ballet variations paper - research paper 2

8/12/2019 Ballet Variations Paper - research paper 2

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Ballet Variations

Kourtney RentzDance 494

December 2, 2013


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(bdera$man as a+el *erdt, and #lemence as Kla+diya Kulic$e+saya7

(le)ander *lazouno+ as born in 1"=>, and as a success8ul student o8 Rimsy?Korsao+7 e

as t$en director o8 t$e t7 etersbur% #onser+atory o8 'usic 8rom 190= to 191@7 W$ile tendin% to $is

duties as director, $e as in+ited to &lay t$e &iano 8or a re$earsal o8Raymonda Balanc$ine as one o8t$e dancers &resent7 Besides ballets, *lazouno+ com&osed ei%$t sym&$onies, a &iano concerto, a +iolin

concerto, c$amber music, and orc$estral tone &oems, re%arded as one o8 t$e most in8luential and

talented com&osers7

n order 8or a ballet to succeed, t$ere are many cate%ories t$at must be 8ul8illed7 #ostume

desi%ners and scenery are maor &arts o8 a &roduction t$at must be incredibly intricate and detailed,

es&ecially 8or suc$ e+ents as t$e o&enin% ni%$t o8 t$e World remiere7 6$e ori%inal scenery and

costumes ere desi%ned by -7 (lle%ri, K7 +ano+, and 7 .ambin, main% eac$ costume uniAue and

8ittin%7

-8ten re%arded as eti&as last true master&iece, t$is +ariation as not c$an%ed nor re+ised in

t$e Kiro+ Ballet until 193", $en Vainonen sta%ed a ne +ersion7 oe+er, ot$ers com&anies and

c$oreo%ra&$ers $a+e re+i+ed and relaunc$ed t$is classic numerous times t$rou%$out its len%t$y

&er8ormance $istory7 ( &roduction sta%ed by 'i$ail


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Critic Review: Raymonda Act III Variation I

San Francisco Ballet Raymonda Act III, Ibsens House, Symphonic Dances San Francisco

By (imee 6sao on (&ril 1@, 2013 in Re+ies

an


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Variation: Raymonda - Act III Variation IV

Ballet: Raymonda#$oreo%ra&$er: 'arius eti&a

#om&oser: (le)ander *lazuno+World remiere Date: 19 !an 1"9"remier #om&any: m&erial Ballet-ri%inal #ast: ierina .e%nani /Raymonda, er%ey .e%at /!eanne de Brienne, -l%a reobraensa/enrietta, Kla+idiya Kulic$e+saya /#l5mence, a+el *erdt /(bdera$manremier lace: 'aryinsy 6$eatre, t7 etersbur%

Brie8 Ballet ummary o8 t$e (cts:

(ct :Raymonda is etrothed to !ean de Brienne, and is celeratin" her irthday durin" this act# !ean

is e$pected to arrive the ne$t day, ut !ean has sent a "ift in advance %a portrait of himself Aderman

arrives at the party and attempts to court Raymonda# Raymonda dreams of dancin" with !ean and

wa'es up to find Aderman there a"ain to renew is proposals of love to Raymonda#

(ct : (he festivities continue and Aderman a"ain pursues Raymonda, as'in" her to dance with him#

Aderman and his accomplices attempt to 'idnap Raymonda and their plot is interrupted y the arrival

of !ean and the )in" of *un"ary %his rother A duel commences and results in the death of

Aderman#

(ct :Depicts a feast and festivities at the castle to celerate the marria"e of Raymonda to !ean de

Brienne of *un"ary#

Critic Review: Raymonda Act III Variation IV

San Francisco Ballet Raymonda Act III, Ibsens House, Symphonic Dances San Francisco

By (imee 6sao on (&ril 1@, 2013 in Re+ies

an


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Variation: Balanchine+s as de Di$

Ballet: as de Di)#$oreo%ra&$er: *eor%e Balanc$ine#om&oser: (le)ander *lazuno+World remiere Date: 19>>remier #om&any: Ge or #ity Ballet-ri%inal #ast: 'aria 6allc$ie8, (ndr5 C%le+syremier lace: #ity #enter o8 'usic and Drama

Brie8 Ballet ummary o8 t$e (cts:$cerpts from the allet Raymonda

#onsidered one o8 t$e %reatest ballet master&ieces, Balanc$ines as de Di) $as a&&eared in

many di88erent 8orms es&ecially across t$e West7 6$e Dia%$ile+s Ballets Russes in aris o8 1909

8ormed +ariations o8 di+ertissements called (he .rand as hon"rois, or in ot$er ords, (ct 7 6$is

became a ballet in 193> a8ter bein% sta%ed by Gic$olas L+ere88 in t$e Gational -&era Ballet o8

.it$uania in .ondon7 6$e 8irst &roduction as &er8ormed in t$e #ity #enter o8 'usic and Drama in

Ge or in Go+ember o8 19>>, by t$e Ge or #ity Ballet starrin% 'aria 6allc$ie8 and (ndr5

C%le+sy7

6$e as #lassiAue on%rois 8rom (ct o8Raymonda as used as a li+ely ballet

demonstratin% a%ility and lit$e Aualities o8 dance7 6$is or is com&osed o8 solos, to &as de deu), a

duet 8or to omen, and a Auartet 8or 8our men, concludin% it$ bra+ura measures 8or t$e ballerina7 n

19=0, 8or t$e an 2 /re+ised 19"17

Critic Review: as de Di$


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Su'anne Farrell Ballet Pas de Di(, Duo )oncertant, *empo di +alse, Agon ashington

By -sana K$adarina on Go+ember 19, 2013 in Re+ies

'ic$ael #oo and Gatalia 'a%nicaballi inDuo Concertant7J .inda &illers7 /#lic ima%e 8or lar%er

+ersion*he Su'anne Farrell Ballet Program B!Pas de Dix, Duo Concertant, Tempo di Vase, A!on

Was$in%ton, Kennedy #enter Cisen$oer 6$eater ", 9 Go+ember 2013 #om&any Website

7ennedy?center7or%

6$e second &ro%ram o8 t$e uzanne


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8ast tem&o set by t$e conductor o8 t$e -&era ouse orc$estra, (llan .eis, t$e cast +irtually nailed

e+ery ste& and turn o8 t$e demandin% and s&eedy c$oreo%ra&$y7 atc$ed t$e dancers in ae I t$ey

ere able not only to sustain t$e breanec s&eed, ne+er missin% a beat, but made t$e dancin% seem

easy and 8un7

)horeographer o& Raymonda! -arius Petipa

Born on 'arc$ 11t$, 1"22 to !ean (ntoine eti&a /maitre de ballet and Victorine *rasseau

/actress, in 'arsailles7 e be%an lessons it$ $is 8at$er at t$e a%e o8 @ and alt$ou%$ $e asnt 8ond o8

dance, $e &ro%ressed at suc$ a rate t$at $e debuted in 1"31 in $is 8at$erFs &roduction o8 *ardelFs .a

Dansomanie at t$e 6$eatre de la 'onnaie, Brussels $e &layed t$e u+enile a+oyard7 n 1"34 $is 8at$er

became maitre de ballet at Bordeau) and t$ere eti&a com&leted $is %eneral education and dancin%

lessons to become a &remier danseur at t$e a%e o8 si)teen7

n 1"3", a8ter &roducin% t$ree s$ort ballets, eti&a sli&&ed $ile dancin% and broe $is le%

$ic$ resulted in $im sittin% out 8or to mont$s7 e t$en 8olloed $is 8at$er to (merica to o&en in

Ge or, but t$e salaries ere un&aid and ended in disaster7 eti&a returned to aris studyin% under

(u%uste Vestris, debutin% a%ain $ic$ led $im to bein% booed to dance 8or Bordeau) $ere $e

&roduced 8our ballets7 e t$en danced at t$e Kin%Fs 6$eatre in 'adrid and remained t$ere, &roducin%

8i+e ballets7 Durin% $is contracted $oliday mont$s $e toured it$ t$e danseuse, 'lle7 *uy?te&$an7 e

returned to aris and &er8ormed, $ere $e as recruited to be t$e &remier danseur o8 t$e m&erial

Russian Ballet, and debuted in Russia as .ucien dFer+ille in 'azilierFs aAuita on e&7 2=O-ct7 ",

1"4@7

e continued to dance, &roduce and collaborate on ballet ors it$ $is 8at$er and ot$er

c$oreo%ra&$ers7 e became +ery success8ul not only at dancin% but also at mimin%7 e also danced as

&rinci&al in *iselle7 e be%an &roducin% &ieces o8 ori%inal c$oreo%ra&$y $ile still in Russia7 eti&a


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learned a lot about c$oreo%ra&$y 8rom errot in Russia, $om $e a&&ointed $is assistant and

collaborator7

-n !une 4, $e married 'arie er%eye+na uro+s$io+a, a youn% dancer /com&leted sc$ool t$at

year7 e $el&ed $er %ro stron%er and de+elo& $er talents, and as s$e %re $e 8ormed c$oreo%ra&$y

around $er, to s$o $er stren%t$s7 Beteen 1">" and 1"=0 eti&a &roduced t$ree ballets 8or $is i8e7

6$ey toured to%et$er durin% $er mont$s o88 and im&ressed Kin% William in Berlin7 eti&a as aarded

an $onorarium in res&ect to $is or, raisin% $is salary and &romotin% $im to maitre de ballet 8or t$e

remainder o8 $is contract it$ t$e m&erial Ballet, leadin% e+en 8urt$er into $is c$oreo%ra&$y career7

)omposer o& -usic! Ale(ander .la'uno#

Born on (u%ust 10, 1"=> in t7 etersbur%, *lazuno+ as a leadin% Russian com&oser o8 t$e

%eneration a8ter 6c$aio+sy7 e $as been described as a Romantic #lassicist and t$ere8ore com&ared

to Bra$ms7


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6$e c$ool remains in o&eration to t$is day, trainin% dancers 8or t$e Ge or #ity Ballet and

com&anies orldide7 e remained t$e G#B balletmaster 8or more t$an 3> years7 e as a

c$oreo%ra&$er non 8or $is musicality $e e)&ressed music it$ dance and ored e)tensi+ely it$

leadin% com&osers o8 $is time lie %or tra+insy7

Biblio%ra&$y

P(ll'usic7PAll/usic7 G7&7, n7d7 Web7 01 Dec7 20137 Q$tt&:OO7allmusic7comOartistOale)ander?%lazuno+?mn00011"02>"Obio%ra&$y7

PBio%ra&$y S 6$e *eor%e Balanc$ine


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Raymonda (ct Variation

6$is dance is a duet &er8ormed by to dancers $o start on o&&osite sides o8 t$e sta%e about mid sta%e7Dancers start in b &lus it$ t$e $ands on t$e $i&s it$ 5&aulement toards t$e audience7 6$e dancersill cross se+eral times t$rou%$out t$e &iece and t$e dancer $o is sta%e le8t ill alays cross in 8ront7

6$e dancers end t$e &iece ne)t to eac$ ot$er s&littin% center sta%e7 6$is notation is 8or t$e dancer $ostarts sta%e ri%$t7 6$e sta%e le8t dancer ill do e)actly t$e same but re+ersed7 6$e 8i)ed &oints o8 t$eroom are re8erenced usin% t$e Russian sc$ool or Va%ono+a met$od7

)ounts Action and body direction /paulement and headdirection

Port de bras

1 D5+elo&&5 to &iAu5 it$ t$ele8t 8oot closin% it$ t$eri%$t 8oot derriTre #rois5 tocorner 2 /sta%e ri%$t,

donsta%e corner

$oulderin% crois5 todonsta%e ri%$t corneread: 8acin% audience

(rms &resent to demisecond &osition it$ t$e&alms u&

2,3,4 Bourr5e toards donsta%esta%e le8t

ame as abo+e ame as abo+e

>

=

iAue to retir5 ste&&in% onle8t 8oot /en dedans andt$en ri%$t 8oot /en de$ors entournant

&ottin% t$e 8ront ands 8li& to $i&s

@," #lose to soussus it$ le8t8oot de+ant7 #rois5 to corner2

$oulderin%: crois5 tocorner 2ead: 8acin% audience

tay on $i&s

Re&eat 8or a total o8 3U

1

2

aut5 lo arabesAue on le8t8oot, ste& out on t$e ri%$t8oot7 #rois5 to sta%e le8tu&sta%e corner

ead: looin% o+er le8t$and ,= aut de basAue ste&&in% on

le8t 8oot7 6oards le8tu&sta%e corner

.ooin% at ri%$t $and$en e)tended ands&ottin% t$e corner

-&en to 2nd&osition it$allon%5, closin% to 8irst&osition $en landin%

@," *liss5 to tendu derriTre it$ $oulderin%: 8acin% t$e Ri%$t $and on $i&, le8t


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t$e ri%$t 8oot7 #rois5 to le8tu&sta%e corner

u&sta%e le8t corneread: turned o+er ri%$ts$oulder, 8acin% t$eaudience

$and in $i%$ 8i8t$

1 iAu5 terre la secondit$ t$e le8t 8oot, ri%$t 8oot

en 8ondu cart5 de+ant

$oulderin%: 8acin%donsta%e corner 2

ead: toards le8t $and

Dia%onal arms it$ t$eri%$t arm $i%$er

X iAu5 terre crois5 de+antit$ a $o& still en 8ondu7#rois5 to corner 2

s$oulderin% and $eadlooin% toards t$e ri%$tarm

n lo t$ird, ri%$t arm in8irst, le8t arm in secondallon%5

2 Rele+5 to attitude de+antit$ t$e le8t 8oot7 #rois5 tocorner 2

.ooin% to t$e audience -&en t$ird &osition it$ri%$t arm in $i%$ 8i8t$and le8t arm in second&osition

X te& don it$ le8t 8oot andde+elo&&5 ri%$t 8oot

5&aulement and $ead8ollos t$e ri%$t $and

Ri%$t arm di&s sli%$tly

3 iAu5 on ri%$t 8oot to le8t

attitude de+ant

ame as abo+e Ri%$t arm returns to $i%$

8i8t$ and le8t $and %oes to$i&X4 Re&eat ste& don and &iAu5 ame as abo+e Ri%$t arm %oes to t$e

bun, le8t $and stays on$i&

>,=,@,",1,2,3,4 Re&eat 3U total>X= Re&eat t$e 8irst to &iAu5s

into t$e attitude de+antame as abo+e ame as abo+e

X te& on le8t 8oot and cou&5it$ t$e ri%$t 8oot derriTreen 8ondu

ame as abo+e Ri%$t arm o&ens

@ iAu5 on ri%$t 8oot to le8t8oot retir5 .ooin% to audience ands start 8li&&in% to$i&s and 8inis$ $en 8eetclose to soussus

X iAu5 on le8t 8oot to ri%$t8oot retir5

.ooin% to audience

" #lose soussus ame as abo+e ands are on $i&s1 6omb5 on le8t 8oot it$ ri%$t

8oot in lo arabesAuetra+ellin% toards corner ",C88ac5 derriTre

$oulderin% is 8acin%corner = it$ t$e ri%$ts$oulder &ressin% 8orardead: is tilted toards t$eri%$t but still looin% to

t$e audience

Ri%$t $and stays on $i&,le8t arm o&ens to&resentin% second&osition

Xa2 &as de bourr5e derriTre8inis$in% it$ le8t 8oot in coude &ied de+ant7 #rois5 tocorner 2

$oulderin%: 8ollos t$eorin% armead tilted to t$e le8t butstill looin% at audience

.e8t arm closes to 8irst&osition a%ain, ri%$t armstays on $i&

Xa iAu5 onto le8t 8oot and closeto soussus it$ t$e ri%$t 8ootderriTre


3Xa, 4 Re&eat tomb5 and &as de


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bourr5X

a

aut de c$at it$ le8t 8oot,land on le8t 8oot 6oardscorner "

.ooin% o+er t$e le8t arm (rms in 8irst arabesAue

> D5+elo&&5 to iAu5 onto t$eri%$t 8oot, le8t 8oot is in retire

derriTre7 #rois5 de+ant tocorner "

$oulderin% and $ead:ri%$t elbo li8ted, $ead

toards ri%$t s$oulder

(rms are crossed8in%erti&s to elbos

=,@," Re&eat 8or a total o8 4 &iAu5s ame, on d5+elo&&5 t$es$oulder and $ead loersbut returns on t$e &iAu5

same

1?= Re+erse and re&eat tra+ellin%donsta%e sta%e ri%$t butit$ only to &iAues


X eX, =eX as de bourr5e in &arallel

&osition to t$e ri%$t and t$ento t$e le8t

ead tilts toards le8t

s$oulder and t$en ri%$ts$oulder

(rms 8lo to t$e ri%$t

and t$en to t$e le8t

@X

"

etit assembl5 dessous it$t$e ri%$t 8oot, landin% in &li5,rele+5 to soussus it$ t$ele8t 8oot in 8ront


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ri%$t 8oot it$ le8t 8oot inretir5 de+ant /2,3

mo+in% $and

4 #lose &li5 it$ t$e le8t 8ootderriTre

>,=,@,"1?"

1?"

Re&eat entrec$at Auatre andrele+5 on t$e ot$er 8oot,

Re&eat =U total /ri%$t, le8t,ri%$t, le8t, ri%$t, le8t

ame as abo+e .e8t $and o&ens and&resents $en t$e le8t

8oot comes u& to retir5,ri%$t $and 8or t$e ri%$t8oot,-n t$e last set t$e arm&resents in an u&arddia%onal

1?"1?4

2 &iAu5 soutenu en tournantto t$e ri%$t, 2 c$aYn5s to t$eri%$t, 2 &iAu5 soutenu entournant to t$e ri%$t6ra+ellin% de c t5 sta%e

ri%$t

&ottin% de c t5 (rms o&en to second andclose to 8irst 8or eac$ turn

>?" te& on t$e ri%$t 8oot andtendu &re&aration crois5de+ant it$ t$e le8t 8oot

$oulderin% 8acin% en8ace, $ead 8acin% le8t

(rms in t$ird &osition/ri%$t arm in e)tendedsecond &osition, le8t armin 8irst &osition

X12,X34,X> 3 &iAu5 en de$ors to t$e le8tendin% u& s&littin% centersta%e it$ ot$er dancer6ra+ellin% de c t5 sta%e le8t

&ottin% sta%e le8t (rms o&en to secondbe8ore closin% to 8irst inturns

=,@," li5 closin% le8t 8oot derriTre,rele+5 soussus #rois5 ri%$t

8oot in 8i8t$ de+ant

Ri%$t s$oulder is 8orard,$ead is sli%$tly turned

toard ri%$t s$oulder butis looin% at audience

(rms o&en to second&osition be8ore 8li&&in%

to ri%$t $and to $i&s andle8t $and to t$e bunBo Wal 8orard it$ t$e le8t

8oot 8irst and t$en ri%$t 8ootlea+in% t$e le8t 8oot in b &lus$ile boin%


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Raymonda (ct Variation V

6$is +ariation is &er8ormed by a sin%le dancer $o starts center sta%e it$ t$e le8t 8oot in tenduderriTre, t$e arms in demi?second &osition, and e&aulement and $ead are toards t$e audience7 6$e8i)ed &oints o8 t$e room are re8erenced usin% t$e Russian sc$ool or Va%ono+a met$od7 6$is is to bedanced it$ a re%al 8eel7

)ounts Action and direction 0paulement, Port de brasand Head direction

6$is is t$e Aueue 8or t$e music #lose le8t 8oot to >t$&ositionderriTre

ands %o on $i&s, $ead and5&aulement stay 8acin% t$eaudience

1 D5+elo&&5 ri%$t 8oot #la& $ands, loo at $ands

2 iAu5 to sous?sus ri%$t 8ootde+ant ands &resent, $ead ands$oulderin% toards audience3,4 Z baiss5, close to 8i8t$

&ositionands %o on $i&s, $ead ands$oulderin% stays

>?" Re&eat but stay in sous?sus Ri%$t $and %oes on bun, le8ton $i&, s$oulderin% 8aces t$eaudience, $ead loos u& ando+er le8t s$oulder

1?4 Bourr5e sta%e ri%$t, initiateit$ t$e ri%$t $i& so t$edancer loos lie t$ey are

8allin% o88 t$e le%s

Ri%$t $and cambr5s in $i%$8i8t$ toard t$e le8t side, $eadloos don and out o+er t$e

le8t s$oulder>?"1?4

Bourr5e en tournant en de$orsone 8ull turn

Ri%$t $and &resents in 8ront

>?=


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bac toards le8t $and1,2 Bourr5e in &lace (rms sim toards t$e ri%$t,

$ead 8ollos arms3,4 ame as abo+e (rms sim to le8t, $ead

8ollos arms> ame as abo+e (rms sim to ri%$t, $ead

8ollos arms= tart to tae t$e bourr5e entournant en de$ors one 8ullturn

(rms sim to le8t, $ead8ollos arms

@," ?= iAu5 soutenu en tournant ont$e ri%$t 8oot tra+ellin%toards corner 2

(rms %o u& to $i%$ 8i8t$, $ead8ollos arms

@?" Run to corner 2, 8inis$ en&ointe in si)t$ &osition

(rms in an e)tended $i%$ 8i8t$&osition, $ead &ointed toards$ands, s$oulderin% sAuaredtoards corner 2

1?4 #ouru tra+ellin% derriTre, t$e$i&s lead so t$e dancer loos

(rms &resent in 8ront, 8ocustoards $ands


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as i8 s$e i8 8allin% o88 t$e le%s>,= Bourr5e en tournant en de$ors

it$ t$e ri%$t 8oot de+ant tocorner "

(rms %o to e)tended t$ird&osition, 8ocus u& toards le8t$and

@," Bourr5e in &lace (rms %o to e)tended 8ourt$&osition, 8ocus stays t$e same

1 ?" Run to corner 2, endin% in

si)t$ &osition en &ointe a%ain(rms soo& u& to e)tended$i%$ 8i8t$

1?",1?4 Re&eat

>?" Bourr5e &as de bourr5e en&ointe /le8t in 8ront, ri%$t le8t,ri%$t in 8ront, le8t ri%$t, le8t in8ront, ri%$t le8t #lose in 8i8t$&osition ri%$t 8oot de+antcrois5 to corner "7

ands in e)tended secondsecond &osition it$ t$e &alms&ointed don, %aze is dontoards 8eet, $en 8eet closeto 8i8t$ &osition arms %o to$i&s and ri%$t s$oulder issli%$tly 8orard it$ t$e $eadout toards audience7

1?4 iAu5 soutenu en tournantit$ t$e ri%$t 8oot tra+ellin%de c t5 sta%e ri%$t, body

arri+es to en 8ace and $oldssous?sus

ands cla& as 8eet arri+e tosous?sus, t$en $ands &resentas body arri+es to t$e 8ront

a8ter turnin%, $ead is 8acin%audience>?"


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o+er t$e le8t s$oulder" 'usic c$an%es to 8aster $ere li5 on " ands cross 8in%erti&s to

elbos1?4 &rin% rele+5 &ullin% le8t le%

to retir5, t$en ri%$t, le8t, ri%$t/u& and t$e X count, &li5 on

t$e $ole counts

W$en t$e le8t le% as in retiret$e ri%$t elbo raised sli%$tlyand t$e $ead ould %o

toards t$e raised elbo,same it$ t$e o&&osite le%>?" Ri%$t 8oot de+ant sissonne

ou+erte de c t5, &as debourr5e dessous/Do t$is 2U

.e8t $and on $i&, ri%$t $and&resents lo on t$e 8irstsissone and $i%$ on t$e secondsissone7 *aze 8ollos t$e ri%$t$and as it &resents7 .e8ts$oulder loers sli%$tly as t$eri%$t arm &resents7

1?" Re&eat s&rin% rele+5s andsissonnes

1?4 #$ass5 it$ le8t 8oot de+anttra+ellin% de c t5, %liss5,rele+5 arabesAue

(rms in 8irst &osition on t$ec$ass5, $ead and s$oulderin%8acin% t$e audience, on t$e%liss5 rele+5 ri%$t arm %oes tot$e $i& and le8t arm &resents int$e u&ard dia%onal7 *azestays toards audience7

>?@ Re&eat %oin% to t$e ri%$t" #$ass5 toards corner = it$

t$e le8t 8oot(rms in 8irst &osition

1 aut5 it$ t$e ri%$t le% in lo

arabesAue 8acin% corner =

(rms o&en to e)tended $i%$

8i8t$, %aze and s$oulderse)tended toards t$e $ands2?@ Run to corner = and 8inis$ in

8i8t$ &osition crois5 it$ t$ele8t 8oot de+ant

ands 8inis$ on $i&s,s$oulders crois5 but $ead is8acin% t$e audience

" li5 ame as abo+e1?4 &rin% rele+5 &ullin% ri%$t le%

to retir5, t$en le8t, ri%$t, le8t,8inis$in% t$e last &li5 in 8ourt$&osition it$ t$e le8t 8ootde+ant /u& and t$e X count,

&li5 on t$e $ole counts6$is is tra+ellin% toardscorner 2

ands stay on $i&s, o&&osites$oulder as le% t$at is in retireill mo+e sli%$tly 8orard asrele+5 is u&7 ead turnstoards 8orard s$oulder7 -n

t$e last &li5, arms %o to t$ird&osition to &re&are 8or&irouette

>,= irouette en de$ors and et5tomb5 landin% in an ou+erte&osition en 8ondu it$ t$e le8t8oot in attitude derriTre

ands cla& durin% &irouetteand $ead s&ots corner 2, ri%$t$and %oes to bun and le8t $and%oes to $i& on et57 $ouldersand $ead are toardsaudience7


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>?=@?"

D5+elo&&5 ri%$t le% to &iAu5retir5 de+ant7 6ra+ellin% on adee& 5cart5 derriTre toardsu&sta%e ri%$t corner7 Re&eatt$e &iAu57

(rms in a closed lo 3rd&osition7 ead looin% o+ert$e arm in 8irst at t$eaudience7

1?2

3?4

D5+elo&&5 le8t le% to &iAu5

crois5 de+ant it$ retir5derriTre, tra+ellin% toards t$edonsta%e ri%$t corner7

(rms in closed $i%$ 3rd, $ead

looin% under

>, =@ $old "

6endu en 8ondu ri%$t 8oot tosecond $ile en 8ace7 6$enle8t 8oot to second still en8ondu7 Aueeze to sous?susle8t 8oot de+ant7

(rms o&en to second &almsdon, arms $eld le+el /no tilt7ands to $i&s on sous?sus7

1= Re&eat t$e o88?balance &iAu5retir5 seAuence on t$e o&&ositele% /startin% it$ t$e ri%$t le%

and endin% in a sous?sus ri%$t8oot de+ant71?23?4

D5+elo&&5 le8t le% to &iAu5retir5 on dee& ecart5 derriTretoards u&sta%e le8t corner7Re&lace t$e le8t le% it$ t$eri%$t to rele+5 c$an%edirection and rond de ambeen lFair en de$ors it$ t$e le8tle% in 5cart5 de+ant7

(rms in closed lo 3rd, t$eno&en to second on t$e rond deambe7

>?=

@?"

D5+elo&&5 ri%$t le% to &iAu5

retir5 on dee& 5cart5 derriTretoards u&sta%e ri%$t corner7Re&lace t$e ri%$t le% it$ t$ele8t to rele+5 c$an%e directionand rond de ambe en lFair ende$ors it$ t$e ri%$t le% in5cart5 de+ant7

(rms in closed lo 3rd, t$en

o&en to second on t$e rond deambe7

" Re&eat t$e last " cts7 /&iAu5rond de ambe

1 6endu en 8ondu it$ t$e le8t8oot 8acin% en 8ace

(rms are in an e)tended demi?second &osition it$ t$e &alms

8acin% don7 ead 8ollos t$e8eet72 te& in 8ront and tendu en

8ondu it$ t$e ri%$t 8ootame as abo+e

3 li5 in 8i8t$ &osition ri%$t 8ootde+ant

ame

4 c$a&&5 to second &osition ands &ull to $i&s, $ead is8acin% audience

> li5 in second &osition ands stay


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= ull to sous?sus it$ le8t 8ootde+ant

@ 6endu en 8ondu it$ t$e ri%$t8oot

ands %o bac to e)tendeddemi?second &osition it$ t$e&alms 8acin% don7 ead8ollos t$e 8eet

" te& in 8ront and tendu en8ondu it$ t$e le8t 8oot ame

1 li5 in 8i8t$ &osition it$ t$ele8t 8oot de+ant

ame

2 c$a&&5 to second &osition ands &ull to $i&s, $ead is8acin% audience

3 li5 in second &osition ands stay4 ull to sous?sus it$ t$e ri%$t

8oot de+antands stay

> 6endu en 8ondu it$ t$e le8t8oot

ands %o bac to e)tendeddemi?second &osition

= te& it$ t$e le8t 8oot andtendu en 8ondu it$ t$e ri%$t8oot

ands stay

@," ous?sus assembl5 it$ t$eri%$t 8oot de+ant

(rms cross to 8in%erti&s toelbos

1?" li5 /1 8eet in >t$, ri%$t 8ootde+ant7 ass5 retire /X t$eri%$t 8oot to t$e derriTrestayin% en &ointe, &iAu5 /2 ont$e ri%$t 8oot brin%in% t$e le8tle% to retir5 de+ant, &iAu5 ri%$t

le% to retir5 /X derriTre7 li5on 3 and re&eat cts7 1?2 ono&&osite 8oot7 li5 /> &ass5le8t le% t$rou%$ retir5 tode+ant7 li5 /= ri%$t le%t$rou%$ retir5 to de+ant, re&eat/@ le8t le% 8orard, /" ri%$tle% 8d7

(rms in 8in%erti&s to elbos&osition7 -&en t$e arms to&resent t$em it$ &alms u&$ile mo+in% 8orard it$&ass5 retir5s7


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ballet variations paper - research paper 2

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