Dance History Final

What period were melodrama's performed?

19th century

Which one of these is not a prominent metropolitan or regional ballet company between 1980 - 2000? a. Les Ballets Russes de Monte Carlo b. Miami City Ballet c. Boston Ballet d. Pacific Northwest Ballet e. Ballet West f. Houston Ballet g. Alonzo King's LINES Ballet h. Pennsylvania Ballet i. San Francisco Ballet

A

Choreographed by Peter Martins (1988), this piece is set to a medley of Ray Charles tunes on the piano, with a small orchestra. The dancers frolic through this work that includes renditions of 1950s and 1960s fad dances.

A Fool for you

What is the black crook an example of?

A Spectacle

Parts of the Grand Pas de Deux structure

Adaigo (Slow), Female variation (technique), Male Variation (big leaps and jumps), and Finale (coda)

This Russian dancer, choreographer, and teacher formed Ballet Intime that toured the United States and introduced ballet into stage shows that later became part of motion picture programs in movie theaters.

Adolph Bolm

The medieval period refers to

After the dark ages when during the high middle ages feudalism reigned

This American dancer, choreographer, writer and lecturer made groundbreaking contributions to American dance. Her innovative "Conversations About the Dance" lectures taught American audiences about the history of dance.

Agnes De Mille

From the 1930s until the early 1950s she danced with the Ballet Russe de Monte Carlo. She has been acknowledged as the foremost interpreter of Massine's ballets and one of the most prestigious ballerinas of the 1930s and 1940s. After World War II she created roles in Balanchine ballets and taught at the School of American Ballet. Her fame in the United States was legendary because of her touring and versatility in roles ranging from the classics to the dramatic.

Alexandra Danilova

Four Part Suite?

Allemande, Courante, Sarabande, Gigue

This Georgia native has created contemporary ballets for international companies as well as for film, television, and opera. After training in New York at the Harkness, Ailey, and ABT schools and the School of American Ballet, he danced with Dance Theatre of Harlem, Lucas Hoving, and Donald McKayle, among others. He established his San Francisco-based company in 1982; since then it has toured worldwide, presenting a repertory of works made in collaboration with significant composers, musicians, and designers. He established the San Francisco Dance Center in 1991, which provides a home for the company along with studio space and facilities for other dance programs.

Alonzo King

Since the company and its San Francisco Dance Center started in 1982, it has rapidly become an internationally recognized company, with its name-sake's works in premier ballet and modern dance companies around the world. His contemporary choreography embraces a global view of dance yet is grounded in classical dance with modern dance propulsion. The founder's work creates a unique point of view in his choreography that he calls "thought structures" for his contemporary ballets. In 2016, celebrating 10 years, this ballet company and Dominican University have offered a joint educational and artistic BFA Dance program

Alonzo King Line dance

His choreography uses Horton technique as a basis, with African overtones and jazz-dance components. His style has been called a theatrical blend of Martha Graham's twists and tensions, ballet's long lines, and Afro-American energy with a jazzy accent. His creations require strong ensemble work and are characterized by high energy with a dash of showbiz. Examples of his repertory are Revelations (1960), Feast of Ashes (1962), and Cry (1971).

Alvin Ailey

Known as the first chronicler of the black experience, he was born in Texas and moved to Los Angeles with his family during his youth. He studied and performed with Lester Horton, remaining with the company as its director after Horton's death. After the company disbanded, he went to New York with his longtime friend and fellow company member Carmen de Lavallade. He studied modern technique on scholarship at the Martha Graham school and Afro-Haitian dance with Katherine Dunham.

Alvin Ailey

Founded in 1958, this company is one of the first to be multiethnic (in dancers and repertory), was also the first resident modern dance company at New York City Center, beginning in 1972. The company's repertory includes Alvin Ailey's prodigious set of works along with modern dance classics from Ted Shawn, Katherine Dunham, José Limón, and Pearl Primus. Since Ailey's death in 1989, Judith Jamison directed the internationally acclaimed troupe until Robert Battle became artistic director in 2008. The company moved into its first permanent home, the Joan Weill Center for Dance, in 2004.

Alvin Ailey American Dance Theater

Born in Connecticut, he was a professional musician with an interest in theater and painting who began his career accompanying silent movies and dance class. In 1933 he went to a concert by Mary Wigman. Attracted to the percussion instruments that accompanied her works, he studied dance at the Wigman School in Hartford. During the 1930s he was the choreographer for the Federal Theatre Project in Hartford; later in the decade he studied with Hanya Holm (his primary influence, along with Mary Wigman) and other modern dance masters at Bennington College.

Alwin Nikolais

He often gave his dancers masks, props, and costume extensions that allowed them to transcend themselves. He was criticized for dehumanizing them; consequently his multimedia works in the 1970s placed more emphasis on the dancer. His choreographic works include Kaleidoscope (1953), Imago (1963), and Tower (1965).

Alwin Nikolais

n the early 1960s his works made dancers and audiences view dance in an entirely different way. His intent was to create a microcosm for audiences in which they would make their own interpretations. He used a combination of motion, color, light, and sound in his works and employed theater technology to set the scene, often using still and video projections to enhance the theatrical experience. His abstract works were a response to the literal choreography of the previous generation.

Alwin Nikolais

Ballet Theatre became...

American Ballet Theatre

In 2015, this company celebrated its 75th anniversary. In 2006, Congress recognized it as America's National Ballet. The New York-based company continues to present the classics, 20th-century master works, and 21st-century contemporary ballets by international choreographers. Former company dancer Kevin McKenzie has served as the artistic director of the company since 1992. In 2007, this company embarked on a new direction by partnering with New York University to create a Master of Arts in Dance Education program focusing on ballet pedagogy and a National Training Curriculum.

American Ballet Theatre

Mikhail Baryshnikov took artistic leadership of the company from 1980 to 1990; with him, Twyla Tharp served as an artistic associate for several years. After Baryshnikov's tenure, Jane Herman and Oliver Smith codirected the company, and in 1992 Kevin McKenzie was named artistic director.

American Ballet Theatre

This institution was founded in the 1930s as the Bennington College Summer Dance Festival. Today it is a focal point for training dancers and choreographers. It expanded globally as early as the 1980s. Today the ADF programs include an international choreographers' residency program where talented choreographers are immersed for six weeks in a school to learn the craft of choreography.

American Dance Festival (ADF)

Middle Ages: Folk dance emerged from what?

Ancient fertility and life span celebrations

She is interested in process as it relates to large groups of people in alternative spaces, using authentic movement, improvisation, and tasks so that everyone can experience dance within that environment. She has been instrumental in the development of many dancers in the postmodern era, including Yvonne Rainer, Meredith Monk, and Trisha Brown.

Anna Halprin

This dancer, teacher, choreographer, and artistic director studied dance at the University of Wisconsin and with Martha Graham, Doris Humphrey, and Charles Weidman in New York. Rejecting the status quo of modern dance in New York in the late 1940s, she moved to San Francisco and established a dance studio. In the 1950s she began exploring the relationship between space and nature, in part motivated by her surroundings in lush Marin County. She founded Dancer's Workshop for dancers to explore body movements in collaboration with other artists. Her works evolved from "happenings" into events in which the audience participated in choreography with the performers, then to rituals based on life passages, and then to body and movement therapies and dance as a healing art.

Anna Halprin

Her name became synonymous in the minds of the non-ballet going public with the word ballerina.

Anna Pavlova

__________________ was a dancer of genius who performed all over the world, inspiring dancers and dance teachers from Australia to Peru. She exerted a far-reaching influence on the development of ballet and ballet audiences in the early 20th century.

Anna Pavlova

A dancer, choreographer, social activist, and artistic director, she was born in Hartford, Connecticut, and raised on New York's Lower East Side. She studied dance at the Neighborhood Playhouse and joined Martha Graham's troupe in 1930, where she danced for eight years. She was a woman with a deep social conscience who was unafraid to translate her convictions into powerful choreography. Her works reflect loneliness, isolation, and despair about human relationships.

Anna Sokolow

This choreographer believed that art must relate to its times and that movement comes from emotional images. She purported that each dance has its own form, which is created by what the choreographer feels and how he or she expresses it. Her choreography includes Rooms (1955) and Deserts (1967).

Anna Sokolow

Who was Ballet Theatre's Main choreographer during WW2

Anthony Tudor

A dancer, choreographer, artistic director, and ambassador for dance, this Harlem-born dancer was the first black principal dancer in a major ballet company.

Arthur Mitchell

After attending the School of American Ballet, he joined New York City Ballet (NYCB) in 1955, then left the company in 1968, at the height of his dancing career, to return to Harlem. He offered dance classes to young children and teenagers in modern dance, tap, jazz, African and Caribbean dance, music, stagecraft, and costuming. One year later he founded a new company, Dance Theatre of Harlem.

Arthur Mitchell

This dancer, choreographer, violinist and composer was considered one of the best dancers of his time, with extraordinary ballon (effortless, suspended jumps) and elevation. He married ballerina Fanny Cerrito and developed a notation system that he published in 1852.

Arthur Saint-Léon

Choreographed by Robert Joffrey (1967), this multimedia experience used rock music, film, and projections, dazzling audiences with its technology. It was featured on the cover of Time magazine.

Astarte

Became a prima ballerina at La Scala and was called Queen of the Air

Augusta Maywood

One of the first American ballerinas to become famous in Europe

Augusta Maywood

Founder of the royal Danish Ballet

Auguste Bournonville

Maintained the proper balance between male and female dancing roles within his ballets

Auguste Bournonville

Choreographed by Paul Taylor (1962), it is a simple and joyous abstract, lyrical dance for two men and three women.

Aureole

The _________ dancer has distinguishing characteristics—a streamlined body with long legs, and a heightened sense of alignment. Even at rest the dancer is posed from the waist down for movement and speed. Movement phrasing has been compared to jazz dance, syncopated and not always lyrical.

Balanchine

What was the first ballet and first dance libretto?

Ballet Comique de la Reine

A choreographer who used geometric forms; he was famous for his masterwork Le Ballet- Comique de la Reine

Balthasar de Beaujoyeulx

This New York native attended Ohio State University, where she worked with former Tharp dancer Nina Wiener and subsequently danced with her troupe for six years. In 1984 she formed the Bebe Miller Company; the following year she choreographed her signature solo work, Spending Time Doing Things, to the music of Duke Ellington. The next year she created a duet with Ralph Lemon called Two. Her complex group works have an expansive range that is demanding of the dancers. Some are emotionally charged, others include theatrical elements, and some extend to collaborative works. Her choreography is part of the repertories of Alvin Ailey Repertory Ensemble, Boston Ballet, Oregon Ballet Theatre, Creach/Koester, and other companies.

Bebe Miller

This school located in Vermont offered a summer school that became the center for modern dance training for many college and university teachers from across the country. Between 1934 - 1942, it fostered the growth of modern dance.

Bennington College

Choreographed by Paul Taylor (1970), this dance presents an ironic view of what lies behind a smiling all-American family.

Big Bertha

His works are filled with emotion and reflect social issues of African Americans, mortality, and AIDS. Signature works include Intuitive Momentum (1983, with Zane) and the evening-length work Last Supper at Uncle Tom's Cabin/The Promised Land (1990). He has won numerous awards, including the Lucille Lortel Outstanding Musical Award for The Seven in 2006.

Bill T Jones

This is the first American ballet about western pioneers. Eugene Loring used film techniques of flashbacks, fades, and cuts between incidents in the outlaw's life.

Billy the Kid

Choreographed by Erick Hawkins (1969), this ritualistic work for six dancers and four musicians includes a series of tableaux that evoke images of birds and clouds.

Black Lake

Blank also called b-boying began in the 1970s in the BLANK as competition dance battles to substitute for violence. In the 1980s it became popular nationwide through the dancing of funk musician BLANK and New York's Rock Steady Crew.

Break Dancing, Bronx, James Brown

Peter Martins' first contemporary ballet (1977) features a different direction than his subsequent works. A choreographic joke, the dance is first performed by a man and then repeated by a woman.

Calcium Light Night

Her choreography uses a fused dance vocabulary of African dance, hip-hop, and jazz with social dances. She utilizes rhythm, music, and storytelling for her interdisciplinary works. Her dances focus on universal themes and people exploring their heritage. Her mission is to engage people in dialogue to initiate a cultural and community interchange.

Camille A Brown

This dancer, choreographer, and educator is from Queens, New York. Her dance career began with Ronald K. Brown's Evidence, A Dance Company and then as a guest artist with the Alvin Ailey American Dance Theater. She is a prolific choreographer whose works have been commissioned by a number of dance companies and theater production projects. She is director and choreographer of her own dance company.

Camille A Brown

Choreographed by Merce Cunningham (1969), this piece is a series of dances based on the game of Patience. The dancers prepare for 13 possible movement sequences from which a certain number are chosen for each performance.

Canfield

Wrote an Elementary Treatise Upon The Theory and Practice of the Art of Dance

Carlo Blasis

This dancer's greatest contribution to 19th century ballet is his work as a teacher and his writings as a ballet theorist. He was the director of the dance academy at La Scala and he invented the ballet position of attitude and codified ballet technique of the time.

Carlos Blasis

Who played Giselle?

Carlotta Grisi

This company was founded in 2003 and funded solely by Wal-Mart heiress Nancy Walton Laurie. This New York-based avant-garde company of international dancers worked with a wide range of mostly U.S. and European choreographers. The company performed for audiences in the United States and on tour across the world. From 2005 until 2013, former Ailey dancer Benoit-Swan Pouffer was the artistic director of the company. The compnay disbanded in 2015.

Cedar Lake Contemporary

This dancer's choreography was a blend of dance with a subtle use of mime, comedy, and wit. Often he chose autobiographical subjects, as in And Daddy was a Fireman (1943).

Charles Weidman

What period was Cinderella

Classical

What period was Sleeping Beauty

Classical

What period was Swan Lake

Classical

What period was The Nutcracker

Classical

Character dancers performed a blend of national dances and ballet, portraying a national style.

Classical Ballet

The ballerina and other female dancers performed in pointe.

Classical Ballet

They ranged from two acts to four acts.

Classical Ballet

Throughout the ballet male and female dancers performed the grand pas de deux

Classical Ballet

Choreographed by Martha Graham (1958), this full-evening work is about Clytemnestra and the tangled, mythic tale of her life in ancient Greece.

Clytemnestra

In 1994, two former Alvin Ailey dancers founded this company in New York, and now the company resides in Atlanta. It has gained an international reputation. In founding this Ballet Company, they created a diverse dancer organization that has toured 25 countries on five continents.

Complexions Contemporary

Style of dance that has been performed in as many ways as one could think of and incorporates various styles and types of movement, such as folk, pedestrian, multicultural, aerial, athletic, minimal, and repetitive.

Contemporary Ballet

The crossover between ballet and modern dance is better known as ...

Contemporary Ballet

This ballet was choregraphed in 1870 and is a romantic ballet based on a story by E.T.A. Hoffman about a dollmaker who creates a doll with a soul.

Coppelia

Developed in the court of Louis XIV in ate 17th century. This dance contained many figures that required practice by the group, so dancing it became a special performance at a ball.

Cotillions

A group of refined, polished dances with embodied rules of courtesy

Court Danse

This solo represents black women and their struggles. Alvin Ailey created Cry (1971) with the artistry of Judith Jamison; it propelled her to stardom and became her signature performance piece.

Cry

5 elements of Hip Hop

DJ, MC, Graffiti, Breaking, Knowledge

A former NYCB principal dancer, Arthur Mitchell founded this company in 1969, which became an internationally acclaimed ballet company. In 2009, Virginia Johnson became the new artistic director of the company. The company continues to expand its repertoire through the works of contemporary choreographers and masters of the 20th century in both ballet and modern dance.

Dance Theatre of Harlem

Inspired by Martin Luther King Jr., Arthur Mitchell wanted to give Harlem children the same opportunity to be exposed to the arts as he had had as a child, so he left New York City Ballet (NYCB) and started a dance school. A year later, in 1969, he founded this company with his former teacher Karel Shook. During the 1970s, the company toured internationally, and it performed on Broadway and as part of the Dance in America television series. By the end of the 1970s, Dance it had become a major force in ballet with a repertory of more than 40 ballets.

Dance Theatre of Harlem

Pas a deux

Dance of male and female

Considered one of Jerome Robbins' seminal works (1969), this plotless ballet for five men and five women, set to Chopin's music, was created for New York City Ballet (NYCB). It reveals various moods and interpretations.

Dances at a gathering

Blank is a competitive form of ballroom and Latin dancing. Blank has been approved to join the 2020 Olympic Games.

Dancesport, Bachata

As a dancer, he has a strong performance presence. As a choreographer, he focuses on everyday movement, events, tasks, and processes. He creates complex pieces that interweave text, props, and movement that ranges from everyday gestures to technical dance steps. His works explore the juncture between dance and drama. They frequently include autobiographical information and use humor that extends to spoofing choreographic genres. Often he includes sections from one work in another one or elaborates on earlier themes. He has been called a poet of great sophistication because his work is complex and reaches for universal truths.

David Gordon

Born in Brooklyn, he studied and danced with the James Waring Dance Company from 1958 to 1962. In the early 1960s he choreographed for the Living Theatre and cofounded Judson Dance Theater. From 1966 to 1970 he danced with Yvonne Rainer's company, and he was one of the founding members of the Grand Union. After a respite from choreographing (1966-1972), he began creating works again with his wife, Valda Setterfield, and other dancers. During the early 1970s he experimented in improvisation and performance methods that included a variety of media, such as manipulation of props, dance technique, and verbal accompaniment to the movement.

David Gordon

This school served as an incubator for the development of the first generation of American modern dance artists and choreographers, including Martha Graham and Doris Humphrey.

Denishawn School

What was the first modern dance school?

Denishawn school

Twyla Tharp was commissioned by the Joffrey Ballet to create this work in 1973. It was a milestone, combining classical ballet, postmodern, and teen social dance to Beach Boys songs. The diverse styles in this instant success made an important statement about a new direction for dance, where all of them could make contributions. However, it was not unanimously considered a serious work of art because it used trained classical dancers to perform rock 'n' roll movements. Some writers compare this piece to the absorption of social dance into ballet in previous centuries.

Deuce Coupe

Who choreographed the piece Parade?

Diaghilev

Mark Morris' most significant role (1989), in which he played both Dido and the Sorceress. He was also the choreographer.

Dido and Aeneas

These dances appeared in the late 1970s continued until 1983, when they were declared dead. In reality they were assimilated into other '80 popular dances and forms. In the 1990s it became part of pop and hip-hop dances and has continued into the 21st century.

Disco Dances

Choreographed by Martha Graham (1948), this abstract dance about love is one of her best-known and most widely staged works. Three women costumed in yellow, red, and white symbolically depict adolescent, passionate, and mature love. The soloists interact with four couples.

Diversion of Angels

This modern dancer developed the theories of fall and recovery successional flow, breath rhythms, and oppositional motion as part of her technique, which in turn provided a strong foundation for the future development of modern dance.

Doris Humphrey

This modern dancer's technique and philosophy of modern dance were based on the concepts of philosopher Friedrich Nietzsche.

Doris Humphrey

In ____________'s book about the craft of choreography, The Art of Making Dances (1959), she analyzed the elements used in making dances and organized them into teaching units. This seminal work has long been considered the primer for dance choreography.

Doris Humphrey; Dana's book

Mystery Play

Educated about churches teachings

Choreographed by Twyla Tharp (1971), music by Jelly Roll Morton and his Red Hot Peppers gives this piece structure and mood. The dancers wear black tie and backless, sleeveless outfits. The movement sloshes, dribbles, and pours through the bodies; it is fast yet casual.

Eight Jelly Rolls

His aesthetically pleasing ballets are eclectic, with modern dance movements. His choreography features ensembles, avoids virtuoso technique, and uses subtle pointe work. His fresh style is often playful, emotionally charged, and musical, and he uses contraposto lines in which the head and shoulders move in opposition to the torso. He creates crossed lines that are exaggerated so that they twist into spirals.

Eliot Feld

This dancer, choreographer, and director danced on Broadway and with New York City Ballet (NYCB); at American Ballet Theatre (ABT) he was a principal dancer and later a choreographer. In 1969 he founded his first company, American Ballet Company, which lasted until 1971. In 1977 he began a tuition-free dance school for New York public school students. His company members taught the classes; by the 1980s, several students had become members of the company.

Eliot Feld

His development of a daily ballet curriculum is his legacy to modern ballet; he created a logical progression of class exercises and components and balanced the adagio and allegro parts of class.

Enrico Cecchetti

A collaborative work between George Balanchine and Martha Graham (1959), this work featured the two camps of dance (ballet and modern dance) and foreshadowed what was to happen in ballet in the United States.

Episodes

He graduated from Harvard, where he studied Greek studies, history, mythology, and philosophy. He began dancing in his junior year. A graduate of the School of American Ballet, he began his dance career in ballet, performing with the American Ballet and Dance Caravan during the 1930s.

Erick Hawkins

Ballet Comique

Evolved as a unique form around 1605. The themes used in these ballets were either comique or grotesque

By the end of the 20th century the Russia was considered one of the leading countries in ballet.

False

From a showcase of b-boy crews from around the world, judges select the ten best crews to participate in the Battle of the Year.

False

Terispichore is one of four muses true or false?

False

The early years of the 21st century have been called the Multi-media era, the portal to the multi-universe. In this era people seem to be moving through parallel dimensions connected to media and where globalization has accelerated historical time.

False

True or False Arthur Mitchell, director of the Dance Theatre of Harlem, previously danced for American Ballet Theatre.

False

True or False Diaghilev's Ballets Russes tour of the United States was a huge success.

False

True or False Fokine was a choreographer with an approach to ballet that was very similar to that of Marius Petipa.

False

True or False Fokine was the principal choreographer for Diaghilev's Ballets Russes from 1909 to 1929.

False

True or False Fokine's most productive choreographic era was during his last years in America.

False

True or False In the early 20th century Russian choreographers claimed new American audiences. The transfer of power from Russia to the United States came with the emigration of French ballet artists.

False

True or False Nijinsky danced throughout the American tour of Diaghilev's Ballets Russes.

False

True or False The major choreographer during the formative years of the New York City Ballet was Lincoln Kirstein.

False

True or False Theater was considered a respectable art form in the 19th century, whereas music and dance had to gain respectability through productions under the guise of social education.

False

True or False Minstrel Shows were an uniquely American theatrical entity with roots in later 18th-century American dance and drama.

False It had its roots in early 19th-century American dance and drama. It evolved from music that used contemporary lyrics.

True or False Boogie-Woogie, the most energetic dance since the can-can of 1800s was the most popular dance in the mid-1920s.

False, it was the charleston

True or False Daniel D. Emmet, who wrote "Dixie," is considered the father of melodrama.

False: He is considered the father or minstrel show

True or False By the beginning of the 18th century, most cities in the United States had a theater season.

False: it was by the 19th century

Igor Stravinsky collaborated with Jerome Robbins on many ballets.

False; Igor collaborated with Sergei

True or False Vauxhalls came to America from England after the Civil War and remained popular in major cities until the latter part of the 19th century.

False; Vauxhalls came to America before the Revolutionary War

True or False Jerome Robbins choreographed Fancy Free at the end of World War I.

False; at the end of world war 2

True or False Massine was educated in the arts by Nijinsky.

False; he was educated by Sergei

True or False By 1917, New York City had become know as the world's jazz center.

False; it was Chicago

True or False Massine created The Dying Swan for Pavlova.

False; it was choreographed by Fokine for Pavlova

Street dance style emerged in California in the early 1970 and could be performed only in nightclubs.

False; it was performed in night clubs and on the streets

True or false Eighteenth-century ballets in America were pantomime ballets and ballets d'action.

False; most of the ballets of this period were pantomime ballets, in which acting and dancing told the story

Danced the cachucha

Fanny Elssler

Egyptian Temples Rituals included all of the following except

Flower dances

In 1970s California this dance was related to hip-hop, electronic music, street-style dancing and breakdancing.

Funk Dance

Blank is linked to funk music. In 1970s California, funk was related to , electronic music, street-style dancing, and break dancing. A funk dance style that emerged from the electric boogaloo introduced , or flexing your muscles to the beat while dancing or verbally making popping sounds. it is often done in conjunction with , a comical, joint-locking technique that was incorporated into hip-hop.

Funk Dance, Hip Hop, Popping, locking

Besides choreographing for his own company, he has made works for Dance Theatre of Harlem, the Limón and Ailey companies, and Lyon Opéra Ballet. He also created dances for the Broadway show The Lion King (1997).

Garth Fagan

Born in Jamaica, he danced with the Jamaican National Dance Company in his teens. After moving to the United States, he graduated from Wayne State University in 1968 and studied with Pearl Primus, José Limón, Alvin Ailey, and Martha Graham, among others. After founding and dancing with several companies in Detroit, in 1970 he joined the faculty at the State University of New York and began teaching dance classes for youths from the streets of nearby Rochester. Those classes of hardscrabble students quickly turned into a dance company, called The Bottom of the Bucket. By the mid-1980s, the company had received acclaim that belied its name; it was renamed Bucket Dance Theatre and later the company was named after him.

Garth Fagan

She attended the School of American Ballet and joined New York City Ballet (NYCB) in 1968, where she created many roles in works by Balanchine and Robbins. In 1974 she joined American Ballet Theatre (ABT), where she became Mikhail Baryshnikov's partner. Her repertory spanned the classics, Balanchine, Tudor, and other contemporary choreography. Her two autobiographies, Dancing on My Grave and The Shape of Love, outline the emotional problems and addiction that led to her departure from ABT in 1984.

Gelsey Kirkland

Her teachings of Delsarte's methods influenced Isadora Duncan and, Ruth St. Denis and Ted Shawn.

Genevieve Stebbens

Who influenced Isadora Duncan, Ruth St. Denis, and Ted Shawn

Genevieve Stebbens

He is considered the father of American Ballet.

George Balanchine

First American to dance Albrecht in Giselle and joined Fanny Elssler's company on its American tour

George Washington Smith

Toured the United States with the infamous Lola Montez and the prestigious Italian Ronzani Ballet troupe

George Washington Smith

He is one of many contemporary ballet choreographers who borrowed movement styles from various sources to meet his purposes. He created short-lived, topical ballets during the 1960s that used pop and rock music and motifs from art and culture, such as Trinity (a rock ballet) and Valentine (a prizefight between two dancers with a cellist onstage; 1971). His works required dancers with speed and virtuosity, as seen in Kettentanz (1971) and Chabriesque (1972). His topical pop motifs attracted a new, younger ballet audience.

Gerald Arpino

Eliot Feld's contemporary ballet is a canon for two men and six women. Premiered for the Feld Ballet (1985), the work represents Feld's relaxed yet overlaid movement modules danced to Steve Reich's minimalist score.

Grand Canon

This company consisted of a group of artists who worked in groups, without a leader, including Yvonne Rainer, Steve Paxton, Douglas Dunn, and Trisha Brown. They improvised movements and created ground rules for movement and theater games. Their improvised performances incorporated jokes, stories, and songs with their movement. The group was in its heyday from 1962 to 1964 and dissolved in the mid-1970s.

Grand union

Her work is an extension of Mary Wigman's and Rudolf Laban's.

Hanya Holm

This dancer/choreographer was an exponent of German modern dance that was at least 10 years older than American modern dance and used space, emotion, and feeling as the basis of movement.

Hanya Holm

Four Pioneers in dance

Hanya Holm, Doris Humphrey, Charles Weidman, and Martha Graham

Standard Oil heiress Rebekah Harkness established this company in New York in 1964, with George Skibine as artistic director and choreographer and Marjorie Tallchief as prima ballerina. The company included 14 dancers that were formerly with Joffrey Ballet. This company folded in 1975, but the foundation survives.

Harkness Ballet

As a child she studied with Fokine at the Metropolitan Opera Ballet, and she joined the opera ballet at 16. She is remembered for her dances based on Negro spirituals (she was the first to use this music in concert dance).

Helen Tamiris

Choreographed by Erick Hawkins (1957), this program-length piece of solos and duets explores the relationship between a man and a woman.

Here and Now with watchers

BLANK which began in the Bronx during the 1970s, had become a national trend by the 1980s.

Hip Hop

He composed some of Diaghilev's most important ballet scores, such as Firebird (1910), Petrouchka (1911), Le Sacre du Printemps (1913), Les Noces (1923), and Apollon Musagete (1928).

Igor Stravinsky

Who did the music for firebird

Igor Stravinsky

Morality Plays

Illustrated moral truths

Gigue

Is a quick jig

This dancer used few technical effects in performing; her only devices were her body and powerful personality. Sources claim that she influenced Fokine.

Isadora Duncan

Who was the choreographer of La Foret Noire?

It is actually unknown

A dancer, choreographer, teacher, and director, _______________ attended the School of American Ballet, performed in Ballet Society, and joined New York City Ballet (NYCB). In the 1950s, he created many leading roles in Balanchine ballets with his signature role in Apollo (1957).

Jacques D'Amboise

Pupil of Jean-George Noverre and remembered for his baller La Fille Mal Gardee (about rural romance)

Jean Dauberval

Violinist, dancer, composter, and director of court ballets (17th century)

Jean- Baptiste Lully

Who was the first artistic director at the Royal Academy of dance

Jean-Baptiste Lully

He made his debut as an actor and appeared in several Broadway musicals. In 1940, he joined Ballet Theatre as a dancer. In 1950, he joined the New York City Ballet (NYCB) as a dancer and choreographer, and the following year he became associate artistic director. He started Ballet USA (1958), producing choreography that experimented with jazz-flavored ballets and his Broadway hit, West Side Story (1957).

Jerome Robbins

Who did Fancy Free

Jerome Robbins and Leonard Bernstein

Choreographed by George Balanchine (1967), this work is an entire evening of these ballet pieces based on jewels and the feelings they evoke: "Emeralds," soft and romantic; "Rubies," jazz-inflected, with a passionate pas de deux; and "Diamonds," a celebration of 19th-century classical form.

Jewels

In the 1950s this company began as six dancers touring in a rented station wagon with hand-me-down Balanchine costumes and discarded scenery from the Metropolitan Opera. The company opened its first season as resident company of City Center in 1966; male dancers from musical theater productions supplemented some of its preliminary performances. In the 1970s the repertory included contemporary ballets, reconstructions of major 20th-century ballets, and modern dance works. Significant commissions included Twyla Tharp's Deuce Coupe (1973) and Laura Dean's Night (1980).

Joffery Ballet

America's premier ballet company, this company is housed in downtown Chicago. The company's repertoire includes major story ballets, reconstructions of masterpieces, and contemporary works. It has had a range of many firsts as part of its history—from performances to film, to multimedia, to livestream, and posting dance on YouTube. After the 2007 death of artistic director and choreographer Gerald Arpino, Ashley Wheater became the company's artistic director.

Joffrey Ballet

First American dancer to receive acclaim. He was a circus and theatrical performer, he became famous for his dancing of the hornpipe

John Durang

Put on blackface to perform the role of Harlequin Friday in the ballet pantomime Robinson Crusoe

John Durang

Choreographed by Arthur Mitchell (1988), this piece tells the story of the African American folk hero who challenged the steam-powered hammer in crushing rock to build a railroad.

John Henry

Father of English Pantomime; he wrote A history of dance

John Weaver

A composer, teacher, and collaborator with Merce Cunningham, he was born in Los Angeles and studied atonal composition with Schoenberg in the early 1930s. In 1937 he moved to Seattle, where he worked as a dance accompanist and met Merce Cunningham. Several years later he began using electronic devices and invented the prepared piano. His collaboration with Cunningham began in 1943; they taught, created works, and presented concerts together until Cage's death.

John cage

He has been considered the principal theorist of new music. His Theatre Piece #1 (1952), a collage of planned and unplanned movement and sound, became the archetype for the development of "happenings" in the 1960s and a model for future experimentation with Cunningham. His collaborations with Cunningham were groundbreaking for dance, severing the interdependence of music and dance so that the movement came from the dancers, not the music.

John cage

A dancer, choreographer, teacher, artistic director, and technique developer, he was born in Mexico, moved to California, and studied with Humphrey-Weidman. In 1931 he began to choreograph. He taught at Bennington College. During World War II, he was drafted into the army.

Jose Limon

Founded in 1946, this company offers a balanced repertoire from José Limón classic choreographies and American modern dance to contemporary choreographers. In 2008, The _______________ Dance Foundation was awarded the National Medal of Arts, the nation's highest honor for artistic excellence. In 2015 the company celebrated its 70th year. The company's legacy was honored by an international dance festival in the city of New York for this momentous occasion. Since 1978, Carla Maxwell, a former soloist, was the artistic director of the company. In 2016, Colin Conner was named the new artistic director.

Jose Limon Dance School

Considered greatest male dancer of the romantic era?

Jules Perrot

Who choreographed Giselle and Pas de Quatre

Jules Perrot

Who choreographed Giselle 1841?

Jules Perrot and Jean Coralli

Courante

Jumping and vigorous dance

She began her dance career in 1973 with Switzerland's Ballet du Grand Théâtre de Genève, directed by George Balanchine. As a dancer with Cunningham's company (1976-1980), she choreographed her first work, Ne, a combination of concert dance accompanied by punk rock, in 1978. Her two-part Drastic Classicism premiered at Dance Theater Workshop in 1981, combining ballet and Cunningham technique at warp speed to an ear-splitting sound score.

Karole Armitage

Her technique is a blend of African American, Caribbean African, and South American movement styles. The technique requires a flexible torso, flexible spine and uses isolation and polyrhythm in its movements.

Katherine Dunham

This dancer studied dance forms in the West Indies, including Haiti, which had a great influence on her work. She blended African, European, Afro-Caribbean, and American dance in her choreography.

Katherine Dunham

She began her work in the 1960s, foreshadowing the introduction of butoh to American audiences in the 1980s. She founded a company, Moving Earth (meaning "the ability to expand and contract"), in New York in 1969, later moving it to Tokyo and renaming it Moving Earth Orient Sphere. She has worked on one choreographic series, her life's work, called Light, since 1967; Moving Earth, as a collaborative ensemble, has produced more than 30 parts of the series. The theatrical work is likened to a core principle of survival of the group, with themes that include work and community interwoven into folklike dances. The dances use earthy, everyday movements with Asian overtones that mesmerize the audience into believing they are witnessing an almost primitive ritual.

Kei Takei

Beginning in the last years of the 1990s and continuing into the new century, emerged. BLANK is a street dance of African American origins that began in South Los Angeles. The dance uses expressive, explosive movements with hard stops, followed by contrasting movements.

Krumping

Born in Pittsburgh, Pennsylvania, he is choreographer and director of his company, Abraham.In.Motion, which he founded in 2006. With a strong background in classical music but raised in the hip-hop generation, he brings a unique perspective to his choreography. He reimagined the classic film Boyz n the Hood (2001) but reset it in a Pittsburgh neighborhood, creating Pavement (2012). This piece was born out of improvisation with recurrent themes, and it uses a mix of dance and music to make a remarkable statement.

Kyle Abraham

What was the first serious American ballet?

La Foret Noire (1794)

He studied modern dance and ballet in New York (with Anna Sokolow, Martha Graham, Louis Horst, and Antony Tudor, among others) and at Connecticut College. He attended the Juilliard School on full scholarship. He began his professional career dancing with the Pearl Lang Company in 1964, followed by Manhattan Festival and Harkness Ballets

Lar Lubovitch

This company began in 1968. The company has been called a national treasure. The company's mission is to create new works by Lar Lubovitch, teach people about dance, and provide service to the dance community. Lubovitch has created over 100 works for the company. Each year, members of the company set around 10 of Lubovitch's works for American, European, and other international professional ballet and modern dance companies. He has received many prestigious awards for his dance works on the stage and on Broadway, film, and television.

Lar lubovich dance company

This dancer, choreographer, musician, minimalist, and artistic director was born and raised in Staten Island, New York. She studied with Lucas Hoving, School of American Ballet, American Ballet Center, and Martha Graham. She danced with Paul Taylor, Paul Sanasardo, and Meredith Monk, among others. Before the 1970s she had experimented with works that combined songs, movement, and costuming. In 1971 she started the Laura Dean Dance Company and took a new route into minimalism with such works as Stamping Dance (1971), Circle Dance (1972), and Spinning Dance (1973).

Laura Dean

He was a protégé of Diaghilev and become the company's chief choreographer through 1921. He replaced Nijinsky as principal dancer and choreographer, dancing many of his roles

Leonide Massine

This all-male ballet company performs en travesti. The technically and artistically excellent dancers adopt humorous Russian stage names and perform parodies of many classical and contemporary ballets

Les Ballet Trockadero de Monte Carlo

Michel Fokines signature piece is a ballet blanc named:

Les Sylphides

His works portrayed social and activist themes. His productions most often were dance dramas supported with costuming and sets to create a total theatrical experience. Long-time colleague Bella Lewitzky codified his technique, characterized by building a strong, versatile dancer. His dancers, including Alvin Ailey, spread his ideas and technique to both coasts.

Lester Horton

This Russian dancer and choreographer choreographed The Nutcracker and the second and fourth act of Swan Lake.

Lev Ivanov and Marius Petipa (says on line)

Common dances of Middle Ages were

Life-span events

Most peasant dances during the Middle ages that were performed outdoors could be characterized as

Lively and exuberant movements

Her fascination with material and lighting effects extended her repertoire, which used a choreographic vocabulary of movement, light, color, form, and sound that had audience appeal in an age of movement and experimentation.

Loie Fuller

This visionary dancer experimented with new theater technology. She designed large projections by painting slides of frosted glass with liquefied gelatin.

Loie Fuller

Contradance

Longways dance performed by different couples facing each other in two long lines; they were performed in a group lead by one dancer

In this piece choreographed by Erick Hawkins (1965), Hawkins assumed the role of a Persian gentleman playing polo in a ceremonial manner.

Lords of Persia

This composer and music historian was a mentor to the first generation of modern dance artists.

Louis Horst

Known as the danish Taglioni

Lucille Grahn

Based on a Spanish song written in 1993 that fused flamenco, rumba and pop. Three years later a Bayside Boys remix with English lyrics hit the U.S. to 100 songs. A Venezuelan flamenco teacher crated the group dance which consists of arm movements and a hip swivel.

Macarena

Hailed queen of dance and the first professional female dancer

Mademoiselle de La fontaine

Sons of Earth performed

Magical and Fertility Dances

Who played La Slyphide

Maire Taglioni

Who is responsible for the following quote, "What is modern about modern dance--is its resistance to the past, its response to the present, its constant redefining of the idea of dance".

Marcia B. Siegel

Created the first dance major at the University of Wisconsin in 1926.

Margaret H Doubler

Who was married to Balanchine and was a strong dancer?

Maria Tall Chief

A dancer and teacher, she was born in Oklahoma, the daughter of a chieftain of the Osage tribe. She studied ballet in California with Bronislava Nijinska. She began her professional career with the Ballet Russe de Monte Carlo, then joined Ballet Society, the predecessor of New York City Ballet (NYCB), in 1947. She danced with NYCB until 1965. An early interpreter of Balanchine's roles, she was also his wife during the 1940s. She displayed a strong technique, had a brio style, and excelled in Balanchine's neoclassical works.

Maria Tallchief

Who was the prima ballerina in The Black Crook, which premiered in New York City

Marie Bonfanti

Costume innovations and let her hair down; she danced the part of Galatia in Pygmalion

Marie Salle

Her dancing on pointe lent to her ethereal spirit

Marie Taglioni

This ballerina starred in Le Dieu and la Bayadére and La Sylphide created for her by Filippo Taglioni.

Marie Taglioni

Who were the four Romantic Era ballerinas who starred in the Pas de Quatre in 1845?

Marie Taglioni, Fanny Cerrito, Carlotta Grisi, and Lucile Grahn

Assistant ballet master under both Perrot and St. Leon

Marius Petipa

Created entire evenings of ballets that featured fantasy settings and national dancing

Marius Petipa

Over his career in Russia, this dancer created 50 or more ballets.

Marius Petipa

This dancer was an acclaimed dancer in romantic ballets and often partner to Fanny Elssler. He went to St. Petersburg in 1847, where he danced and assisted Perrot.

Marius Petipa

Who was the chief architect of classical ballet?

Marius Petipa

Born in Seattle, he studied flamenco, folk dance, and ballet as a child and performed with a Balkan folk ensemble in his teens. He moved to New York in 1967 and performed with several companies, including those of Eliot Feld, Lar Lubovitch, Twyla Tharp, and Laura Dean. In 1980 he established his own company and was soon considered a choreographic rising star. In 1988 he and his company relocated to Brussels as the resident troupe of Théâtre Royal de la Monnaie, replacing Béjart's Ballet du XXème Siècle. In 1990 he returned to the United States to cofound (with Mikhail Baryshnikov) White Oak Dance Project. In 1991 he and his company resumed residency in New York, becoming one of the leading modern dance companies.

Mark Morris

He continues to expand his choreographic repertoire with innovative and provocative works. Some of his works have been called "classic Morris" and incorporate Morris signature components that radiate his deep devotion to musicality through rhythm, dynamics, and use of recurring motifs. He continues to fuse dance with opera or other arts to create works that delight and draw new audiences.

Mark Morris

His musicality, eclectic music choices, and use of complex rhythms create a strong underpinning for dances that display wit, themes of community, and contrasting views of emotions. A prolific choreographer, he has made more than 100 works, many of which are in the repertories of American Ballet Theatre (ABT) and the Joffrey, San Francisco, and Paris Opéra ballets. His choreography blends classic modern dance and postmodernism with other influences, such as Asian dance and even court dancing, into an innovative, contemporary style. His works range from small to large, some including dancers, singers, and musicians, such as L'Allegro, il Penseroso ed il Moderato (1988). Much of Morris' work is narrative based or has a clear theme or contrasting emotion

Mark Morris

In the later 1940s the focus of her works shifted from American themes to Greek mythology. Beginning in the 1950s, the company toured the United States and Europe. Her works became more theatrical with costumes, commissioned scores, and sets by sculptor Isamu Noguchi. Her company was the first to include African American and Asian dancers.

Martha Graham

The basic contraction in her technique has been related to a Native American prayer known as "Praise to the heavens" which begins sitting in second or straddle position.

Martha Graham

First American Giselle and the first American dancer to gain national recognition in classical ballet

Mary Ann Lee

Formed a small American troupe with George Washington Smith as her partner and toured U.S. cities, even as far west as St. Louis

Mary Ann Lee

Allegorical or mythological presentations given in England; performed by amateurs and aristocrats with dancing as the chief part of the entertainment; a variation of the ballet de cour

Masques

This dance company showcases works from the Graham repertoire and from contemporary choreographers. The company is international in its scope of diverse dances. Former dancer of many of Graham's original roles, Janet Eiler has led the company as its artistic director since 2005.

Matha Graham dance company

He danced without a mask, so that he would not be mistaken for his rival Gaetan Vestris and became one of the pioneers of ballet pantomime

Maximilien Gardel

Characters were stereotypes, such as the hero, heroine, villain, comic man and woman, or old man and woman

Melodrama

What type of dance: In blank, dance and music accompanied acting and individual characters performed dances.?

Melodrama

What type of dance: The characters were stereotypes, such as the hero, heroine, villain, comic man and woman, or old man and woman.

Melodrama

What type of dance: They absorbed societal problems into its themes, combining sentimental feelings with violent actions, and realism when virtue opposed vice.?

Melodrama

What type of dance: They were set in spectacular settings, such as secret caverns, crumbling castles, or cottages in the mountains, which lent them a romantic quality.?

Melodrama

What type of dance:Music, pantomime, and dances were included in the story line.

Melodrama

What type of dance:They were tragicomedies with a completely predictable outcome-good conquering evil.

Melodrama

In the last quarter of the 19th century, this figure developed aesthetic dance in physical education for women, work that was furthered by dance teacher Louis Chalif.

Melvin Gilbert

This respected Maine dance teacher was a prodigious force in physical education dance during the last decades of the 19th century. He taught aesthetic dance and was instrumental in in shaping early dance artists.

Melvin Gilbert

Born in Centralia, Washington, he started dancing at age 12, and in 1937 he attended Cornish School in Seattle, studying acting. In 1940 he joined the Martha Graham Company as a soloist and until 1945 created many of her leading male roles, such as the Revivalist in Appalachian Spring. During this time he studied ballet and experimented with various techniques to formulate his artistic focus. In 1942 he began choreographing and presenting concerts in collaboration with musician John Cage. They taught and performed at Black Mountain College in North Carolina in 1947, and he formed his company there in 1953.

Merce Cunningham

By 1964 he began staging what he called "events," first in museums, then in gymnasiums and studios and outdoors, and by 1999 he had created 500 of them. He included portions of five or six dances in the day's event; the dancers would know the dances but not the sequence of parts they would perform until they entered the dance space. The event presented the material in a different order than the original work and with new accompaniment

Merce Cunningham

His choreography is concerned with both space and time. The relationship between the dance and the music is one of coexistence; He typically rehearsed his dances without music, so that they would hear it for the first time during the performance. He manipulated movement for movement's sake, making it nonlinear and random. Using this approach, the interaction or juxtaposition of movement, light, or sound becomes expressive in and of itself. Intrigued with the idea of chance, He created chance dances that explore the idea that chance provides opportunities of choice within movement sequences without the artist conveying an idea.

Merce Cunningham

His works spanned most of the 20th century and continued into the 21st century. Following his death in 2009, his Dance Foundation and Trust was initiated to ensure the his work and vision supported the celebration and preservation of his work to continue his legacy. In the 1990s he gave his dancers material devised for the screen. He challenged coordination. For years he gave his dancers leg movements one day, torso the next, then arms the next.

Merce Cunningham

This dancer, choreographer, and artistic director studied dance and music as a child and began to compose in her teens. After studying with Martha Graham and Merce Cunningham, she began exploring movement and task, characters, and new environments as collages, often using her own music or voice. She has created works at the Chicago Museum of Contemporary Art and the Guggenheim in New York, including Juice: A Theater Cantata in 3 Installments (1969).

Meredith Monk

He outlined five principles for ballet reform which became the guidelines for the new 20th-century ballet

Michel Fokine

Who Choreographed firebird

Michel Fokine

Who came up with the idea that music and scenery should be integrated with the plot?

Michel Fokine

Who did Firebird, Les Sylphides, and Petrouchka

Michel Fokine

Although his short stature would normally have limited him to demi-character roles, his technical virtuosity made him danseur noble material, and he joined the Kirov Ballet in 1966. In 1974, while on tour in Canada with the Stars of the Bolshoi Company, He defected and moved to the United States, where he joined American Ballet Theatre (ABT).

Mikhail Baryshnikov

He dazzled American audiences with his astounding classical ballet performances and his virtuosity in contemporary works by Balanchine, Twyla Tharp, and others. He left ABT in 1978 to join New York City Ballet (NYCB). He rejoined ABT from 1980 to 1990 as a dancer and its artistic director, restaging some of the classics. His work with the White Oak Dance Project expanded his dance performance into modern dance and subsequently into film and television acting.

Mikhail Baryshnikov

Mr. Interlocutor started this type of show with the famous line "Let us be seated, gentlemen"

Minstrel Show

Tambo and Bones characters sat at opposite ends of the half-circle of performers and made jokes as part of this entertainment

Minstrel Show

What type of dance: In the 1850s the show became larger and several roles emerged, including Mr. Interlocutor (the straight man who started the show) and Tambo and Bones (who made jokes).

Minstrel Show

What type of dance: Dances included jigs, clogs, Irish and Scottish dances, juba (a fast, flinging dance), soft shoe (invented by the minstrels), folk dances, cakewalk, breakdown, toe-and-heel dancing (a forerunner of tap dancing), and competition dancing in a circle.

Minstrel Shows

What type of dance: Each company member did a walk-around and a step-out, which translated to an individual act (olio).?

Minstrel Shows

What type of dance: Early, the two-act show had four male performers who also played the violin, bones, banjo, and the tambourine.

Minstrel Shows

What type of dance: They absorbed revival hymns, work songs, ragtime and jazz elements, and sentimental ballads.?

Minstrel Shows

What type of dance: They satirized politics, current events, and current theatrical productions.

Minstrel Shows

What dances dominated the 18th century?

Minuet and the Contradance

What did new dance turn into?

Modern Dance

What are three m plays of the middle ages?

Mystery, Miracle, and Morality

Arthur Mitchells was with

NYCB

This Russian-born dancer and choreographer, graduated from the Vaganova Ballet Academy in Leningrad in 1959 and joined the Kirov Ballet. In her first season she danced leading roles in Swan Lake and The Sleeping Beauty. Her signature role came later, as Giselle. In 1961 she appeared in London and 10 years later defected to the United States, where she joined American Ballet Theatre (ABT). Her work spans the classics to 20th-century contemporary ballets. In 1980 she staged Petipa's La Bayadère in its original form for ABT. In 1988 she performed with the Kirov Ballet in London; a year later, she returned to Leningrad to dance the final performance of her career with the Kirov. She was a guest artist with companies around the world, performed in Broadway musicals (she received a Tony Award for On Your Toes in 1983) and in plays in England and Russia, and produced several television specials. She continues to stage ballets for companies worldwide.

Natalia Makarova

What period was Le Ballet Comique De la Reine?

Neither romantic or classical

Blank is a 20th-century ballet form that uses 19th-century classical ballet vocabulary as a basis. It integrates modern tempos, complex formations, and sophisticated technique in a variety of dance styles to convey contemporary themes and times. George Balanchine's ballets, among those of other choreographers, display the this style.

Neo-classical ballet

Delsarte method influenced what?

New Dance

This company was founded in 1948 by George Balanchine and Lincoln Kirstein. Although Balanchine classics continue to be the foundation for its repertoire, Artist Director Peter Martin's ballets extend his neoclassic, abstract ballets from the late 20th into the 21st century. New century choreographers such as NYCB's Justin Peck (soloist and resident choreographer), France's notable choreographer Angelin Preljocaj, Christopher Wheeldon, Alexei Ratmansky, and others provide contemporary works that continue to attract audiences.

New York City Ballet

Choreographed by Martha Graham (1947), this telling of part of the Oedipus story begins just before Jocasta is about to commit suicide and then flashes back to the earlier struggle as she realizes the nature of her relationship with her son.

Night Journey

Which dancer was mentally unstable?

Nijinsky

In the 17th Century did women wear tonnelets as part of their costumes?

No

The sequence of prehistoric societal development was

Nomadic, Agrarian, and community

This dancer studied with Fokine and Tudor and danced with the Metropolitan Opera Ballet, the American Ballet, and Ballet Theatre. Known for her ability to perform dramatic roles, she created the role of Hagar in Tudor's Pillar of Fire (1942). In the early 1950s she joined New York City Ballet (NYCB) but returned to Ballet Theatre in 1954. Her roles showed her range from the psychological ballets of Tudor to the classical and romantic ballets. From 1977 to 1983 she was associate director of American Ballet Theatre (ABT).

Nora Kaye

the dramatic action of the characters was extremely emotional and melodramatic.

Not Classical Ballet

A 15 minute intermission between acts

Not Romantic Ballet

He was born in Israel and trained with the Batsheva Dance Company. He originated Gaga, a movement improvisational language and pedagogy. Through Gaga, dancers explore their senses and gain awareness through listening and learning from their bodies to awaken the body to its possibilities in movement. Gaga has become primary training for Batsheva Dance Company, and Naharin's technique has connected with dancers across the world.

Ohad Naharin

Which book was important for transferring the power of ballet from Italy to France

Orchesographie

Parade had elements of what famous artist?

Pablo Picasso

Born in New York, she graduated from The Ohio State University and Sarah Lawrence College. She formed her own company, in 2000. She has received fellowships, grants, and awards for her work. She was awarded the Bessie in 2009 and 2016. Her company has appeared at American Dance Festival and Jacob's Pillow. Her choreography has been commissioned by ballet companies and by universities. Her choreographic focus uses classic modern dance as the foundation of her work, which is invigorated with a current point of view.

Pam Tanowitz

This ballet took a surrealistic look at street circuses and took its title from Picasso's visualization of the French and American circus managers as animated billboards. This ballet was intended to be fun, but became a landmark for the Diaghilev troupe and for Picasso as well marking the start of his design career in ballet and his interest in the art.

Parade

Ballet Mascarade

Participants chose their own costumes for the event, so no unifying theme tied the series of scenes together and several dances were perfumed followed by a grand ballet

A dancer, choreographer, teacher, and artistic director, was born in Pittsburgh and grew up near Washington, DC. A painter, he studied art in college, later changing his focus to dance as an artistic medium. In the late 1940s he studied at Juilliard. In 1954 he formed a small company of dancers and began presenting his works; a year later he joined Martha Graham's company, dancing with it for seven years while he continued to make works for his own company. In 1960 the his Dance Company went on its first international tour.

Paul Taylor

He often uses classical music for his choreography, making movements that mirror the music with classical proportions and grace. His works range from pure dance pieces to dramatic portrayals of good versus evil, the dark and the bright sides of events. Some of his works have American themes. He frequently includes a sense of humor, satire, and even mockery of social and historical events. His movement style is unique, a synergy of light, balletic, springing movements with glimpses of Graham technique. His choreography has had a great influence on dancers and choreographers of the next generation. His choreography includes Aureole (1962), Orbs (1966), and Big Bertha (1971).

Paul Taylor

Born in Trinidad, raised in New York City, and graduated from Hunter College. She began presenting concerts in New York during the early 1940s as a soloist and with her company. Her work combined Afro-Caribbean movements with jazz. Her first solo show was so successful that it moved to Broadway; she returned there in 1946, performing in a revival of the musical Showboat. In the mid-1940s, in response to racial issues, she created dances based on African American literary and musical works.

Pearl Primus

This Danish-born dancer, choreographer, and New York City Ballet director,attended the Royal Danish Ballet School, dancing with the company even before he had graduated. He was promoted to soloist in 1967, and that same year he danced the title role in Balanchine's Apollo as a guest artist with New York City Ballet (NYCB); he joined the company as a principal dancer in 1970. Known for his renditions of many classical roles, he was equally at home in contemporary ballets. He frequently partnered with Suzanne Farrell.

Peter Martins

This Italian dancer is famous for performing 32 fouettés en tourant in Cinderella.

Pierina Legnani

He became maitre de ballet at the Academy Royale de Danse

Pierre Beauchamps

He wrote The Dancing Master in 1725, which was a guide to social dancing; Dance master in the spanish court

Pierre Rameau

This half-step dance danced in 2/4 time originated in Poland or former Czechoslovakia.

Polka

Originally this dance was done by men in armor, who wore and used their swords. This dance in which partners danced side by side behind a lead couple and moved through various choral figures, opened a court ball.

Polonaise

Flexing your muscles

Popping

Delsarte method uses

Poses and gestures to display emotions

Refers to the period after modern dance had solidified as a recognized art form. Although underlying strands of this movement began the 1940s and 1950s, postmodern surfaced with the departures of Merce Cunningham, known as the father of the avant-garde, but predominantly with the experimentation at the Judson Dance Theater and the Grand Union. Postmodern dances experimented with the movement and dance processes by using tasks and incorporating multimedia, new forms, new spaces, minimalism, pedestrian movement, and other elements to explore movement and create personal dance forms using an individual's creativity and spontaneous improvisational techniques

Post modern dance

Choreographed by Twyla Tharp as a duet for Tharp and Baryshnikov for American Ballet Theatre (1976), the work was a big hit and considered the most successful American dance work since Fancy Free (1944). Tharp gave Baryshnikov a new persona that built on his extraordinary command of classical ballet but came off as jazzy, cool, and contemporary.

Push Comes to Shove

A very old dance that may have originated in France before the 18th century. It was first danced in a stately manner and later in an accelerated one. This dance came from the term for a small company of cavalry, superbly mounted and equipped, that appeared in jousting tournaments.

Quadrille

Question 27 in Chapter 4 and 5 quiz is incorrect

Question 27 in Chapter 4 and 5 quiz is incorrect

Galliard

Quick, vigorous, jumping dance

Book of the Dead

Records Osriris Legend, the doctrine of eternal life, funeral ceremonies, and more, sacred text about burial and the afterlife

Alvin Ailey's signature piece (1960), a series of scenes performed to African American spirituals and gospel songs. The dances embody a response to adversity and life's joys.`

Revelations

Born in Miami, he studied at New World School of the Arts and Juilliard. He danced with Parsons Dance Company in the 1990s, and he started the Battle Works Dance Company in 2002. He has had a long association with the Ailey Company and School as a choreographer and artist in residence. He has set works on Ailey Company, Ailey II, and the Ailey School. In 2005 he was honored at the Kennedy Center as one of the Masters of African American Choreography. He has received numerous honors and is a visiting fellow for the Art of Change, Ford Foundation.

Robert Battle

This dancer/choreographer was committed to the revival of ballet classics from the 20th century, such as Parade and other early 20th-century ballets. The ballet repertoire brought a new focus on ballet in contrast to Balanchine. His company combined the new, topical ballets of Gerald Arpino with the revivals of ballets.

Robert Joffery

In the early 1960s this couple began teaching dance composition workshops that led to the emergence of the Judson Dance Theater. He was a composer who had studied with John Cage and worked as an accompanist for Martha Graham and Merce Cunningham. Along with his musical training at the Boston Conservatory, he had studied dance. His wife was a former Cunningham dancer who taught composition courses. Their workshops were offered in response to people seeking new structures in which to explore movement. The participants solved movement problems and developed a consensus on their processes in doing so.

Robert and Judith Dunn

What period was Giselle?

Romantic

What period was La Slyphide

Romantic

Costuming for females introduced the long, filmy skirt beginning the tradition of ballet blanc.

Romantic Ballet

The dramatic action of the characters was extremely emotional and melodramatic.

Romantic Ballet

The music was supported by the setting and mood and characters were supported by a dancing chorus (corps de ballet).

Romantic Ballet

Two-act form and plot centered on a love triangle or story of unrequited love.

Romantic Ballet

Choreographed by Anna Sokolow (1955), this episodic work focuses on individual characters who meet and pass but do not communicate. It is a study of loneliness and isolation in contrast to man's dreams of happiness. This work incorporates jazz dance.

Rooms

He is considered one of the foremost male dancers of the 20th century. Born on a trans-Siberia train and raised in Ufa, capital of the Bashkir Soviet Republic, He began studying ballet in his teen years. He auditioned for the Bolshoi Ballet school but instead entered the Maryinsky school of the Kirov Ballet, joining the company in 1958 as a soloist dancer. His Western career began in 1961 when he defected from the Soviet Union while on tour in Paris. In the United States he performed, choreographed, and restaged ballets. He became director of the Paris Opéra Ballet in 1983, restoring the company to world-class status. His passion, charisma, and feral beauty made him an icon in the ballet world and forever changed the art form.

Rudolf Nureyev

Her theatrical appeal came from her ability to provide sophisticated yet popular entertainment to vast audiences. She dressed as a goddess or dancer from a foreign land wearing exotic, revealing costumes.

Ruth St. Denis

This dancer is known as the First Lady of American Modern Dance. She was a self-taught dancer with only childhood dance training with Marie Bonfanti, the celebrated ballet dancer from The Black Crook.

Ruth St. Denis

This dancer/choreographer created a series of dances based on her study of Oriental dances. From 1904 to 1914 she performed solos based on deities or religious personas from exotic places.

Ruth St. Denis

Choreographed by Lester Horton (1950), this piece is subtitled The Face of Violence and centers on Salome's seduction of Herod to free John the Baptist.

Salome

A combination of Latin and Afro-Cuban dances, this dance became an international sensation. Danced to a 4/4 medium to fast tempo, the rhythmic pattern is quick-quick slos.

Salsa

Became known as the father of Italian Ballet

Salvatore Vigano

What dances were popular in the 20th Century

Samba, Tango, Rumba, Lindy Hop

This company's touring and international classical and contemporary repertoire expanded in the last part of the 20th century. In 2008, this company and School celebrated its 75th anniversary. Under artistic direction of Helgi Tomasson since 1985, the diverse company presents over 100 performances a year.

San Francisco ballet

Choreographed by Martha Graham (1955), this piece tells the story of Joan of Arc as maid, warrior, and martyr.

Seraphic Dialogue

An impresario and founder of the Ballet Russe, he devoted himself to ballet and his company until his death in Venice in August 1929.

Sergei Diaghilev

BLANK wanted to create productions that provided a total theatrical experience, focusing on ballet but supported by scenery, costs, music and other arts. In order to achieve his idea, he brought together outstanding artists of the times from different fields to create unified theatrical productions.

Sergei Diaglev

Masque Dancers were

Serious

This international artist was born in China. The son of Chinese opera professionals, his studies in visual arts have merged into his choreographic works. He performed with the Hunan State Xian Opera Company for five years before attending the American Dance Festival (ADF) in 1989. Then he began studying modern dance in the ADF allied program in China. In 1991 he became a founding member of the Guangdong Modern Dance Company.

Shen Wei

Allemande

Slow and graceful

Base Dance can be described as

Slow or gliding dance

Pavane

Slow, processional dance

Marie Bonfanti, who toured the United States with the Ronzani Ballet, was contracted as the prima ballerina for The Black Crook. This transition is unusual for this period in which a trained ballet artist (she studied with Blasis in Italy) became the star of this and later musical spectacles.

Spectacle

What type of dance: A musical that was a mix of German melodrama with scant dialogue and a very thin plot line connecting a string of ballets and tableaux.?-

Spectacle

What type of dance: The musical boasted fantastic costumes, exotic settings, animated scenery, flying fairies, and lines of Amazonian females in shocking degrees of undress.?-

Spectacle

What type of dance: A landmark leg show was the basis for other spectacle entertainments.?-

Spectacles

Sarabande

Stately dance

This was one of Steve Paxton's innovations. He explored pedestrian movement using improvisation, games, and the effect of gravity. It can be viewed as a social event; in a jam session people either participate in or watch the spontaneous explorations; it expanded dance to include many people, not only the technically proficient dancer. As a technique, its theory is based on the physical space or use of the floors, walls, chairs, props, or people in initiating weight transfers, counterbalance and trust exercises, rolling, falling, and lifting. When put into a theatrical form, it lifts improvised movement sequences into a structured improvisational form. Theories of this embody the searching and awareness of the 1970s and the fusion with Eastern philosophy that has been so influential in postmodern dance and choreography.

Steve Paxton

his dancer, choreographer, and artistic director is considered the father of contact improvisation. He grew up in Tucson, Arizona, studied at the American Dance Festival at Connecticut College, and made his way to New York in the late 1950s. He studied and danced with José Limón and Merce Cunningham and attended Dunn's choreography course. His association with Rainer and Robert Rauschenberg led to his involvement in the formation of Judson Dance Theater, putting him at the cutting edge of dance in the 1960s. With Rainer, he was a founding member of the Grand Union.

Steven Paxton

Massine was known for which two types of ballets

Story Ballets (comic elements, satire, and character dancing) Symphonic Ballets (abstract music to symphonic music)

Originally from Pensacola, Florida, she trained as a gymnast before becoming a dancer. After studying at Juilliard, she began choreographing in the early 1980s, when she also started her company, In her first evening-length work, Interior With Seven Figures (1988), the dancers participated in a series of contests. Contemporary choreographers Trisha Brown, David Gordon, Meredith Monk, Steve Paxton, and Yvonne Rainer have influenced her work.

Susan Marshall

Born in Cincinnati, she joined New York City Ballet (NYCB) in 1961 at age 16. Quickly she became a Balanchine muse, gathering an exceptional repertory. In 1969, she left NYCB with her husband to dance with Maurice Béjart's Ballet du XXème Siècle in Brussels. In 1975 she returned to NYCB as Peter Martins' partner. Since retiring from dancing, she has staged Balanchine ballets around the world and headed her own company.

Suzanne Farrell

Which was the prototype ballet of the classical period?

Swan Lake

This dance dates back to the 1920s and the Savoy Ballroom in New York and has taken various forms through the decades. In the 1990s it resurfaced and exploded yet again as a popular dance.

Swing

Minuet

Symbol of aristocracy and indicated accomplishment and gentility, couples rather than groups

This new dance combined cultural elements from African, Native American, and latin dances with popular Argentine music.

Tango

Who did Nutcracker's score

Tchaikovsky

Who did the music for Swan Lake

Tchaikovsky

He married Ruth St. Denis and established a company and a school.

Ted Shawn

________________ choreography explored historical, cultural, and American themes, and often included contemporary commentary. His major focus was the restoration of the male to a central role in dance.

Ted Shawn

Choreographed by Lester Horton (1948), this duet is set in turn-of-the-century New England and portrays a dysfunctional, violent marital relationship.

The Beloved

Choreographed by José Limón (1949), this work is based on Shakespeare's Othello. The dance distills the dramatic action into a pavane performed by the major characters, thereby concentrating the emotions of this drama.

The Moor's Pavane

Masque was a variation of what?

The ballet de cour

To repeat minstrel shows had their start when?

The early 19th century... sometimes she wrote the late 18th century

What is the theme of La Ballet Comique De la Reine?

The goddess Circe

When did ballet enter the classical era in russia?

The later 19th century

Ballet d'action

The plot was not usually a tragedy; dramatic action was extended through gestures and facial expressions and corp de ballet was part of the plot

Considered an excellent critic of romantic ballet

Theophile Gautier

Disapproved strongly of male dancers in ballet

Theophile Gautier

His writings were collected in 1858 as Historie de l'art dramatique en France depuis vingt-cinq ans and his crtitical wrtings are the main source of information about romantic ballet.

Theophile Gautier

Choreographed by José Limón (1956) and taking its theme from the biblical phrase "to everything there is a season," this work explores the contrast of emotions from joy to sadness, all framed in a round dance.

There is a time

Priest who wrote Orchesographie

Thoinet Arbeau

Miracle Plays

Told lives of Saints and Martyrs

Choreographed by Gerald Arpino (1970), this dance is a celebration of youth, ending in a ritual ceremony of lighted candles.

Trinity

Choreographed by Yvonne Rainer (1966), this work was originally part of a larger work, The Mind Is a Muscle, Part I. The trio was an approximately five-minute performance in which three dancers performed their own works simultaneously.

Trio A

Born in Aberdeen, Washington, this person studied at Mills College and with Anna Halprin, José Limón, Merce Cunningham, and Robert Dunn. After moving to New York in the 1960s, she became a founding member of Judson Dance Theater. Working with her contemporaries, she created improvisational games with Simone Forti and collages of dance and spoken word with Yvonne Rainer, and participated in "happenings" with Robert Whitman and performance pieces with Robert Rauschenberg. At the Cunningham studio she worked on chance organization of movements. In the 1970s she established her own company in New York and offered performances outside the theater.

Trisha Brown

In 1971 her Roof Piece was performed in Soho. The work involved dancers on rooftops who sent movement messages from one to the next. That same year she staged Walking on Walls, in which dancers in harnesses walked down the walls of the Whitney Museum. This negation of gravity was her way of making a statement against the obsession with dance technique.

Trisha Brown

She is an artist in dance and visual arts. She founded her company in 1970. She has created over 100 works in dance. Since near the end of the 20th century she has continued as a prolific choreographer in dance, expanding into opera and classical music and media. She created works for the Opéra Nationale de Paris and other companies in Europe. She expanded her work using motion capture and creating a unified design of movement, music, and visuals. In 2007, she produced a work titled I love my robots with Japanese artist Kenjiro Okazaki.

Trisha Brown

This choreographer has explored several directions in her work. She is interested in exploring movement possibilities, unaccented phrases, body weight, and the idea of falling. Some of her works have explored movement in relation to mathematics, with layered movement phrases performed as accumulations. During the 1970s she created works in collaboration with visual artists. In the 1980s she began working with sound atmospheres, and in the 1990s, with classical composers. Some of her works in the 1980s and 1990s were made in collaboration with Rauschenberg or included music by contemporary composers. Her dances are very connected to the floor, with many complicated arm gestures; she often uses walking and pivoting movements in which the feet are sometimes pointed and sometimes not. Her work shows contrasts and interplay between two ideological extremes.

Trisha Brown

Between 1980 - 2000, the giants of 20th-century ballet and modern dance passed the baton to the next generation. They brought the traditions of the past, expressed through their choreography, to communicate their messages about contemporary society.

True

Dancing Wheels and AXIS Dance Company are two mixed-ability dance companies which include performers with and without disabilities.

True

Electro dance (a house style street dance from France, often called a hip-hop mash-up or a club style) spread from Europe to the United States. The original house style from the 1990s had a London revival as old school deep house music that pulled millennials onto the dance floor.

True

Funk music originated in the late 1960s with African American artist James Brown. The danceable music had a complex, syncopated rhythmic scheme.

True

Gerald Arpino's ballets of the later 1960s were contemporary and topical in nature.

True

In the 1990s disco became part of pop and hip-hop dances and has continued into the 21st century.

True

Jacob's Pillow was named the first and only National Historic Landmark dance institution in the United States in 2003. Previously in 2000, The Dance Heritage Coalition listed Jacob's Pillow as one of America's Irreplaceable Dance Treasures.

True

Many postmodern choreographers created works for ballet companies, blending the two forms in varying ways by the end of the 20th century,

True

The common denominator in this era of new directions was eclecticism. Choreographers selected from classical and 20th-century dance idioms and drew from statements (often about political and social issues) through movement and dance.

True

The second generation of postmodern choreographers combined arts and mathematics, defied gravity, and continued to perform in both indoor and outdoor spaces.

True

True and False The dancers who led the new dance movement were the forerunners of what would later be called modern dance.

True

True or False Antony Tudor's ballets have often been called psychological ballets.

True

True or False Balanchine was the last major choreographer for Diaghilev's Ballets Russes.

True

True or False Ballet Society was the forerunner of the New York City Ballet.

True

True or False Ballet Theatre began in 1940 under the direction of Lucia Chase and Richard Pleasant.

True

True or False Lincoln Kirstein brought Balanchine to the United States to start an American ballet company.

True

True or False Tony Pastor opened an opera house in New York that produced vaudeville entertainment suitable for women and families.

True

When Ballet Theatre opened, it had three wings and almost a dozen choreographers in its organization.

True

True or False During the Revolutionary War, theatrical performances were banned.

True; congress thought that they diverted people's minds from the serious issue at hand

True or False the Grand Pas de Deux was only in the classical ballet

True; it came from the romantic style's pas de deus section

In the early years of the 2000s, she explored classical music with her unique style. In 2002, she changed stage spaces when she choreographed the musical Movin' Out, set to music by Billy Joel. Starting in 2006, her choreography reflected extended retrospects such as The Catherine Wheel Suite (2006) and Sinatra: Dance With Me (2010). In the past several years she has moved on to telling a contemporary story ballet with witty goblin characters and a princess as rescuer. For her company's 50th anniversary tour, she stretched her choreographic talents from Yowzie to Bach, all the while keeping in sync with current topics. Yowzie used vintage jazz as her inspiration, as she had in earlier works. The Bach work, Prelude and Fugues ( 2015) serves as a structure for a myriad of dance styles and emotions expressed.

Twyla Tharp

Moving into the 1980s, She tried new directions. She choreographed films, including Hair (1979), Amadeus (1984), and White Nights (1985). In 1982, she created one of her best-known works, Nine Sinatra Songs, and she worked with Jerome Robbins in 1984, creating Brahms/Handel for New York City Ballet (NYCB). The new works she created for ABT led to her becoming an artistic associate for several years. She is recognized as an international artist, and her choreography has become part of the Joffrey Ballet, ABT, Martha Graham Dance Company, Paris Opéra Ballet, and the Royal Ballet companies. Other achievements include television work, a creation for Olympic ice skater John Curry, and several Broadway musicals, including the groundbreaking Movin' Out (2002), which she conceived, choreographed, and directed.

Twyla Tharp

This Indiana native is a dancer; choreographer; artistic director; and film, Broadway, and media director. She trained in ballet at American Ballet Theatre (ABT) School and with Margaret Craske, Richard Thomas, and Igor Schwegoff. She studied modern dance with Martha Graham, Merce Cunningham, and Alwin Nikolais and jazz with Eugene "Luigi" Facciuto and Matt Mattox. After dancing with Paul Taylor's company for two years, Tharp started her own company in 1965. In the original, all-female company she was both dancer and choreographer until 1971. From the 1960s to 1970s she experimented with movement, structure, and music to find her own style. Her early dances, such as Tank Dive (1965), were based on the mathematical style of the 1960s and had no music. After eight years of relative ignominy as one of the avant-garde, She gained sudden acceptance by mainstream American audiences; the reason was her 1973 work for the Joffrey Ballet, Deuce Coupe. The 1970s were a prolific time for her. She choreographed The Fugue (1970), Eight Jelly Rolls (1971), The Raggedy Dances (1972), and Push Comes to Shove (1976, a huge success for Baryshnikov), among other ballets.

Twyla Tharp

She continues to create works in the 21st century to augment and re-create her extensive repertoire. Her work has grown beyond the bounds of ballet and modern dance on the stage, on Broadway, and in movies. She received a Tony Award, numerous honorary doctorates, the National Medal of Arts, and other prestigious national awards. In 2016, her company did its 50th anniversary tour. The company presented masterworks and new works of this celebrated, influential choreographer.`

Twyla tharp

Ballet Melodramatique

Used Mythological themes and thin plots as a pretext for dramatic action. The ballet appeared in a variety of court entertainments. Music, particularly singings, was the prominent art in these ballets; this change from declamation to singing led to the development of opera

Afternoon of the Faun and Le Sacre Du Printemps were danced by who?

Vaslav Nijinsky

He was a phenomenal dancer with an extraordinary level of technique for his time. His choreographic contributions were bold extensions that suited the avant-garde nature of Diaghilev's company.

Vaslav Nijinsky

True or False After Fokine left Diaghilev's Ballet Russe in 1912, he became the choreographer. That same year he created his first ballet, the controversial Afternoon of a Faun, in which he danced the title role.

Vaslav Nijinsky

This Italian dancer studied with Carlo Blasis in Milan and was a technical dancer of virtuoso skill. She spent many years in Russia and her dancing, acting, and technical clarity led the St. Petersburg Ballet School to make greater demands of its dancers.

Virginia Zucchi

Derived from the German landler and performed in couples in close embrace in tripe time. Originally performed outdoors it included wild hopping, stamping and throwing the female partner into the air.

Waltz

Ballet Pastoral

Was a dance interlude between sections of longer entertainment. Its characters were rustic people; occasionally satyrs and wood nymphs appeared in the chorus

Anti-Masque

Was performed before the masque dances by a group of fools and was supposed to be silly

Became known as Master Juba onstage

William Henry Lane

Considered one of the most influential performers of 19th-century American dance and the initiator of elements that were to become tap dance

William Henry Lane

This group dance used cheerleading arm positions to spell out the letters and became widely popular during the 1980s. It was performed by the Village People.

YMCA

Did Fokine work for Diaghilev?

Yes he did for a period of time

Her work emphasizes the human interaction between performer and audience. Each dance has an individual look; the creative process is the most important part of the performance so that it has the right aesthetic appeal to the audience. From this premise her work evolved into movement collages with props and disguises and then into films. Since the early 1970s she has created seven full-length films. Her signature piece is Trio A (1966).

Yvonne Rainer

This dancer, choreographer, and artistic director was born in San Francisco. She studied with Martha Graham and Merce Cunningham in New York City in the 1950s and with Halprin in the summer of 1960. She began choreographing as a founding member of New York's Judson Dance Theater in the 1960s. She wrote a manifesto in Drama Review in 1967 saying that she wanted to make dance that was without technique, virtuosity, or theatricality. She was aiming for naturalism and uninflected movement. She started the Grand Union, an improvisational company that continued the tradition of movement experimentation, with a group that would produce the next wave of choreographers.

Yvonne Rainer

Who did Grand Union consist of

Yvonne Rainer, Steven Paxton, Douglas Dunn

What period was Coppelia

romantic

What period was Das de Quatre

romantic