A ballet dancer is a person who practices the art of classical ballet. Both females and males can practice ballet, they rely on years of extensive training and proper technique to become a part of professional companies. Ballet dancers are at a high risk of injury due to the demanding technique of ballet. Ballet dancers begin training between the ages of 2-4 or 5-7 if they desire to perform professionally. Training does not end, they must attend ballet class six days a week to keep themselves aware. Ballet is a strict form of art, the dancer must be athletic and flexible. Ballet dancers begin their classes at the barre, a wooden beam that runs along the walls of the ballet studio. Dancers use the barre to support themselves during exercises. Barre work is designed to warm up the body and stretch muscles to prepare for center work, where they execute exercises without the barre. Center work in the middle of the room starts out with slower exercises leading up to faster exercises and larger movements.
Ballet dancers finish center work practicing big leaps across the floor, called grande allegro. After center work, females present exercises on pointe, or on their toes, supported by special pointe shoes. Males practice turns, they may practice partner work together. Ballet dancers are susceptible to injury because they are putting strain and stress on their bodies and their feet. A ballet dancer's goal is to make physically demanding choreography appear effortless. Ballet dancers increase their risk of injury. However, many ballet dancers do start on the average age of 6 to 8 years old; the upper body of a ballet dancer is prone to injury because choreography and class exercises requires them to exert energy into contorting their backs and hips. Back bends cause the back to pinch, making the spine vulnerable to injuries such as spasms and pinched nerves. Extending the legs and holding them in the air while turned out causes damage to the hips; such damage includes strains, fatigue fractures, bone density loss.
Injuries are common in ballet dancers because ballet consists of putting the body in unnatural positions. One such position is first position, in which the heels are placed together as the toes point outward, rotating, or "turning out" the legs. If First Position is done incorrectly it can cause knee problems, when done it should increase flexibility and reduce pressure on the knees. Meniscal tears and dislocations can happen at the knees when positioned incorrectly because it is easy to let the knees slide forward while turned out in first position. Ballet dancer's feet are prone to other damage. Landing incorrectly from jumps and working in pointe shoes may increase risk of broken bones and weakened ankles where care and attention is not taken by a conscientious teacher and student. Tendonitis is common in female ballet dancers. Landing from jumps incorrectly may lead to shin splints, in which the muscle separates from the bone. Class time is used to correct any habits. If the ballet dancer is properly trained, the dancer will decrease their risk of injury.
Some ballet dancers turn to stretching or other methods of cross training, like Pilates, non impact cardio, swimming. This, outside cross training, attempts to minimize the risk of bodily damage by increasing strength, exercise diversity, stamina. Injuries are a common occurrence in performances. Most injuries do not show up until in a ballet dancer’s life, after years of continuous strain. Traditional, gender-specific titles are used for ballet dancers. In French, a male ballet dancer is referred to a female as a danseuse. In Italian, a ballerina is a female who holds a principal title within a ballet company. In Italian, the common term for a male dancer is danzatore and a female dancer is a danzatrice; these terms are used in English. Since ballerino is not used in English, it does not enjoy the same connotation as ballerina. A regular male dancer in Italy is called a danzatore, while ballerino denotes a principal male ballet dancer in Italy. In the English speaking world, boys or men who dance classical ballet are referred to as ballet dancers.
"ballerino" is used in English-based countries as slang. As late as the 1950s a ballerina was the principal female dancer of a ballet company, very accomplished in the international world of ballet beyond her own company. Ballerina was a critical accolade bestowed on few female dancers, somewhat similar to the title diva in opera; the male version of this term is danseur noble. Since the 1960s, the term has lost this honorific aspect and is applied to women who are ballet dancers. In the original Italian, the terms ballerino and ballerina do not imply the accomplished and critically acclaimed dancers once meant by the terms ballerina and danseur noble when used in English. Rather, they mean one who dances ballet. Italian terms that do convey an accomplished female ballet dancer are prima ballerina and prima ballerina assoluta (the French word étoile is used in this sense at the Scala ballet company in Milan but h
Ballet is a type of performance dance that originated during the Italian Renaissance in the fifteenth century and developed into a concert dance form in France and Russia. It has since become a widespread technical form of dance with its own vocabulary based on French terminology, it has been globally influential and has defined the foundational techniques used in many other dance genres and cultures. Ballet has been taught in various schools around the world, which have incorporated their own cultures and as a result, the art has evolved in a number of distinct ways. See glossary of ballet. A ballet, a work, consists of the music for a ballet production. Ballets are performed by trained ballet dancers. Traditional classical ballets are performed with classical music accompaniment and use elaborate costumes and staging, whereas modern ballets, such as the neoclassical works of American choreographer George Balanchine are performed in simple costumes and without the use of elaborate sets or scenery.
Ballet is a French word which had its origin in Italian balletto, a diminutive of ballo which comes from Latin ballo, meaning "to dance", which in turn comes from the Greek "βαλλίζω", "to dance, to jump about". The word came into English usage from the French around 1630. Ballet originated in the Italian Renaissance courts of the sixteenth centuries. Under Catherine de' Medici's influence as Queen, it spread to France, where it developed further; the dancers in these early court ballets were noble amateurs. Ornamented costumes were meant to impress viewers, but they restricted performers' freedom of movement; the ballets were performed in large chambers with viewers on three sides. The implementation of the proscenium arch from 1618 on distanced performers from audience members, who could better view and appreciate the technical feats of the professional dancers in the productions. French court ballet reached its height under the reign of King Louis XIV. Louis founded the Académie Royale de Danse in 1661 to establish standards and certify dance instructors.
In 1672, Louis XIV made Jean-Baptiste Lully the director of the Académie Royale de Musique from which the first professional ballet company, the Paris Opera Ballet, arose. Pierre Beauchamp served as Lully's ballet-master. Together their partnership would drastically influence the development of ballet, as evidenced by the credit given to them for the creation of the five major positions of the feet. By 1681, the first "ballerinas" took the stage following years of training at the Académie. Ballet started to decline in France after 1830, but it continued to develop in Denmark and Russia; the arrival in Europe of the Ballets Russes led by Sergei Diaghilev on the eve of the First World War revived interest in the ballet and started the modern era. In the twentieth century, ballet had a wide influence on other dance genres, Also in the twentieth century, ballet took a turn dividing it from classical ballet to the introduction of modern dance, leading to modernist movements in several countries. Famous dancers of the twentieth century include Anna Pavlova, Galina Ulanova, Rudolf Nureyev, Maya Plisetskaya, Margot Fonteyn, Rosella Hightower, Maria Tall Chief, Erik Bruhn, Mikhail Baryshnikov, Suzanne Farrell, Gelsey Kirkland, Natalia Makarova, Arthur Mitchell.
Stylistic variations and subgenres have evolved over time. Early, classical variations are associated with geographic origin. Examples of this are Russian ballet, French ballet, Italian ballet. Variations, such as contemporary ballet and neoclassical ballet, incorporate both classical ballet and non-traditional technique and movement; the most known and performed ballet style is late Romantic ballet. Classical ballet is based on vocabulary. Different styles have emerged in different countries, such as French ballet, Italian ballet, English ballet, Russian ballet. Several of the classical ballet styles are associated with specific training methods named after their creators; the Royal Academy of Dance method is a ballet technique and training system, founded by a diverse group of ballet dancers. They merged their respective dance methods to create a new style of ballet, unique to the organization and is recognized internationally as the English style of ballet; some examples of classical ballet productions are: the Nutcracker.
Romantic ballet was an artistic movement of classical ballet and several productions remain in the classical repertoire today. The Romantic era was marked by the emergence of pointe work, the dominance of female dancers, longer, flowy tutus that attempt to exemplify softness and a delicate aura; this movement occurred during the early to mid-nineteenth century and featured themes that emphasized intense emotion as a source of aesthetic experience. The plots of many romantic ballets revolved around spirit women who enslaved the hearts and senses of mortal men; the 1827 ballet La Sylphide is considered to be the first, the 1870 ballet Coppélia is considered to be the last. Famous ballet dancers of the Romantic era include Marie Taglioni, Fanny Elssler, Jules Perrot. Jules Perrot is known for his choreography that of Giselle considered to be the most celebrated romantic ballet. Neoclassical ballet is abstract, with no clear plot, costumes or scenery. Music choice can be diverse and will include music, neoclassical.
Le ballet (Celine Dion song)
"Le ballet" is a French-language song by Canadian singer Celine Dion, recorded for her French album, D'eux. It was released as a promotional single in France in January 1996 and was a huge radio hit, ranking as the sixth most economically profitable song of 1996 in France. "Le ballet" is a bluesy groove song, with percussive finger snaps and electric guitar that shows Dion singing blues for first time. The song is an example of D'eux style, influenced by continental pop, folk music, jazz and 1970s soul. Written and produced by Jean-Jacques Goldman this track is considered an example of Goldman's handling of mature topics and feelings and is known for Dion's imitations of instruments. Starting in her D'eux Tour in 1995, featured on the Live à Paris album, she used an extended version of this song to introduce all her band members, she performed the song on her Falling Into You Around the World Tour. The song was performed in Dion's European concerts in 2017. There was no video made for the song.
"Le ballet" was included as the B-side of "Falling into You" single, released later. The song peaked at number five on the French Airplay Chart, it spent two weeks inside top ten and eleven weeks on the chart in total. It was featured on some editions of Dion's greatest hits compilation On ne change pas in 2005. French promotional CD single "Le ballet" – 4:25 Lyrics of this song at MetroLyrics
René Ballet was a French journalist and essayist. A communist, he was an international correspondent for L’Humanité, he was the author of 35 essays, many of which were about Roger Vailland. René Ballet was born in 1928 in France, he grew up in Grenoble. Ballet joined the French Resistance during World War II. Ballet joined the French Communist Party in Vanves near Paris in the 1960s, he started his career as a civil servant in Paris in 1961, first in finance and in national education. Ballet became a journalist, he wrote for the automobile press, he appeared on television as a contributor. He became the editor-in-chief of Constellation, a Franco-Swiss magazine. From 1971 to 1978, he worked as a communications manager for Fiat S.p. A.. He became an international correspondent for L’Humanité, a communist newspaper, its Sunday newspaper, L’Humanité Dimanche, in 1978. Ballet was the author of 14 novels and 35 essays, he published his first novel, Echec et Mat, in 1960. His 1986 novel, L'organidrame, was selected for the Prix Goncourt.
His 1994 novel, L'hôtel des deux gares, was about a collaborationist in Paris during World War II. His 2002 novel, Retour à Santopal, was based on his career as a correspondent under Augusto Pinochet in Chile. Ballet published research about the works of Roger Vailland, he was the co-founder and vice-president of the Association Roger Vailland in 1995. Moreover, he served on the editorial board of the Cahiers Roger Vailland. Ballet was the co-founder of Le Temps des Cerises, a publishing house, in 1993, he was the founding editor-in-chief of La Revue Commune in 1996. He became an honorary citizen of Vanves in 2004. Ballet was married to a professor of economics and law at Paris Descartes University, they resided between Nice and La Chapelle-Fortin. They attended the Fête de l'Humanité annually. Ballet died on January 2, 2017, at the age of 88. Ballet, René. Échec et mat. Paris: Gallimard. OCLC 26963351. Ballet, René. Les jours commencent à l'aube. Paris: Gallimard. OCLC 23409309. Ballet, René. L'inutile retour.
Paris: Gallimard. OCLC 459454116. Ballet, René. Dérive. Paris: Calmann Levy. OCLC 12123581. Ballet, Rene. Une petite ville sans mémoire. Paris: Temps actuels. ISBN 9782209055647. OCLC 12894274. Ballet, René. L'Organidrame. Paris: Messidor. ISBN 9782209058228. Ballet, René. Des usines et des hommes. Paris: Messidor. ISBN 9782209059409. OCLC 18615695. Ballet, René. Soleil froid. Paris: Messidor. ISBN 9782209061822. OCLC 20922475. Ballet, René. Le domaine du bout de l'île. Paris: Temps actuels. ISBN 9782209066612. OCLC 29793548. Ballet, Rene. L'hôtel des deux gares. Pantin: Le Temps des Cerises. ISBN 9782841090143. OCLC 33078186. Ballet, René. La Manipulation. Pantin: Le Temps des Cerises. ISBN 9782841090709. OCLC 465658926. Ballet, René. Lettres texanes. Paris: Messidor. ISBN 9782209063307. OCLC 22274895. Ballet, René. Retour à Santopal. Pantin: Le Temps des cerises. ISBN 9782841093618. OCLC 52631333. Ballet, René. Soldes d’été au Lüger. Pantin: Le Temps des cerises. ISBN 9782841098545. OCLC 762714626. Ballet, René. Roger Vailland. Paris: Éditions Seghers.
OCLC 797168. Ballet, René. Bourges: une affaire de cœur. Paris: Messidor. ISBN 9782209056972. OCLC 21870792. Ballet, René. Montluçon: bâtir la vie. Paris: Messidor. ISBN 9782209060931. OCLC 31088333. Ballet, René. Auteurs sur la ville: essai-roman. Rouen: Médianes. ISBN 9782908345100. OCLC 27812899. Ballet, René. La boîte noire. Pantin: Le Temps des Cerises. ISBN 9782841090921. OCLC 467517965. Ballet, René. Le Réalisme socialiste: ce bel inconnu. Pantin: Revue Commune. ISBN 9782841092109. OCLC 47625183. Ballet, René. Reporter de l'interdit. Pantin: Le Temps des Cerises. ISBN 9782841093830. OCLC 470363647. Ballet, René. Cocktail au curare: à consommer avec précaution, peut nuire à la quiétude et au sens moral. Pantin: Le Temps des Cerises. ISBN 9782841096701. OCLC 183257465
Glossary of ballet
Because ballet became formalized in France, a significant part of ballet terminology is in the French language. If a step is done "à la seconde," it is done to the side. One of the directions of body, facing the audience, arms in second position, with one leg extended either to fourth position in front or fourth position behind. Touching the floor. Italian, or French adage, meaning'slowly, at ease.' Slow movements performed with grace. One of the typical exercises of a traditional ballet class, done both at barre and in center, featuring slow, controlled movements; the section of a grand pas referred to as grand adage, that features dance partnering. Brisk, lively motion. An attribute of many movements, including those in which a dancer is airborne. Used in ballet to refer to all jumps, regardless of tempo. A category of exercises found in e.g. petit allegro and grand allegro. Refers to a hand and arm position when the fingers and elbows are extended and elongated, rather than forming the usual soft curve.
The apparent elegance and precision exhibited by a accomplished dancer. In dance, arabesque is a body position in which a dancer stands on one leg with the other leg extended, behind the body; the arm positions can vary and are allongé. The foot of the supporting leg may be flat on the floor, on the ball of the foot, or on the tips of the toes. A position of the hand. Rounded, in contrast with allongé. Sometimes pas assemblé. A jump that takes off from one foot and lands on two feet; when initiated with two feet on the ground the working leg performs a battement glissé/dégagé, brushing out. The dancer launches into a jump, with the second foot meeting the first foot before landing. A petit assemblé is; the dancer does a small jump to meet the first foot. A position in which a dancer stands on one leg while the other leg is raised and turned out with knee bent to form an angle of 90° between the thigh and the lower leg; the height of the knee versus the foot and the angle of the knee flexion will vary depending on the techniques.
The working leg can be held behind, to the side of the body. The alignment of the thigh compared to the midline in Attitude derrière will vary depending on the techniques; the foot of the supporting leg may be en demi-pointe, or en pointe. The standing leg can bend. A movement towards the front, as opposed to en arrière, conversely a movement towards the back. For example, a step travelling en avant moves forwards towards the audience, as in sissonne en avant. A movement towards the back, as opposed to en avant. A rocking sequence of three steps—fondu, relevé, fondu —executed in three counts. Before the first count, one foot extends in a dégagé to the front or rear; the second foot in the sequence assembles behind the first to relevé in fourth position. Swinging the working leg between front and back through first position in conjunction with grands battements or attitudes and involving seesaw like shifting of the upper body in opposition to the legs. Similar to en cloche. A principal female ballet dancer.
The foundational principles of body movement and form used in ballet. A ballet fan or enthusiast; the word is of Russian origin c. 1930, with the suffix -mane coming from maniya. Showing lightness of movement in leaps and jumps. A dancer exhibiting ballon will appear to spring effortlessly, float in mid-air, land like a balloon. In classical ballet, the term ballonné is a step; the knee is bent and the foot brought to a sur le cou-de-pied position. This can be done as a relevé or jump. A ballotté is a jumping step in classical ballet that consists of coupé dessous and small developpés performed with a rocking and swinging movement; the step can be performed with the leg extensions at 90 degrees. A sturdy horizontal bar waist height, used during ballet warm-up exercises and training. Fixed barres are mounted on mirror-covered walls. An alternating side-to-side movement of the working leg. Performed in multiples and in rapid succession so that the working foot appears to be fluttering or vibrating. A general term for jumps in which the legs open sideways and close multi
Gilbert Ballet was a French psychiatrist and historian, a native of Ambazac in the department of Haute-Vienne. He studied medicine in Limoges and Paris, subsequently became Chef de clinique under Jean-Martin Charcot at the Salpêtrière. In 1900 he became a professor of psychiatry, in 1904 established the department of psychiatry at Hôtel-Dieu de Paris. In 1909 he succeeded Alix Joffroy as chair of clinical psychiatry and brain disorders at the Hôpital Sainte-Anne. In 1909 Ballet was elected president of the Société française d'histoire de la médecine, in 1912 became a member of the Académie des sciences. Ballet is remembered for his 1903 publication of Traité de pathologie mentale, which remained a principal reference book on psychiatry for nearly fifty years in France. In 1911 Ballet described a disorder he called psychose hallucinatoire chronique, being defined as chronic delirium that consists of hallucinations. In French psychiatry, "chronic hallucinatory psychosis" was to become classified as a distinct entity, separate from other self-delusional disorders.
Among his other works were an 1897 treatise on hypochondria and paranoia titled Psychoses et affections nerveuses, an historical biography on philosopher Emanuel Swedenborg. With Adrien Proust, he published L'Hygiène du neurasthénique, a book, translated into English and published as "The Treatment of Neurasthenia". "Ballet's sign": Palsy affecting one or more extraocular muscles associated with Graves' ophthalmopathy. A Clinical Lesson at the Salpêtrière Parts of this article are based on a translation of an equivalent article at the French Wikipedia. Gilbert Ballet @ Who Named It
Patrick Juvet is a former model turned singer-songwriter, who had a string of hit records in France. While his early career was focused on making pop records, he found international success as a disco music performer in the latter half of the 1970s. Born in Montreux, Juvet grew up in nearby La Tour-de-Peilz, with his parents and Janine, his brother Daniel, his sister Nancy. Juvet's father sold radios and televisions, which sparked an early interest in music for the young Juvet. Juvet began studying piano at age 7. Juvet moved to Paris in 1968 at the age of 18 with little money. A friend encouraged him to become a model in Germany, Juvet pursued this career in Düsseldorf, for two years, he returned to Paris in 1970. In Saint-Tropez he met French music producer Eddie Barclay, who allowed him to record a first single in 1971, he wrote Le Lundi au soleil sung by Claude François. He represented Switzerland at the Eurovision Song Contest 1973 with "Je vais me marier, Marie," placing at no. 12 in the competition.
In 1977, Juvet collaborated with French composer and musician Jean-Michel Jarre on the French-language album, Paris by Night, which featured the hit song, "Où sont les femmes?" In 1978, he worked with noted disco producers Jacques Morali and Henri Belolo, who produced Village People and The Ritchie Family, among other acts. As a result, Juvet soon experienced international success with the disco tracks, "Got a Feeling" and "I Love America."The aforementioned "Où sont les femmes?" was re-recorded in English under the title, "Where Is My Woman?", was featured on Juvet's English-language debut on Casablanca Records in the U. S. Victor Willis, original lead singer of Village People, was the lyricist for the project, his soundtrack score to David Hamilton's art house film Laura featured disco musicians Marc Chantereau and Slim Pezin of Voyage and Space session bassist Jannick Top. Although the music from Laura was never released on compact disc and was never released in the United States, it nonetheless sold 650,000 copies.
Parts of the music were written and produced by the New Zealander Brian Southcombe, once married to Charlotte Rampling. Southcombe, David Hamilton and another New Zealander "Glenn Holland". Archived from the original on 6 January 2011. Were at one time trying to set up a sequel movie to Laura and are said to have approached Juvet for more music. Pictures from Laura and much other Hamilton art can be seen at the official "David Hamilton". Web site. With the decline of disco in the early 1980s, Juvet returned to the French music scene in 1982 with the album, Rêves immoraux. While selling respectably, the album failed to match Juvet's earlier commercial success. A time of financial and personal decline followed, with Juvet suffering periods of depression and alcoholism and relocating from mainland Europe to London to Los Angeles and in the latter half of the 1980s, back to Switzerland. Juvet returned to his roots as a singer-songwriter with the album, Solitudes; the disc featured more personal, emotional songs with Juvet being accompanied by French language performers, Françoise Hardy, Luc Plamondon, Marc Lavoine.
In 2005, Juvet released his autobiography Les bleus au cœur: Souvenirs, in which he talks about his career and his bisexuality. La musica Love Olympia 73 Chrysalide Mort ou vif Paris by Night Got a feeling Lady night Laura ou les ombres de l'été Live Olympia 79 Still Alive Rêves immoraux Solitudes Best of Patrick Juvet L'essentiel "Je vais me marier, Marie" "Toujours du cinema" "Rappelle-toi Minette" "Faut pas rêver" "Où sont les femmes?" "Megalomania" "Got a Feeling" "I Love America" "Lady Night" "Swiss Kiss" "Laura" Patrick Juvet on IMDb Official Patrick Juvet website Biography, from Radio France Internationale Biography, from Radio France Internationale