Dancing Genius: The Stardom of Vaslav Nijinsky

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Tracing the historical figure of Vaslav Nijinsky in contemporary documents and later reminiscences, Dancing Genius opens up questions about authorship in dance, about critical evaluation of performance practice, and the manner in which past events are turned into history.
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About the author

Hanna Järvinen is a Lecturer in Dance and Performance Studies at the Theatre Academy of the University of the Arts Helsinki, Finland. Also working as a scholar of cultural history, Hanna has published articles for publications including The Senses and Society, Dance Research, and Dance Research Journal.

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Published on
May 28, 2014
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Art / General
History / Europe / General
Performing Arts / Dance / Classical & Ballet
Performing Arts / Dance / General
Performing Arts / General
Performing Arts / Theater / General
Performing Arts / Theater / History & Criticism
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"Miss Grant has made more information available in one book than we have ever had before. Teacher's organizations would do well to consider the use of Miss Grant's Technical Manual as an official textbook." — Dance Magazine
Teacher recommended, Gail Grant's Technical Manual has long been one of the most popular and effective ballet reference guides. Completely revised and updated, this third edition is virtually a new work and should be owned by every student, dance teacher, choreographer, and ballet enthusiast — even those who purchased the second edition. Extensive revision, expansion, and the inclusion of more than 300 new terms have added immeasurably to the value of this concise, definitive manual.
Moving from "abstract ballet" and "adage, adagio" to "working leg" and "wrapped position," the book fully describes and defines over 1,100 ballet steps (saul de chat, jeté enveloppé, failli, entrechat six, etc.), movements and poses (arabesque, épaulement, attitude, en arrière, retiré, à terre, dégagé, etc.), and other expressions and concepts. For each, first a phonetic transcription is provided, then a literal translation, and finally an explanation of how the step is performed, the pose captured, or the movement executed, of how the concept fits in with actual ballet dancing, or of the purpose or function of the idea. A pronunciation guide, cross-references to alternate names for similar steps and positions that vary from the Russian to the French or Italian schools, and a bibliography are all invaluable aids.
But the most important supplement is the 15-page pictorial section, drawn by the author, who is both a successful ballet teacher and dancer. Keyed to the dictionary (and vice-versa), these diagrams show clearly the exact foot, leg, arm, and body positions for the proper execution of many of the more common ballet steps and movements. This essential and easy reference is a must for every teacher, aspiring dancer, and ballet class.
Although the stars of Russian ballet Anna Pavlova and Tamara Karsavina possessed a national manner of dancing, there was no truly Russian school of dancing until the 1930s. The development of this school was largely due to Mme. Vaganova (1879–1951), not only a great dancer but also the teacher of Galina Ulanova and many others and an unsurpassed theoretician.
The principles of Vaganova's system are presented in this well-known book. Mme. Vaganova's aim of creating a personal approach to the Russian dance was based on the critical assimilation of the experience of her contemporaries. Her ability to choose the best of what had been accomplished in the various ballet traditions (French, Italian, and Russian) and combine these into a unified teaching practice in itself amounted to a new school of dance. She firmly believed that the teaching process should be a planned exercise, ever changing with innovations in the dance. She sought from her pupils emotional expressiveness, strictness of form, a resolute, energetic manner of performance, and the understanding of the underlying coordination of movements.
Her book discusses all basic principles of ballet, grouping movements by fundamental types. Chapters cover battements, rotary movements of the legs, the arms, poses of the classical dance, connecting and auxiliary movements, jumps, beats, point work, and turns as well as material for a sample lesson. Diagrams show clearly the exact foot, leg, arm, and body positions for the proper execution of many steps and movements. The result is a fundamental theory of dance that offers dancers, teachers, and ballet lovers information often difficult to locate in other books.
118 illustrations.

Bereits seit einigen Jahren wird den Kommunen im Zuge von Dezentralisierungsdebatten im Bildungssystem eine höhere Problemlösekompetenz zugesprochen, als sie den Ländern attestiert wird. Die in diesem Kontext entstehenden Diskussionen zur Vergrößerung des derzeitigen Handlungsspielraums der Kommune sind daher aus dem aktuellen bildungspolitischen Diskurs kaum wegzudenken und schlagen sich in Nordrhein-Westfalen in der beinahe flächendeckenden Gründung der Regionalen Bildungsbüros nieder. Dieser Band vereint gleichermaßen theoretische und empirische Erkenntnisse zum Regionalen Bildungsbüro sowie Tipps und Hinweise für eine schulträgergestützte Schulentwicklung aus der Praxis und für die Praxis. Am Beispiel des Projektes 'Schulen im Team - Transferregion Dortmund' werden Handlungsfelder dieses noch jungen Akteurs exploriert, um so Hinweise darauf zu erhalten, inwieweit Schulentwicklung am Beispiel interschulischer Netzwerke kommunal gedacht werden kann. Der zweite Teil dieses Bandes bietet Handlungsoptionen für die Personen, die Netzwerke in ihrer Region für die Schulentwicklung nutzen möchten. Hier werden Good-Practice-Beispiele gegeben, die sich hinsichtlich einer schulträgergestützten Schulentwicklung für das Regionale Bildungsbüro Dortmund als hilfreich erwiesen haben.

Johanna Otto, seit 2011 wissenschaftliche Mitarbeiterin am Institut für Schulentwicklungsforschung, TU Dortmund, im Projekt "Schulen im Team - Übergänge gemeinsam gestalten", vorher im Projekt "Schulen im Team - Transferregion Dortmund". Voin 2008 bis 2009 Mitarbeiterin in der Kinderneurologie-Hilfe Münster e.V. 2002-2008 Magisterstudium in den Fächern Pädagogik, Deutsche Philologie und Englische Philologie an der Universität Göttingen.
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