1. History of Ballet

2. Ballet Vocabulary Plié – to bend Ballet words are in French
Tendu – stretched
Tombé - to fall, falling
Pas de bourrée – step back, side, front
Grand -big
Demi – half, small
Grand Jeté - big leap
Sauté – jumped
En Croix – on the cross
Passé – passed
Pique – pricked
Port de bras – carriage of the arms
Dégagé - Disengaged
Rond de jambe – round of the leg
Assemblé - To assemble
Changement – to change feet
Glisade – to glide

3. Ballet Vocabulary En l’air- in the air
En dehor- Away from the supporting leg
En dedan- Towards to supporting leg
Balancé- rocking step; waltz
Chaine- a series of chain link turns
Développé - time deveopled, developing movement
Sous-sus- under over
Pirouette- to whirl; turn
Jeté - throwing step
Tour jeté- turning jump
Echappé – escaping or slipping movement

4. Sickling Feet and Turn-out
Sickling is a fault in which the dancer turns her foot in from the ankle therby breaking the straight line of the leg.
Rotation in turn-out should come
from the hip joint to limit pressure
on the knees and ankles.

5. Ballet
Classical ballet is generally structured on a narrative pretext. It is important that the audience has an understanding of the basic story line so as to fully understand the complex combination of movement, music and storytelling that makes up a performance.
Some ballets, like the Nutcracker or Sleeping Beauty, are based on traditional stories that are familiar even today; others are more obscure and require a greater effort on the part of the dancers and the audience to fully understand their meaning.
Pantomiming is used to help narrate the story for the audience.

6. The art of Ballet can trace its origins to the early seventeenth century, when dancers performed to entertain audiences between scenes of an opera.

7. These short dances grew in popularity and importance until they became a form of theater in their own right, accompanied by a standardization of movements and defining of other stylistic conventions.

8. King Louis XIV, The Sun King
In 1661, King Louis XIV of France founded the Académie Royale de Musique et de Danse, establishing Paris as the center of academic ballet.
Académie Royale de Musique et de Danse, is still operating today as the Paris Opera Ballet

9. Most French court ballets consisted of dance scenes linked by a minimum of plot.
Because they were designed principally for the entertainment of the aristocracy, rich costumes, scenery, and elaborate stage effects were emphasized.

10. The proscenium stage was first adopted in France in the mid-1600s, and professional dancers made their first appearance, although they were not permitted to dance in the grand ballet that concluded the performance; this was still reserved for the king and courtiers.

11. The court ballet reached its peak during the reign ( ) of Louis XIV, whose title the Sun King was derived from a role he danced in a ballet.

12. Many of the ballets presented at his court were created by the Italian-French composer Jean Baptiste Lully and the French choreographer Pierre Beauchamp, who is said to have defined the five positions of the feet.
Also during this time, the playwright Moliere invented the comedie-ballet, in which danced interludes alternated with spoken scenes.

13. Louis XIV stopped dancing in 1670, and his courtiers followed his example.
By then the court ballet was already giving way to professional dancing. At first all the dancers were men, and men in masks danced women's roles.
The first female dancers to perform professionally in a theater production appeared (1681) in a ballet called Le Triomphe de l'Amour (The Triumph of Love).

14. Women became stars to equal men.
Marie Salle
Marie Carmargo
Jean Claude Balon

15. Romantic Era
The era began with the 1827 début in Paris of the ballerina Marie Taglioni in the ballet La Sylphide, 
The era marked the rise of the ballerina as a central part of ballet.
She was one of the most celebrated ballerinas of the romantic ballet.
Considered to be the first dancer to dance en pointe.
Known for shortening her skirt in La Sylphide, which was considered highly scandalous at the time.  
Marie Taglioni in La Sylphide

16. Point Shoes & Tutus
To enhance the image of the dancer’s weightlessness.
Ballerinas began wearing Pointe Shoes in the mid-1800 but shoes had no support. Pointe shoes were made famous by ballerina Anna Pavlova in the 1900s.
Tutu is a skirt made of a net fabric called Tule. It allowed the dancer to show their legs and feet on stage.

17. Tutu
Tutu is a skirt made of a net fabric called Tule. It allowed the dancer to show the technique of the legs and feet on stage.

18. Dancer and choreographer
Anna Pavlova was regarded as one of the finest classical ballet dancers in history and was the first ballerina to tour around the world.
Vaslav Nijinsky:
Dancer and choreographer
Often cited as the greatest male dancer of the 20th century.

19. New York City Ballet
George Balanchine: One of the greatest and most prolific choreographers in ballet history. Dismissed from Ballet Russe and then Marinsky Ballet as his choreography was too controversial he went to New York.
Founded The School of American Ballet in 1933 and the New York city Ballet in 1934.
Co-founder and ballet master of the New York City Ballet. Choreographed more than 400 ballets, 100 of which are still performed today.
8:05
George Balanchine

20. New York City Ballet

21. American Ballet Theater
American Ballet Theatre was launched in 1939, the aim was to develop a repertoire of the best ballets from the past and to encourage the creation of new works by gifted young choreographers, wherever they might be found.
Members of the Artistic Committee of Ballet Theatre in 1947: L-R: Jerome Robbins, Lucia Chase, Agnes de Mille, Oliver Smith and Aaron Copland.

22. Mikhail Baryshnikov
A Russian dancer, choreographer cited alongside Nijinsky and Nureyev as one of the greatest ballet dancers in history.
Started with Kirov ballet, he defected in 1974
Joined NYCB the American Ballet Theater
Became the Artistic Director of ABT in 1980

23. Ballet Arizona Founded in 1986 as resident ballet company for Arizona
Directed by Jean-Paul Comelin formally a dancer from Stuttgart Ballet.
In 2000, Ib Anderson was named artistic director.
As a former dancer for New York City Ballet mounted many Balanchine dances on company.