Terms : Hide Images
| 3458797209 | Carlo Blasis | Italian dancer, choreographer and dance theoretician. He is well known for his very rigorous dance classes, sometimes lasting four hours long. Blasis insisted that his students learn theories and definitions of dance steps. | 0 | |
| 3458797210 | August Bournonville | work remains an important link with earlier traditions. He resisted many of the excesses of the romantic era ballets in his work. He is noted for his egalitarian choreography, which gave equal emphasis to both male and female roles, at a time when European ballet emphasized the ballerina. Many of his contemporaries explored the extremes of human emotion, while he was using enthusiastic footwork and fluid phrases in his work, portrayed a more balanced human nature. | 1 | |
| 3458797211 | Carlotta Grisi | Her greatest role however was that of Giselle. at the Théâtre de l'Académie Royale de Musique, Paris. its reviewers to proclaim Giselle to be the greatest ballet of its time and a triumphant successor to the Romantic masterwork La Sylphide. As such, it immediately established her as a star in her very first full-length ballet in Paris | 2 | |
| 3458797212 | Jules Perrot, | choreographed giselle, dancedin St. Petersburg for the Imperial Ballet and later was appointed Balletmaster there. He remained with the Imperial Russian Ballet until 1858 | 3 | |
| 3458797213 | Filippo Taglioni | choreographer of La Sylphide, | 4 | |
| 3458797214 | Marie Taglioni | i was also known for shortening her skirt in the performance La Sylphide, which was considered highly scandalous at the time. She shortened all of her skirts to show off her excellent pointe work, which the long skirts hid. | 5 | |
| 3458797215 | Pierre Beauchamps, | ballet master at the Académie Royale de Musique,credited with the codification of the five positions of the feet, | 6 | |
| 3458797216 | Catherine de'Medici, | ... | 7 | |
| 3458797217 | Louis XIV of France, | ... | 8 | |
| 3458797218 | Jean Baptiste Lully | Italian-born French composer, instrumentalist, and dancer who spent most of his life working in the court of Louis XIV of France. He is considered the chief master of the French baroque style. | 9 | |
| 3458797219 | Jean George Noverre | French dancer and balletmaster, and is generally considered the creator of ballet d'action, a precursor of the narrative ballets of the 19th century | 10 | |
| 3458797220 | John Weaver | English dancer and choreographer, and is often regarded as the father of English pantomime[who?]. | 11 | |
| 3458797221 | Lev Ivanov | was a Russian ballet dancer and choreographer and later, Second Balletmaster of the Imperial Ballet. He is the choreographer of Dance of the little swans from Swan Lake. | 12 | |
| 3458797222 | Marius Petipa | French ballet dancer, teacher and choreographer. is considered to be the most influential ballet master and choreographer of ballet. | 13 | |
| 3458797223 | Serge Diaghilev | Balletts russes | 14 | |
| 3458797224 | Vaslav Nijinsky, | a Russian ballet dancer and choreographer, cited as the greatest male dancer of the early 20th century.[3] He grew to be celebrated for his virtuosity and for the depth and intensity of his characterizations. He could perform en pointe, a rare skill among male dancers at the time[4] and his ability to perform seemingly gravity-defying leaps was legendary. | 15 | |
| 3458797225 | Isadora Duncan | Augustin Daly's company. This job took her to New York City where her unique vision of dance clashed with the popular pantomimes of theater companies.bare feet. | 16 | |
| 3458797226 | Ted Shawn | Together, Shawn and Ruth St. Denis established the principle of Music Visualization in modern dance —- a concept that called for movement equivalents to the timbres, dynamics, and structural shapes of music in addition to its rhythmic base. | 17 | |
| 3458797227 | Ruth St. Denis | was a modern dance pioneer, introducing eastern ideas into the art. She was the co-founder of the American Denishawn School of Dance and the teacher of several notable performers. | 18 | |
| 3458797228 | George Balanchine | one of the 20th century's most prolific and famous choreographers. Styled as the father of American ballet, he took the standards and technique from his education at the Imperial Ballet School and fused it with other schools of movement that he had adopted during his tenure as a guest choreographer on Broadway and in Hollywood, creating his signature "neoclassical style" | 19 | |
| 3458797229 | Agnes de Mille | choreographer of Rodeo by the American Ballet Theater,[5] Fall River Legend (filmed in 1989 by the Dance Theatre of Harlem) and Oklahoma! | 20 | |
| 3458797230 | Antony Tudor | Along with George Balanchine, he is seen as a principal transformer of ballet into a modern art, but of a genius that uses, rather than proceeds from, ballet forms. His work is usually considered as modern "psychological" expression, but — like their creator - of austerity, elegance and nobility. | 21 | |
| 3458797231 | Martha Graham | ... | 22 | |
| 3458797232 | Doris Humphrey | use of breath and developing techniques still taught today. | 23 | |
| 3458797233 | Jerome Robbins | was an American theater producer, director, and dance choreographer known primarily for Broadway Theater and Ballet/Dance, but who also occasionally directed films and directed/produced for television | 24 | |
| 3458797234 | Lester Horton | dance technique, which is now commonly known as Horton Technique, has no style, per se. The technique emphasizes a whole body, anatomical approach to dance that includes flexibility, strength, coordination and body and spatial awareness to enable unrestricted, dramatic freedom of expression. | 25 | |
| 3458797235 | José Limón | was a pioneer in the field of modern dance and choreography. In 1928, at age 20, he moved to New York City where he studied under Doris Humphrey and Charles Weidman. His most famous work is called The Moor's Pavane | 26 | |
| 3458797236 | Gerald Arpino, | was an American dancer and choreographer. He was co-founder of the The Joffrey Ballet and succeeded Robert Joffrey as its artistic director in 1988.[1] | 27 | |
| 3458797237 | Mikhail Baryshnikov | After freelancing with many companies, he joined the New York City Ballet as a principal dancer to learn George Balanchine's style of movement. He then danced with the American Ballet Theatre, where he later became artistic director. | 28 | |
| 3458797238 | Suzanne Farrell | ... | 29 | |
| 3458797239 | Robert Joffrey | Joffrey studied ballet and modern dance in New York City and made his debut in 1949 with the French choreographer Roland Petit and his Ballet de l'Opéra National de Paris. From 1950 to 1955, he taught at the New York High School for the Performing Arts, where he staged his earliest ballets. He founded the Joffrey Ballet School in New York City in 1954. | 30 | |
| 3458797240 | Arthur Mitchell | African-American dancer and choreographer who created a training school and the first African-American classical ballet company, Dance Theatre of Harlem. | 31 | |
| 3458797241 | Alvin Ailey | was an African-American choreographer and activist who founded the Alvin Ailey American Dance Theater in New York City. Ailey is credited with popularizing modern dance and revolutionizing African-American participation in 20th century concert dance. His company gained the nickname "Cultural Ambassador to the World" because of its extensive international touring | 32 | |
| 3458797242 | , John Cage, | ... | 33 | |
| 3458797243 | Merce Cunningham | ... | 34 | |
| 3458797244 | Robert and Judith Dunn | Dunn appreciated John Cage's non-judgmental approach to teaching, and analyzed structure, form, method, and materials over praise or criticism of a work. Dunn pushed students to experiment with phrasing, technique, musicality, and logic in order to develop a new style of dance | 35 | |
| 3458797245 | Meredith Monk, | primarily known for her vocal innovations, including a wide range of extended techniques, which she first developed in her solo performances prior to forming her own ensemble | 36 | |
| 3458797246 | Alwin Nikolais | employed lights, slides, electronic music, and stage props to create environments through which dancers moved and, more important, into which they blended.chose to move away from the life of the individual and focus on group action. He preferred also to develop his own style of movement, and not to replicate the moves of previous time periods or other composers. | 37 | |
| 3458797247 | Yvonne Rainer | noted for an approach to dance that treats the body more as the source of an infinite variety of movements than as the purveyor of emotion or drama. Many of the elements she employed—such as repetition, patterning, tasks, and games—later became standard features of modern dance. | 38 | |
| 3458797248 | Paul Taylor | assembled a small company of dancers and began making his own works. A commanding performer despite his late start, he joined the Martha Graham Dance Company in 1955 for the first of seven seasons as soloist while continuing to choreograph on his own small troupe. In 1959 he was invited by Balanchine to be a guest artist with New York City Ballet. | 39 | |
| 3458797249 | Twyla Tharp | Deuce Coupe is often referred to as the first cross-over ballet,[1] combining classical ballet vocabulary with pedestrian actions, modern dance, jazz and a variety of moments of her own invention. | 40 | |
| 3458797250 | Karole Armitage | She lists classical ballet, Merce Cunningham, and punk as her three presiding influences. She requires the members of her company to be experienced in both modern dance and ballet. Armitage described her ideal company dancers as "virtuosos in the sense that they have a wide range of ability to control their bodies but who don't look academic | 41 | |
| 3458797251 | Eliot Feld, | began a ballet company now known as Ballet Tech. Today, Ballet Tech's activities include MANDANCE PROJECT, the tuition-free New York City Public School for Dance, and Kids Dance, a pre-professional children's group | 42 | |
| 3458797252 | Alonzo King | american; joffrey ballet | 43 | |
| 3458797253 | Peter Martins | Balanchine's choice to run the company, and he was made Balletmaster in 1981. He retired from dancing in 1983 and assumed the job of Balletmaster-in-Chief in 1990. He was Balanchine's own choice to carry on the legacy of the NYCB when Balanchine himself passed. | 44 | |
| 3458797254 | Christopher Wheeldon | talented choreographer, and several other eminent ballet companies, such as the San Francisco Ballet, the Bolshoi Ballet, and the Royal Ballet, | 45 | |
| 3458797255 | Jiri Kylian | petit mort | 46 | |
| 3458797256 | Trisha Brown | created her own works which attempted to defy gravity, using equipment such as ropes and harnesses, to allow dancers to walk on or down walls or to experiment with the dynamics of stability. These "equipment pieces" were the first dances to comprise a distinct series | 47 | |
| 3458797257 | Garth Fagan | amaican modern dance choreographer. He is the founder and artistic director of Garth Fagan Dance, a modern dance company based in Rochester, New Yorkestablished his dance company originally named the "Bottom of the Bucket BUT ... Dance Theatre" | 48 | |
| 3458797258 | David Gordon | Like most postmodernists in dance, employs pedestrian movement in his work,[4][5] but he is notable for his frequent use of spoken dialogue, even in "dance" pieces | 49 | |
| 3458797259 | Bill T. Jones | American artistic director, choreographer and dancer. has received numerous awards for his work and is the co-founder of the Bill T. Jones/Arnie Zane Dance Company. | 50 | |
| 3458797260 | Mark Morris | American dancer, choreographer and director whose work is acclaimed for its craftsmanship, ingenuity, humor, and at times eclectic musical accompaniments. | 51 |
