Victoria O'Brien's A History of Irish Ballet from 1927 to 1963 PDF

By Victoria O'Brien

ISBN-10: 3039118730

ISBN-13: 9783039118731

This paintings provides an in depth research of the 5 key ballet organizations that operated in eire among 1927 and 1963: the Abbey Theatre institution of Ballet, the Abbey tuition of Ballet, the Sara Payne college and corporate, the Irish Ballet membership and the nationwide Ballet college and Company.
by means of analyzing a formerly overlooked size of Irish inventive lifestyles, this examine goals to supply a better appreciation of a few of the roles that ballet has performed within the improvement of Irish cultural job. It documents the wealthy interplay among different dance artists and hobbies and their collaborators around the complete spectrum of Irish creative endeavour, together with Cecil ffrench Salkeld, F. R. Higgins, Mainie Jellett, Patrick Kavanagh, J. F. Larchet, Louis le Brocquy, Elizabeth Maconchy, Donagh MacDonagh, Brinsley MacNamara, Micheál Mac Laimmóir, Norah McGuinness, A. J. Potter, Lennox Robinson, Michael Bowles, Mary Devenport O’Neill, Anne Yeats and W. B. Yeats.
This ebook breaks major new floor for a space within which little released info exists. the writer items jointly examine at the faculties and corporations from interviews, ballet programmes, playbills, libretti, ratings, memoirs, modern press stories, literary articles and images, to shape a desirable narrative of the under-researched global of Irish ballet.

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Extra info for A History of Irish Ballet from 1927 to 1963

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The masks for this production were designed by Hildo Krop and made it appear that the heads were out of proportion to the bodies. De Valois described the masks she wore in these dramas and their inf luence on her movements: They were beautiful masks and caught the spirit of the poet’s dream world. I always studied my masks very carefully, and then I knew what I had to express with my movements so as to illustrate both action and meaning. 15 As we have seen, the Abbey School carried out its activities within the professional structure of the Abbey Theatre.

Hedley Briggs from England danced the part of the Ghost of Cuchulain and six girls from the school produced the ef fect of the waves. The play was well received by the audience and in response to their call for the author, Yeats summarised the collaborations: ‘Your thanks are due’ he said, ‘to the actors, the producer, the musician, the dancers and the mask-maker. ’ It was an entrancing performance, for which credit must go primarily to Miss de Valois and her pupils, but only slightly less so to the producer (Mr.

As well as her choreography in the plays, operas and ballets given at the Old Vic, de Valois had also founded a dance school at the newly opened Sadler’s Wells Theatre. Like the Old Vic, this theatre was under the direction of Lilian Baylis. In 1931 the Abbey Theatre began to experience severe financial dif ficulties. The Abbey’s first company was sent on a tour of America, and a series of Sunday performances called ‘Mainly Ballet: The Abbey Directors’ Sunday Entertainments’ was organised to keep the theatre active.

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A History of Irish Ballet from 1927 to 1963 by Victoria O'Brien

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