| Papers [1-15] of 83 :: [Page 1 of 6] | | Go to page : 1 2 3 4 5 6 —> | Search results on "BALLET DANCER": |
|
|
Ballet and The Ballet Dancer, 2006.
A look at ballet as an art form and the demands ballet has on the ballet dancer.
1,680 words (approx. 6.7 pages), 6 sources, APA, $ 54.95
»
Click here to show/hide summary
Abstract
This paper takes a look at the history of the art of ballet, as well as reviews the different types of the ballet dance and the strenuous demands that ballet makes on the dancer. This paper also covers various dance choreographers and their particular styles of dance.
From the Paper
"Classical ballet celebrates the potential harmony of the human body, the utopian ideal of collective endeavor, the possibility of the interchange between masculinity and femininity. Something of this is what has recommended ballet to the communisms of the USSR, Cuba and China. Beneath the aristocratic tat of the settings and the charming but dispensable never-never of the stories, there is an implicitly socialist vision.
Yet classical ballet must of course always come wrapped in the specifics of where and for whom it is performed, what other values and meanings it is attached to, and these are riven with contradictions. In practice, in Britain, classical ballet is, at one and the same time, elitist and popular, and woman-centered, heterosexist and part of gay male culture, universal and distinctly white. It is all of this at once.
It is selective in part because it is expensive. Not only are sets on a grand scale and not only do most of the classics require large casts, but behind all that there are the years of investment in training. "
| |
|
Eating Disorders in Dancers, 2004.
An analysis of the problems of eating disorders among dancers as opposed to non-dancers.
2,070 words (approx. 8.3 pages), 6 sources, MLA, $ 65.95
»
Click here to show/hide summary
Abstract
This paper discusses eating disorder patterns among ballet dancers and non-dancers. The paper examines what anorexia is and presents the causes of anorexia and the reasons that it is seen so much in ballet dancers as opposed to non-dancers. The paper explores the impact of ballet dancing on children with respect to eating disorder patterns and identifies whether any difference is seen in the frequency of eating disorders in professional ballet dancers and non-professional ballet dancers.
From the Paper
"Anorexia nervosa is a growing psychological and physiological disorder in the society of today. A surprisingly large number of people are affected by eating disorders, the major cause of which is anorexia nervosa. The cultural ideals especially of the western world cause young women to believe that they should maintain thinner bodies than intended by nature. This causes them to alter their eating patterns and this leads to eating disorders like anorexia nervosa. Anorexia nervosa is most prevalent in young girls from the upper middle classes and generally between the ages of eleven to eighteen. Anorexia nervosa is fatal in about twenty percent of the cases and this is the reason for concern. Psychiatric assistance is able to help about thirty percent of anorexics to overcome the disease. A person is considered as anorexic if the body weight of the individual is twenty percent less than the normal weight of a healthy person of that age and height."
| |
|
Becoming a Master of Ballet, 2004.
Talks about the extremely difficult criteria that must be met in order to become a master of ballet.
1,343 words (approx. 5.4 pages), 5 sources, MLA, $ 45.95
»
Click here to show/hide summary
Abstract
This paper gives an overview of the physical, social, emotional, and financial hardships that a professional ballet dancer must endure throughout his or her career.
From the Paper
"One of the hallmarks of good ballet dancing is the seemingly effortless grace of the performers. Particularly, the high-level dancers of a ballet company elevate movement to an art in motion, almost in defiance of the laws of gravity, and in direct distain to the limitations of the average human body. For these ?prima ballerinas,? balance, range of motion, and control of muscle, borders on the miraculous?for to see them execute a grand jete (a running, jumping split), or a flawless grand battement (a kind of controlled kick), can conjure nothing short of slack-jawed awe."
| |
|
Serge Diaghilev and the Ballets Russes, 2002.
A history of Serge Diaghilev and his ballet company, Ballets Russes, and its influence on the world of ballet.
1,080 words (approx. 4.3 pages), 5 sources, MLA, $ 37.95
»
Click here to show/hide summary
Abstract
The paper gives a history of Russian-born Serge Diaghilev and explains how his unconventional ideas of ballet led to the creation of the Ballets Russes in France. The paper lists the people associated with the company and explains the factors that contributed to the success of the Ballets Russes. The author describes the incredible impact that the Ballets Russes had on the world of ballet.
From the Paper
"Serge Diaghilev was born of Russian nobility in Perm, Russia, on March 19, 1872. In 1890 his family moved to Saint Petersburg, and at the university there, Diaghilev was supposed to study law, but he soon became enamored with the arts and realized that was where his future lay."
| |
|
BalletNY and the History of Ballet, 2007.
This paper provides an overview of the history of ballet and looks at the BalletNY dance company.
1,909 words (approx. 7.6 pages), 11 sources, MLA, $ 60.95
»
Click here to show/hide summary
Abstract
Describing ballet as a classical dance form characterized by grace and precision of movement and elaborate formal technique, the writer of this articles presents a history of ballet. The writer looks at the BalletNY company and notes that BalletNY has become a well known and respected dance Company. The writer discusses BalletNY's principal dancers. The writer concludes that the New York City Ballet has done what BalletNY hopes to do, acquire one of the largest, most faithful, intelligent, and enthusiastic audiences in the American theater world.
Outline:
Humble Beginnings
The Emergence of Ballet
Opra Ballet
Liberation Ballerina
Social Change
A Decline In Interest
The New York City Ballet and BalletNY: Full Circle
Bibliography
From the Paper
"Formerly DanceGalaxy, BalletNY was founded in 1997 by former New York City Ballet Principal Ballerina Judith Fugate and International Guest Artist Medhi Bahiri. BalletNY is comprised of accomplished principals and soloists who have danced with leading American and international ballet companies such as New York City Ballet, American Ballet Theatre, Dance Theater of Harlem, and the Joffrey Ballet, among others."
"Judith Fugate is a former principal ballerina with the New York City Ballet. She has danced roles in virtually every ballet in the NYCB repertoire counting Peter Martins and Mikhail Baryshnikov among her many famous partners. In 1997, she left the New York City Ballet Company to purse a career as a freelance Guest Artist and Co-Artistic Director of what is now known as BalletNY."
| |
|
National Ballet of China, 2006.
This article looks at the history of the National Ballet of China. The paper also discusses the history of the Chinese dance form.
1,318 words (approx. 5.3 pages), 7 sources, APA, $ 44.95
»
Click here to show/hide summary
Abstract
The writer looks at the National Ballet of China and its history. This article also studies the form and history of dance in China. The writer describes how the objective of the National Ballet of China is to introduce to the Chinese audiences Western classical ballets and contemporary ballet works. The National Ballet also aims to explore the unique and possible fusion of classical ballet and the Chinese culture. The author explains that in 1957, the classic "Swan Lake," was performed on stage and signaled the formal entry of the ballet form into the country. The paper glances at recently produced successes and at how the company experiments with different modern styles.
From the Paper
"One of the world's top 10 ballet companies, the National Ballet of China was founded on December 31,1959 (CCTV 2005, Orange County 2005) and has, in the past four decades, consisted of generations of striving and gifted artists. The dance company has turned out outstanding artistic achievements in Western and Chinese classical and contemporary ballet. It had rough and tough times too as when it was under-funded and its members became over-aged. Its only reward was art itself and its artists continued to devote themselves to their career to become the pioneer in China's unique ballet style."
| |
|
New York City Ballet, 2006.
Examines the history of ballet and New York City dance company, BalletNY, in particular.
1,900 words (approx. 7.6 pages), 11 sources, APA, $ 60.95
»
Click here to show/hide summary
Abstract
This paper examines the history of ballet from 15th century Italy until present day. It then looks at the history of BalletNY, formerly DanceGalaxy and founded in 1997 by former New York City Ballet Principal Ballerina Judith Fugate and international guest artist, Medhi Bahiri.
Paper Outline:
Introduction
Humble Beginnings
The Emergence of Ballet
Opera Ballet
Liberation Ballerina
Social Change
A Decline In Interest
The New York City Ballet and BalletNY: Full Circle
Bibliography
From the Paper
"Judith Fugate is a former principal ballerina with the New York City Ballet. She has danced roles in virtually every ballet in the NYCB repertoire counting Peter Martins and Mikhail Baryshnikov among her many famous partners. In 1997, she left the New York City Ballet Company to purse a career as a freelance Guest Artist and Co-Artistic Director of what is now known as BalletNY. In addition to touring extensively, Fugate has appeared on "Live from Lincoln Center" with Ray Charles in Peter Martin's "A Fool for You", and in the Metropolitan Opera's production of "La Traviata", conducted by Placido Domingo."
| |
|
Ballet, 2005.
This paper discusses ballet as a form of dancing and examines its significance.
1,575 words (approx. 6.3 pages), 4 sources, $ 62.95
»
Click here to show/hide summary
Abstract
The paper explains the origin of ballet in relation to semiotics and aesthetics. The paper then discusses its appeal to diverse audiences, using the example of Chinese and Chinese overseas culture. The paper includes notes on the theory of aesthetics and how some may appeal across cultures, as opposed to others. The paper presents ideas of ballet as an institution and not just a form of classical dance, explaining that this depends on location.
From the Paper
"Marcel Danesi explains that dancing is found in all cultures, sometimes as a 'body art' that can be a form of aesthetic communication. (2004, 61) This form of dance can express emotions, moods, ideas, or it can tell a story. Danesi refers directly to Western classical ballet as his example. This paper tells more of ballet and how it can appeal to people, too, who live beyond Western countries, and those who belong to non-Western cultures. As aesthetic communication, ballet has become part of Chinese culture in particular."
| |
|
"The Grass Dancer", 2005.
A review of the book, "The Grass Dancer" by Susan Power.
1,973 words (approx. 7.9 pages), 1 source, MLA, $ 62.95
»
Click here to show/hide summary
Abstract
This paper examines how "The Grass Dancer" by Susan Power develops two forms of the female soul as represented by Lydia Wind Soldier and Anna "Mercury" Thunder. It looks at how this theme plays itself out through the entire novel; Anna, though powerful, uses her power to her own ends, while Lydia, less powerful, gives all of herself away for the sake of others. It shows how, regardless of the nature of their actions, both women are deeply embroiled in the playing out of time and how this dominates the role of women in the Dakota spiritual world.
From the Paper
"Contrasting this life of earthly gratification is the character of Lydia Wind Soldier. Lydia gives nearly everything of herself for the sake of those around her to such an extent that she appears to be visibly disappearing: "He [Harley] reached out and hugged her then-something he did only rarely since turning seventeen because as he watched her, she blurred at the edges, looked to him like a person being slowly erased by some spectral finger." (Power 18). Lydia has given of herself so much that her physical body is somehow reduced, although the manner of this reduction is quite different than Anna's physical ugliness and decrepit form."
| |
|
"Dancers in Pink", 2007.
An analysis of the techniques employed by Edgar Degas in his painting "Dancers in Pink."
1,379 words (approx. 5.5 pages), 8 sources, MLA, $ 46.95
»
Click here to show/hide summary
Abstract
This paper analyzes the painting "Dancers in Pink," painted by Edgar Degas in 1878. The paper describes the compositional structure of the painting and how it appeals aesthetically to the viewer. The paper then goes on to discuss the synthesis between form and color in the entire work and how they enhance the overall painting. The paper concludes by describing the use of paint and the technique of paint application, as well as Degas' choice of hues and tones.
From the Paper
"This experimentation with painting technique can be seen in the different method of paint application work. Some areas in the dresses of the two main figures are thinly painted, possibly diluted with turpentine, while others seem to be more impasto-like in their quality. It is the use of washes over thick paint that, especially in the skin tones, provides the feeling of tactile sensuality. It seems as if the pink and orange has been painted over an underlayer of flesh tones, which can just be seen beneath the rich folds of the dresses. The brush strokes also vary throughout the painting, with smoother and crisper brushwork in the dresses and figures and rougher, more 'sketchy' brushwork in the background and in the smaller figures."
| |
|
"Beauty: When the Other Dancer is the Self", 2006.
A brief analysis of Alice Walker's "Beauty: When the Other Dancer is the Self".
742 words (approx. 3.0 pages), 0 sources, $ 26.95
»
Click here to show/hide summary
Abstract
This paper examines Alice Walker's article which a personal narrative that takes the reader on a journey through emotional rejection and reconstruction to realize that love exists beyond the physical self created by the mind.
From the Paper
"She has a personal revelation when her daughter finally notices her eye. She feared that her daughter would reject her just as she had dreaded her entire lifetime that the world would push her aside. Instead, her daughter was amazed that there was a "world in her eye". The young child thought her mother's defect was beautiful and special. An entire lifetime of resentment and pain became a source of pride and strength. Love was not given based on beauty but out of a culmination of emotions such as respect, loyalty, and affection. It took her child and the innocence of youth to show her life's ultimate beauty is found within and not based on an unrealistic ideal set by society's expectations. She missed so much by hiding her face from the world and found a lifetime within the eyes of a child. Ultimately, Alice Walker's journey was about finding acceptance. She needed to learn to love and accept her body because it was an integral part of her entire person, regardless of the flaws it contained or the imperfections. She was still the cute child that everyone loved, all grown up and ready to face the world with her head held high. "
| |
|
Paula Fox's "The Slave Dancer", 2005.
A look at how this book can be used in the classroom to teach some important lessons on history and ethics.
1,002 words (approx. 4.0 pages), 2 sources, MLA, $ 35.95
»
Click here to show/hide summary
Abstract
This paper briefly summarizes the plot of Paula Fox's book "The Slave Dancer" and then explains how the book can be used to teach students about slavery, race, morals and ethics. The paper explains how the book can even be integrated into other subjects and the multimedia support available that can be used to teach the lessons in the book.
From the Paper
"An exciting story from the point of view of a student, but a potential lesson in history and ethics in the eyes of a teacher, for Jessie, as compelled by the crew, must play for the slaves so they can dance and keep themselves 'in condition' for the horrific state of human enslavement that awaits them. Few Africans survived the journey known as the Middle Passage with bodies or minds intact, and Jessie becomes a part of this frightening part of American history. This merging of American history and personal identification with the story's main character is conveyed in an especially strong fashion by the author because young children can so easily identify with the protagonist. Like all of boys junior high school age, children such as Jessie are often thrust into a situation where, in his words, was no one can save him. In other words, Jessie has very little control over his life. His father is dead, and he has few resources other than his own wiles. (Fox, p. 22) He does not choose his fate, his fate chooses him."
| |
|
Dance, 2007.
An analysis of jazz, ballet and studio dancing, as well as the requirements for professional dancing.
1,809 words (approx. 7.2 pages), 7 sources, MLA, $ 58.95
»
Click here to show/hide summary
Abstract
This paper discusses various mediums of dance. It looks at jazz, ballet and studio dancing and discusses the discipline, rhythm and music used in each form of dance. The paper also discusses professional dancing and describes the training that is necessary, salaries that dancers can expect and the challenges of professional dancing life, such as expenses and injuries.
Table of Contents:
Jazz
Ballet
Studio Dancers And Dance Teams
Professional Dancers
From the Paper
"The average salary that a dancer earns is $21,000. That means 50% of all dancers earned less, down to $14,570 and 50% earned more, up to $34,660. Dancers on tour earn additional allowances for room and board and overtime. Dancing is considered a part time job and is irregular. Supplementing income may be made by working as guest artists with other dance companies, teaching dance or taking a part-time job in unrelated fields. The dancer signs a contract to work. Union contracts govern those who perform in public, such as major opera ballet, classical ballet or modern dance corps. These belong to the AFL-CIO and those who appear on live or videotaped TV programs belong to the American Federation of Television and Radio Artists. Those in films and on TV belong to the Screen Actors Guild and those in musicals are members of Actors' Equity Association. Through the unions minimum salaries, hours, benefits and other conditions are specified before the dancer signs the contract (Munger 5)."
| |
|
Dancing Through the Pain, 2005.
Research on dancers, their injuries and their motivation to continue dancing.
5,625 words (approx. 22.5 pages), 27 sources, $ 223.95
»
Click here to show/hide summary
Abstract
This is a research paper that discusses ballet dancers and their unique take on dancing despite the pain. It focuses on both the physiological and psychological aspects. The paper explores the dancer's motivation and rates of injury based on psychological pressures. This paper does not offer recommendations on preventing injury, but highlights the motivation of dancers to continue to work despite the injury and risk of further damage.
From the Paper
"In a five-year study of the Boston Ballet Company 77-94% of the dancers were injured during the dance year (Solomon, Solomon, Micheli and McGray, 164), with rates of injuries for 59-70 dancers at 96-137. Thus, the average in their study was 116.5 injuries for 64.5 dancers; or roughly 1.8 injuries per dancer per year. The Solomon group reports that the financial cost to the Ballet Company averaged over half a million dollars per year; at its highest reported for year two of the study, the cost was $974,087. Professional ballet dancers endure a grueling, painful life of injury, starvation and other health issues, and finally disease in later life; yet still they thrive for their art form. Professional ballet dancers continue to perform despite their injuries; for their art form."
| |
|
Edgar Degas, 2002.
This paper discusses Edgar Degas, an impressionist artist whose artwork revealed a concern for the psychology of movement, expression, harmony of line and continuity of curves that distinguished him from all the other impressionist painters.
855 words (approx. 3.4 pages), 5 sources, MLA, $ 30.95
»
Click here to show/hide summary
Abstract
This paper explains that, although Deges was connected with the impressionists, he never was fascinated like others were by the influence of natural light and thus did most of his work inside his studio only. The paper continues that his paintings depicted ballet, horse racing, the theater and circuses, which gave the idea that his work stemmed from the humanistic experience. The author points out that Degas? favorite subjects were scenes from the world of entertainment, the daily life of women, ballet dancers, horse races and young ballerinas.
From the Paper
"Degas was captivated and influenced by a study of Japanese prints of which style appeared to be in his later work. He drew on the Japanese idea of asymmetrical design as an object to set the subject to the side of a painting. For example, one of his paintings made in 1865, depicted a Woman with Chrysanthemums (exhibited at Metropolitan Museum of Art, New York City) where the female subject is pushed into one side by a bouquet of flowers."
|
|
|
