at y o u r
t o h a v e a w h o l e g e n e r a t i o n of ballet c e n t e r is " p l a c e " ( n o d i r e c t i o n ) . T h i s
s c o r e r e a d e r s . T o t h a t e n d , y o u n g chil- is s h o w n b y a r e c t a n g l e : |
dren in England, Holland, Brazil, Chile, B y c h a n g i n g t h i s s h a p e , t h e s y m b o l is
Australia, Iceland and the United m a d e to point to the directions around
S t a t e s are b e i n g t a u g h t t o r e c o n s t r u c t y o u — f o r w a r d , b a c k w a r d , right, left
d a n c e s f r o m L a b a n o t a t i o n . H e r e is a and the four diagonal directions that
s a m p l e of h o w it w o r k s : are i n b e t w e e n .
1. Body: A v e r t i c a l staff is u s e d t o in-
dicate the body. It represents you, the
d a n c e r . T h e c e n t e r l i n e i s your center
l i n e , s o t h a t t h e right l e g , a r m , s h o u l d e r ,
e t c . , a r e w r i t t e n o n t h e right s i d e o f t h e
staff. T h e left p a r t s of y o u r b o d y a r e
s h o w n o n t h e left s i d e o f t h e staff.
T h e r e is a c o l u m n for e a c h part of the
b o d y , a n d t h e d i r e c t i o n s y m b o l is p l a c e d

46
 l i n e of t h e staff a l s o r e p r e s e n t s time
g o i n g b y a s y o u r e a d it g o i n g u p t h e
page, and so a slow m o v e m e n t will take
I B I a l o t of s p a c e o n t h e t i m e line.
3. Levels: T h e level, meaning how
h i g h o r h o w l o w , is s h o w n b y s h a d i n g
t h e s y m b o l . B l a c k is l o w ( d o w n t o w a r d
the e a r t h ) ; a dot m e a n s horizontal or
" m i d d l e " l e v e l ; a n d stripes m e a n h i g h ,
upward (toward the s k y ) .
4 . Timing: H o w long a movement
lasts is s h o w n b y t h e l e n g t h of t h e m o v e -
ment symbol. A slow m o v e m e n t will b e
written with a long symbol, a fast move- w 0
ment with a short symbol. T h e center Slow Fast

• s*&

) '

^-as-*-**.

//
i /
1X2 • • X
1

Thefivebasic ballet positions, and all other dance movements, can be recorded in written form by Labanotation.

47
 H o w Y o u C a n Enjoy Ballet

T o help y o u b e c o m e even m o r e famil- possible for y o u to borrow a recording

iar w i t h this d a n c e f o r m , r e a d i n g o t h e r a s y o u w o u l d a b o o k . S o m e libraries
b o o k s about ballet, f a m o u s ballet danc- a l s o h a v e f a c i l i t i e s f o r l i s t e n i n g t o rec-
e r s o r s t o r i e s a b o u t girls a n d b o y s i n ords in a music room.
ballet can be a worthwhile experience. H o w e v e r , nothing can take the place
S e v e r a l g o o d b o o k s a r e p r o b a b l y avail- o f a real l i v e b a l l e t p e r f o r m a n c e . G o o d
a b l e at y o u r l o c a l l i b r a r y a n d your ballet schools in your vicinity m a y give
librarian will b e g l a d to h e l p y o u in p u b l i c recitals. O r t h e r e m a y b e a col-
m a k i n g a selection. lege near you with a dance department
S o m e o f t h e finest m u s i c i n t h e w o r l d that schedules regular concert perform-
h a s b e e n written for the ballet, includ- a n c e s . B e s t of all, if a b a l l e t c o m p a n y
ing Tschaikovsky's Swan Lake, The c o m e s to your town, or nearby, see the
Sleeping Beauty a n d The Nutcracker; p r o d u c t i o n if y o u c a n .
R i m s k y - K o r s a k o v ' s Scheherazade and B u t b e f o r e y o u g o , find o u t w h i c h
Snow Maiden; Debussy's The After- ballet will be performed. T h e n look u p
noon of a Faun; Stravinsky's Petrou- t h e s t o r y of t h a t p a r t i c u l a r b a l l e t i n a
chka; Offenbach's Gaite Parisienne; b o o k . K n o w i n g the plot in a d v a n c e will
C h o p i n ' s Les Sylphides; Delibes' Sylvia h e l p y o u t o u n d e r s t a n d t h e a c t i o n s of
a n d Coppelia; a n d Strauss' Pizzicato t h e d a n c e r s . T h u s p r e p a r e d , y o u will
Polka. T h i s m u s i c is a v a i l a b l e o n p h o n o - really b e able to enter the wonderful
g r a p h r e c o r d s , a n d s i n c e m a n y libraries w o r l d of b a l l e t — a w o r l d of magnifi-
n o w h a v e r e c o r d c o l l e c t i o n s , it m a y b e cent music, drama, art a n d magical
d a n c i n g that will h o l d y o u spellbound.
WESTERN SYMPHONY " A r e t h o s e p e o p l e r e a l l y real?" y o u ,
There is no story in the ballet Western Symphony. Rather, it too, m a y feel like asking. A n d who
is a Western scene depicting cowboy life. Brilliant color, bril- k n o w s — s o m e d a y a b o y o r girl m a y
liant costumes and catchy music give it a special quality.
b e asking his mother or father the same
question about you!

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 HOW AND WHY WONDER BOOKS

Produced and approved by noted authorities, these books

answer the questions most often asked about science, na-
ture and history. They are presented in a clear, readable
style, and contain many colorful and instructive illus-
trations. Readers will want to explore each of these
fascinating subjects and collect these volumes as an
authentic, ready-reference, basic library.
5001 DINOSAURS 5028 SOUND
5002 WEATHER 5029 LOST CITIES
5003 ELECTRICITY 5030 ANTS AND BEES
5004 ROCKS AND MINERALS 5031 WILD FLOWERS
5005 ROCKETS AND MISSILES 5032 DOGS
5006 STARS 5033 PREHISTORIC MAMMALS
5007 INSECTS 5034 SCIENCE EXPERIMENTS
5008 REPTILES AND AMPHIBIANS 5035 WORLD WAR II
5009 BIRDS 5036 FLORENCE NIGHTINGALE
5010 OUR EARTH 5037 BUTTERFLIES AND MOTHS
5011 BEGINNING SCIENCE 5038 FISH
5012 MACHINES 5039 ROBOTS AND
5013 THE HUMAN BODY ELECTRONIC BRAINS
5014 SEA SHELLS 5040 LIGHT AND COLOR
5015 ATOMIC ENERGY 5041 WINNING OF THE WEST
5016 THE MICROSCOPE 5042 THE AMERICAN
5017 THE CIVIL WAR REVOLUTION
5018 MATHEMATICS 5043 CAVES TO SKYSCRAPERS
5019 FLIGHT 5044 SHIPS
5020 BALLET 5045 TIME
5021 CHEMISTRY 5046 MAGNETS AND MAGNETISM
5022 HORSES 5047 GUNS
5023 EXPLORATIONS AND 5048 THE MOON
DISCOVERIES 5049 FAMOUS SCIENTISTS
5024 PRIMITIVE MAN 5050 OLD TESTAMENT
5025 NORTH AMERICA 5051 BUILDING
5026 PLANETS AND 5052 RAILROADS
INTERPLANETARY TRAVEL 5053 TREES
5027 WILD ANIMALS 5054 OCEANOGRAPHY

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