Eight female classical ballet variations

289 Pages·2016·179.7 MB·English

by  Danilova

Eight Female Classical Ballet Variations

Eight Female Classical Ballet Variations
Nina Danilova
1
1
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Library of Congress Cataloging-in-Publication Data
Danilova, Nina.
Eight female classical ballet variations / Nina Danilova.
pages cm
Includes bibliographical references and index.
ISBN 978-0-19-022709-8 (hardcover : alk. paper)
ISBN 978-0-19-022710-4 (pbk. : alk. paper) I. Title.
GV1788.D36 2015
792.8–dc23 2015000069
1 3 5 7 9 8 6 4 2
Printed by Sheridan, USA
Dedication
Photo by Dave Friedman.

Contents
Foreword ix
PreFace xi
acknowledgments xv
introduction xvii
comPonents oF the variations course xix
model oF teaching the variations course xxiii
how to read the variations Book xxv
deFinition oF a Ballet variation xxix
aBout the comPanion weBsite xxxi
Part One (SemeSter One) 1
variation 1: from the ballet Le Talisman (choreography
after marius Petipa; music by riccardo drigo) 3
variation 2: from the ballet Giselle (choreography after
marius Petipa; music by adolphe adam) 27
variation 3: from the ballet Paquita (choreography after
marius Petipa; music by riccardo drigo) 49
variation 4: from the ballet Paquita (choreography after
marius Petipa; music by riccardo drigo) 79
Part twO (SemeSter twO) 97
variation 5: from the ballet Paquita (choreography after
marius Petipa; music by nicolay tcherepnin) 99
variation 6: from the ballet Raymonda (choreography
after marius Petipa; music by alexander glazunov) 121
variation 7: from the ballet Le Corsaire (choreography
after marius Petipa; music by leon minkus) 151
variation 8(a): from the ballet The Sleeping Beauty
(choreography after marius Petipa; music by Pyotr
tchaikovsky) 175
variation 8(b): from the ballet The Sleeping Beauty
(choreography after marius Petipa; music by Pyotr
tchaikovsky) 195
viii Contents
classical Ballet terminology 213
BiograPhies 241
BiBliograPhy 249
index 251
Foreword
This book is for teachers and students of ballet who want
a clear and accurate description of Variations from the
classical ballet repertory. Nina Danilova has compiled a
comprehensive reference source that explains not only
steps but also nuances, musicality, and history. The com-
plete pictorial survey, written notes, and musical scores
offer insight into setting and performing these Variations.
Unfortunately, the primary stylistic characterizations of the great clas-
sical Variations have been watered down through incomplete information.
Danilova’s own rich background has enabled her to define the work con-
cisely and practically, further enriching the learning experience. The danc-
ers on Danilova’s DVDs perform the Variations after working for many hours
with her, and this serves to clarify the emotional expressiveness, and musical
nuances related to the choreographers’ interpretation of the music.
I have found her book to be a definitive must in my ballet library. I fully
appreciate the generosity with which she shares her invaluable information,
and I hope that dancers and teachers will use it to gain an illuminating over-
view of the complex process involved in learning and performing these won-
drous Variations.
Brantly Bright Shapiro
Wake Forest University Dance Faculty
ix