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Choreographing Kandinsky’s ‘Spiritual’ in Sergei Diaghilev’s Ballets Russes

Bibliography: Acocella, Joan Ross, “The Origins of Ballets Russes”, in The Art of Enchantment: Diaghilev’s Ballets Russes, 1909-1929. 1 st ed. Fine Arts Museum, San Francisco, 1988: 26–38. Acocella, Joan Ross, “Ballets Russes”, en Cahiers de Belgique, vol.I, Programme officiel, Archives Internationales de la Danse, Paris, 1928. Bowlt, John E.; Tregulova, Zel’fira; Rostischer, Natalie; A feast of Wonders: Serghei Diaghilev and the Ballets Russes, Skira, Genève, 2009. Brown, Ismene, “Foreward”, in Michael Meylac (Ed.), Behind the Scenes of

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Comparison of Body Composition and Energy Intake of Young Female Ballet Dancers and Ordinary School Girls

recovery from resistance exercise alters myofibrillar protein synthesis. J. Physiol ., 591 (9), 2319–2331. Beck, K. L., Mitchell, S., Foskett, A, Conlon, C. A., von Hurst, P. R. (2015). Dietary intake, anthropometric characteristics, and iron and vitamin D status of female adolescent ballet dancers living in New Zealand. Int. J. Sport Nutr. Exerc. Metab., 25 (4), 335–343. Benardot, D. (2012). Advanced Sports Nutrition . 2nd ed. Human Kinetics, Champaign, IL. 424 pp. (at p. 341). Croll, J., K., Neumark-Sztainer D., Story, M., Wall, M., Perry, C

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An Epidemiological Study of Non-specific Low Back Pain in Non-professional Female Greek Classic Ballet Dancers

REFERENCES 1. Bowling A. Injuries to dancers: prevalence, treatment, and perceptions of causes. BMJ 1989; 298(6675):731-4. 2. Garrick JG, Requa RK. Ballet injuries. An analysis of epidemiology and financial outcome. Am J Sports Med 1993;21(4):586-90. 3. Nilsson C, Leanderson J, Wykman A, et al. The injury panorama in a Swedish professional ballet company. Knee Surg Sports Traumatol Arthrosc 2001;9(4):242-6. 4. Hincapie CA, Morton EJ, Cassidy JD. Musculoskeletal injuries and pain in dancers: a systematic review. Arch Phys Med Rehabil 2008

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The Effects of 17 Weeks of Ballet Training on the Autonomic Modulation, Hormonal and General Biochemical Profile of Female Adolescents

–70 Eliakim A, Ish-Shalom S, Giladi A, Falk B, Constantini N. Assessment of body composition in ballet dancers: correlation among anthropometric measurements, bio-electrical impedance analysis, and dual-energy X-ray absorptiometry. Int J Sports Med , 2000; 21(8): 598–601 Eliakim A, Nemet D. The endocrine response to exercise and training in young athletes. Pediatr Exerc Sci , 2013; 25(4): 605-15 Enea C, Boisseau N, Fargeas-Gluck MA, Diaz V, Dugué B. Circulating androgens in women: exercise-induced changes. Sports Med , 2011; 41(1): 1-15 Filaire E

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The Effects of Multimedia Computer- Assisted Instruction on Learning Basic Ballet Skills with Physical Education Students

-25. Paula H. Lobo da Costa, Fernanda G. S. Azevedo Nora , Marcus Fraga Vieira, Kerstin Bosch , Dieter Rosenbaum (2012). Single leg balancing in ballet: Effects of shoe conditions and poses. Gait & Posture, In Press, Corrected Proof, Available online 16 September 2012. Popat, S. (2001). Interactive dance-making: online creative collaborations. Digital Creativity, 12, 4, 205- 214. Satern, M. N., & Coleman, M. M., & Matsakis, M. H. (1991). The effect of observational training on the frequency of skill-related feedback given by preservice

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Supplementary Low-Intensity Aerobic Training Improves Aerobic Capacity and Does Not Affect Psychomotor Performance in Professional Female Ballet Dancers

deterioration during incremental exercise after training in athletes. Int J Psychophysiol, 2010; 75(3): 287-290 Chmura J, Nazar K, Kaciuba-Uściłko H. Choice reaction time during graded exercise in relation to blood lactate and plasma catecholamine thresholds. Int J Sports Med, 1994; 15(4): 172-176 Cohen JL, Segal KR, Witriol I. Cardiorespiratory responses to ballet exercise and the V02max of elite ballet dancers. Med Sci Sports Exerc, 1982; 14(3): 212-217 Dogan B. Multiple-choice reaction and visual

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The Metamorphosis of Performing Arts

Abstract

This article examines the relationship between performing arts, the multidisciplinary aspect of them, thereafter seeking to address a few similarities and differences in approaching a live performance. The confluence between ballet, theatre and opera is obvious and a brief overview of the main interlaced stages in the development of performing arts will also prove that they have always been related and dependant on one another. Every performing art crosses its boundaries and not only does it explore issues or topics specific to the other arts, but it also uses their tools. Thus, this article integrates a few contemporary tendencies of intersection in performing arts, mainly the pervasive presence of ballet and theatre. Subsequently, in considering live performance, the impact on the audience is also assessed, as well as the harmony of perception created between the performer and the public.

Further on, the paradigm development in performing arts is determined due to the augmenting of the new technological tools being used. The aim of using these tools is to create special effects that emphasize the quality of the performance. In addition to a comprehensive influence, this article explains how contemporary social and political changes, scientific and technological progress have determined more changes in the performing arts than they had in the previous centuries.

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Ipostases of The Choreographic Dialogue

Abstract

The analysis of the aesthetic face of dance brings to our forefront the fascination for the movement on many artists who experienced the movement and, above all, explored the possibilities of kinetic art or movement movement. In its most elevated form, dance contains not only this element but also the infinite richness of human personality. It is the perfect synthesis of the abstract and the human, of mind and intellect with emotion, discipline with spontaneity, spirituality with erotic attraction to which dance aspires; and in dance as a form of communication, it is the most vivid presentation of this fusion act that is the ideal show.

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The First Steps to the Professionalization of Romanian Ballet

Abstract

The aim of this article is that of giving several details on the evolution of dance in Romania. The necessity of addressing this topic is given to the fact that there are many people who conceive sterile discourses in order to come forth with theories on the history of national dance. Frequently ignored or regarded as an easy genre that is strictly related to entertainment, dance is deeply rooted in our DNA, and minimizing the importance of the choreographic art deprives humanity of its existential roots.

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