Four Centuries of Ballet: Fifty Masterworks - Lincoln Kirstein - Google ...
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1984/01/01 - In this profusely illustrated study, he brings extraordinary erudition, a ballentomane's passion and a critic's perception to the task of illuminating four centuries of ballet history. Here is an examination, lucid and brilliant, not only ...
Lincoln Kirstein
Courier Corporation, 1984/01/01 - 290 ページ
Lincoln Kirstein, co-founder (with George Balanchine) and longtime General Director of the world-famous New York City Ballet, is one of America's most eloquent and influential spokesmen for the dance. In this profusely illustrated study, he brings extraordinary erudition, a ballentomane's passion and a critic's perception to the task of illuminating four centuries of ballet history.
Here is an examination, lucid and brilliant, not only of dances and dancers, but of dance itself. Kirsten surveys the five components of theatrical dance - choreography, gesture and mime, music costume, scenery and decor - and traces their development over the past 400 years. "If there is a hero, " he writes, "it is choreography" - that "map of movement" embodying the syntax, idiom and vocabulary of dance.
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多く使われている語句
academic Alexandre Benois Apollo artists Bakst Balanchine ballerinaballet d’action ballet master Baroque Benois Bibliotheque bodycentury choreography classic Cocteau commedia dell’artecomposer Coppélia corps de ballet costume d’action dancing master dansedécor designed deux Diag Diaghilev divertissement drama drawing dressEngraving Esmeralda Faune Fokine France French gesture girls Gisellegrand hilev illus Isadora Isadora Duncan Italian Italy king La Sylphide later Léon Bakst libretto Lithograph Louis XIV Lully male dancer Marie Taglioni ment metaphor mime mimicry Moscow movementMuseum Nijinsky Noverre Noverre’s numbers Opéra opera houses orchestralOrpheus painters painting palace pantomime Paris pas de deuxpeasant performed Perrot Petersburg Petipa Petrouchka Plot or PretextPolitics Precedent Prince Priority Production professional Rameau repertory revivalRoman Russian Salmacida Spolia scene scenery score skirts Social dancespectacle stage Stravinsky style Sylphide Taglioni theatrical dancing tiontradition Vaslav Nijinsky Vienna virtuosity Watercolor York and London
人気のある引用
11 ページ - And that the serpentine line, by its waving and winding at the same time different ways, leads the eye in a pleasing manner along the continuity of its variety...
30 ページ - My idea was that the overture ought to indicate the subject and prepare the spectators for the character of the piece they are about to see; that the instruments ought to be introduced in proportion to the degree of interest and passion in the words...
87 ページ - ... only his cloacal obsession. He gazed about him in his toga and he said: It is meet to be here. Let us construct a watercloset.
227 ページ - A choreographer can't invent rhythms; he only reflects them in movement. The body is his medium and, unaided, the body will improvise for a short breath. But the organization of rhythm on a grand scale is a sustained process. It is a function of the musical mind.
95 ページ - Tho' mask'd and mute, conveyed his quick intent, And told in frolic gestures what he meant : But now the motley coat and sword of wood Require a tongue to make them understood!
39 ページ - All she did was done with great ease - or so it seemed — this it was which gave her an appearance of power. She projected the dance into this world of ours in full belief that what she was doing was right and great. And it was. She threw away ballet skirts and ballet thoughts. She discarded shoes and stockings too. She put on some bits of stuff which when hung upon a peg looked more like torn rags than anything else ; when she put them on they became transformed.
23 ページ - The attitudes of the harlequin are ingeniously composed of certain little quick movements of the head, hands, and feet, some of which shoot out as it were from the body in straight lines, or are twirled about in little circles.
20 ページ - either a certaine visible eloquence, or an eloquence of the bodie, or a comely grace in delivering conceits, or an externall image of the internall mind. . . . Action then universally is a natural or artificial moderation, qualification, modification or composition of the voice, countenance and gesture of the bodie proceeding from some passion, and apt to stir up the like.
95 ページ - The Arm extended and lifted up signifies the Power of doing and accomplishing something; and is the Gesture of Authority, Vigour, and Victory. On the contrary, the holding your Arms close is a Sign of Bashfulness, Modesty and Diffidence.
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