Izumo no Okuni was a Japanese entertainer and shrine maiden who is believed to have invented the theatrical art form of kabuki. She is thought to have begun performing her new art style of kabuki theatre in the dry riverbed of the Kamo River in Kyoto. Okuni's troupe quickly gained immense popularity, and were known for their performers, who were often lower-class women Okuni had recruited to act in her all-female theatre group.
Romeo and Juliet, Op. 64, is a ballet by Sergei Prokofiev based on William Shakespeare's play Romeo and Juliet. First composed in 1935, it was substantially revised for its Soviet premiere in early 1940. Prokofiev made from the ballet three orchestral suites and a suite for solo piano.
Carlo Blasis was an Italian dancer, choreographer and dance theoretician born in Naples. He is well known for his very rigorous dance classes, sometimes lasting four hours long. He danced in France, Italy, London and Russia. Blasis insisted that his students learn theories and definitions of dance steps. He trained all of Enrico Cecchetti's teachers and it is thought that Blasis's influence in his training is what led Cecchetti to create the Cecchetti method of ballet.
Joseph Mazilier was a 19th-century French dancer, balletmaster and choreographer. He was born as Giulio Mazarini. He was most noted for his ballets Paquita (1844) and Le Corsaire (1856). He created the role of James in La Sylphide with Marie Taglioni. Marie Guy-Stéphan debuted in Aelia et Mysis at the Paris Opéra when she moved in 1853 to Paris.
Lucette Aldous was an Australian prima ballerina during her performing years. She was the resident principal dancer with The Australian Ballet, and well known for performing the role of Kitri in the film of Rudolf Nureyev's production of Don Quixote, receiving many honours for her years of performance including being appointed AC in the 2018 Australia Day Honours list.
Grotesque dance is a category of theatrical dance that became more clearly differentiated in the 18th century and was incorporated into ballet, although it had its roots in earlier centuries. As opposed to the danse noble or "noble dance" performed in royal courts which emphasized beauty of movement and noble themes, grotesque dances were comic or lighthearted and created for buffoons and commedia dell'arte characters to amuse and entertain spectators or patrons. In 16th and 17th centuries grotesque dances were often presented as an anti-masque, performed between the acts of more serious courtly entertainments. Likewise, the 17th century entrée de ballet sometimes contained grotesque sequences, most notably those devised by the Duke of Nemours for the court of Louis XIII.
Barbara Campanini, known as La Barbarina, was an Italian ballerina, one of the most important ballet dancers of the 18th century.
Anna Maria Felicita Bonfanti (1845-1921), known as Marie or Marietta Bonfanti, was an American ballet dancer.
Ulla Poulsen Skou, formerly Baroness Ulla Rosenørn-Lehn, was a Danish ballerina and actress. She was a soloist at the Royal Danish Ballet and is best known for being the subject of a series of portraits by Gerda Wegener.
The serpentine dance is a form of dance that was popular throughout the United States and Europe in the 1890s, becoming a staple of stage shows and early film.
McCorkindale, and MacCorkindale, are surnames of Norse-Gaels origin.
Leonid Mikhailovich Lavrovsky was a Soviet and Russian ballet dancer and choreographer, most famous for choreographing the first full version of Sergei Prokofiev's Romeo and Juliet.
In 1830, Italian ballet teacher and writer Carlo Blasis (1803–1878) published his second work on the analysis of ballet technique, called The Code of Terpsichore. This work was composed of figures, or illustrations, organized alphabetically, inscribing the ideal forms of poses, steps, and jumps in ballet. In codifying the tradition of ballet training, Blasis valued both the mechanical and aesthetic aspects of ballet.
Anna Charlotta Behle was a Swedish dancer and teacher of rhythmic gymnastics and solfège.
NathalieFitzjames was a Romantic era French ballerina who was especially admired in Italy. Fitzjames appeared in La Resemblance at Her Majesty's Theatre in London in May 1838, receiving the following review of her first appearance:
"She resembles, both in expression, figure, and style of dancing, our favourite of three years past, Pauline Leroux. Her pretensions as an artiste as not so high as those of Fanny Elssler or Duvernay, but she has been taught in the best school, and in the present state of the ballet she must be considered a decided acquisition here. She is full of spirits and gaiety, and flies about the stage in a manner that is very captivating. The dancing of her feet is near perfection, but her arms are not moved with freedom, and she is deficient to a certain extent both in dignity and grace."
BaiShuxiang is a Chinese dancer and former prima ballerina, known for her role in the early development of professional ballet in China. After training at the Beijing Dance School as a teenager, Bai was appointed principal dancer of the newly formed Central Ballet Ensemble in 1958, becoming the first Chinese dancer to perform the role of Swan Queen in Swan Lake.
Hassia Levy-Agron was an Israeli dancer, choreographer, and educator.
Clytemnestra is a 90-minute ballet choreographed by Martha Graham. It premiered on April 1, 1958, at the Adelphi Theatre in New York with music composed by Halim El-Dabh and sets designed by Isamu Noguchi. Following Cave of the Heart, Errand into the Maze, and Night Journey, Clytemnestra continued Graham's series of choreography inspired by Greek mythology.
Events from the year 1738 in Russia
Louis Henry was a French dancer and choreographer.
