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The Italian-born ballerina, Claudina Couqui (1835–1913), performed as a guest artist in numerous cities, including two appearences to Pest during the 1860s. Her first performance in 1863 was preceded by great anticipation, and after receiving an enthusiastic reception, she returned to the National Theatre the following year. This study seeks to explore the context of Pál Gyulai's lesser-known–and, to our knowledge, only–ballet-related dramaturgical work through the lens of the guest performances of the ballerina who had come from Vienna. The investigation is justified by the fact that Gyulai's critical writings and theatre reviews primarily focused on dramatic productions. However, Couqui's guest performances required the clarification of some fundamental questions: What role did ballet play among theatrical genres? Where did it stand in relation to drama and opera? And what expectations did contemporary theatre critics and dramaturgists have regarding the genre? Furthermore, what could Gyulai have known about the ballet productions in Pest at the time, and to what extent? Addressing these questions requires an examination of the reception of specific ballet productions. [ABSTRACT FROM AUTHOR]

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In 1955, Japan's Matsuyama Ballet staged the first ballet adaptation of the Chinese land reform drama The White-Haired Girl in Tokyo , laying the foundation for Chinese revolutionary ballet. This is the first study in English to explore the Matsuyama Ballet production in detail. Employing Chinese-language sources from the production's 1958 tour to China, this article explores the historical making, performance, and reception of the Matsuyama Ballet's The White-Haired Girl and situates it in the context of Sino-Japanese relations during the 1950s. The article argues that the production resulted from a longer history of interactions between Japan, China, and the Soviet Union and that its interpretation of The White-Haired Girl story served as a bridge between the 1950 Chinese feature film and the 1971 Chinese ballet film. It also argues that Chinese responses to the production demonstrate significant differences between Japanese and Chinese discourses about Sino-Japanese friendship in the 1950s. [ABSTRACT FROM AUTHOR]

The purpose of the article is to consider the specific characteristics of Ukrainian ballet as an original phenomenon of modern musical culture, the case study of "Chasing Two Hares" ballet by Yurii Shevchenko, a composer. The research methodology consists in specifically scientific methods (historical, system-analytical, hermeneutic, and generalisation), which allow to conduct an objective study of the specifics of Ukrainian ballet as an original phenomenon of modern musical culture. Specific musicological methods are also applied. The analysis of musical notation is used to consider the musical form of ballet, its harmonic structure, rhythm, and melody. The study of a ballet production enable understanding the author's use of ballet music to create an atmosphere, express emotions, and convey the plot. The performative analysis helps study the interaction of ballet music with other elements of ballet. The scientific novelty is in substantiating the specifics of Ukrainian ballet as an original phenomenon of modern musical culture, the case study of "Chasing Two Hares" ballet by the composer Yurii Shevchenko and updating the meaning of the composer's work in the context of the latest conditions of functioning of the Ukrainian musical theatre. Conclusions. The actualisation of theoretical studies in the field of musical culture and art is determined by the demand for the study and explanation of their intensive development. The experience of creating various forms of ballet and theatre music manifests the specific characteristics of modern musical art in Ukraine. In this context, consideration of the specifics of Ukrainian ballet as an original phenomenon of modern musical culture, the case study of Yurii Shevchenko's ballet "Chasing Two Hares" is considered relevant. Researching the theatrical and musical works of Y. Shevchenko and his music for the "Chasing Two Hares" ballet, we justify that ballet music appears as an expression of a new theatrical language - the language of optimism and high moral qualities. At the same time, musical theatre acquires psychotherapeutic characteristics, helping to survive the complex realities of life and restore faith in justice, which is especially relevant in today's realities. Yurii Shevchenko's compositional work, on the example of the "Chasing Two Hares" ballet, is an original phenomenon of modern musical culture and constitutes a significant component of Ukrainian culture and art. [ABSTRACT FROM AUTHOR]

The purpose of the article. Comprehensive analysis and determination of the specifics of directorial techniques in depicting the formation of a free artistic personality by means of ballet and delineation of scientific vectors that will contribute to the versatile study of the phenomenon of ballet directing on stage and screen. Research methodology. The research uses an interdisciplinary approach based on the application of such general scientific methods as: induction, deduction, identification, complex art analysis, synthesis, which contributed to the development of a broad factual base of screen reading of ballet works through the formation of the performer's personal freedom. Argumentation of the uniqueness of ballet direction in the context of screen art was provided by using methods of systematization and generalization. The typological method made it possible to consider common artistic principles in the creative pursuits of masters of screen and stage art. Analytical and systematic methods in their unity became useful for studying the art history aspect of the problem. Scientific novelty. Systematization and expansion of scientific ideas about the place and role of screen and stage direction in the system of humanitarian knowledge at the current stage of the development of society. Definition of directing as a universal type of artistic-aesthetic, moral-ethical and educational activity; in clarifying the mutual influence and mutual enrichment of theatrical and audiovisual arts in the development of directing techniques. Conclusions. It is substantiated that the creativity of film directors develops and expands knowledge about ballet art, gives impetus to the development of creativity of choreographers, ballet performers in the stage plane, in particular, in the production of musicals. [ABSTRACT FROM AUTHOR]

The purpose of the article is to outline the problems of directorial skill in the adaptation of the most famous ballet productions on the screen and to define scientific guidelines that will contribute to the comprehensive study and analysis of the phenomenon of ballet directing in the audiovisual space. Research methodology. An interdisciplinary approach based on the use of a number of general scientific methods was used in the study of the issue, in particular: a system of theoretical methods (induction, deduction, identification, complex art analysis, and synthesis), which made it possible to study the historical and factual basis of the implementation of ballet productions on stage and screen. The methods of systematisation and generalisation came in handy for arguing the originality of ballet directing in the context of screen arts. The typological method made it possible to consider common artistic principles in the creative pursuits of masters of screen and stage art. In addition, analytical and systematic methods have been applied in their unity, which is necessary for the study of the art history aspect of the problem. The scientific novelty of the study consists in the definition of directing as a universal and multi-vector type of artistic-aesthetic and creative-production activity; in clarifying the mutual influence and mutual enrichment of the stage and screen arts in the use and development of director's production tools; in the determined specifics of the director's work in the process of screen adaptation of works of ballet art in cinematographic and television productions, which became the subject of a special study for the first time; in revealing the original principles of the construction of screen works based on well-known ballet productions. Conclusions. It has been proven that screen directorial work contributes to the popularisation of both ballet productions and the creativity of ballet masters and ballet performers, refuting the sometimes-irrevocable judgments of practitioners and theoreticians of cinema and television about the threat of the intervention of stage culture in the screen space as a destructive factor. [ABSTRACT FROM AUTHOR]

The article presents the relevance of the artistic and pedagogical school of Myroslav Vantukh as an outstanding Ukrainian ballet master, teacher, theoretician and practitioner of national choreographic pedagogy, populariser and researcher of Ukrainian folk dance. The stage-creative and pedagogical achievements of the artist in developing choreographic education in Ukraine are analysed. The phenomenon of three-stage choreographic training of performing personnel in the structure of Pavlo Virsky National Honored Academic Dance Ensemble of Ukraine was studied. The leading trends of educational activities of the teacher in the field of Ukrainian folk choreography were summarized. We define the artistic and pedagogical school of M. Vantukh as reformatory in the formation of concepts of national choreographic pedagogy. In search of ways of stage interpretation of folk dance vocabulary, the choreographer remains consistent in implementing the principles of his outstanding predecessor P. Virsky and approves the author’s methods of choreographic activity. M. Vantukh declares the leading tasks of the ensemble’s creativity to be the popularization of the best examples of national choreography, the reproduction of the uniqueness of Ukrainian dance, its artistic and technical possibilities. In today’s conditions, the leading professional choreographic team of Ukraine has formed into a real laboratory of choreographic creativity, which has not only artistic, but also pedagogical significance. Under the direction of M. Vantukh, the Ensemble is a model of professional skill, providing a test of the choreographic style of the performers and the choreographic style of the teaching staff. The conceptual directions of ballet master activity, which are formed in the ensemble, are: the awareness of the spiritual value of folk dance art, the actualization of the education of creative youth based on the best national cultural and artistic traditions, the constant improvement of the choreographic vocabulary, the development of its traditional and modernized properties, the approval of the author’s practice-oriented choreographic-pedagogical methods work. Prospects for further investigations will be the detailing of M. Vantukh’s style as a ballet master and choreograph-educator, as well as his multifaceted educational work. [ABSTRACT FROM AUTHOR]

Dixon Gottschild, Professor Emerita of Dance Studies at Temple University, describes ballet teacher Margaret Craske asking her assistant Diana Byer, "How do we break that child?" Taylor encourages Black dancers to "see our bodies, our kinesthetic intellect and our narratives as normative within the ballet idiom" (p. 236). From Harming to Healing: Multifaceted Perspectives on Ballet: (Re:)Claiming Ballet Edited by Adesola Akinleye. [Extracted from the article]

I Den Shi-khua i (1926-1927, in pinyin, I Deng Shihua i ), a new form of "bio-interview" propagated by Tretyakov, is the "most complex early Soviet publication on China" (p. 188). Here, as elsewhere in the book, culture is shown to be inseparable from mediation, and the chapter offers readings of two China-themed performances of 1927 - Tretyakov's play I Roar China! Chapter four is a fascinating discussion of Tretyakov's innovations in biography/autobiography, based on his extensive interviews with a Chinese student studying in Moscow. [Extracted from the article]

Using case studies, business simulations, seminars and lectures, and textbooks of relevance to the subject are helpful with learning and knowledge application. However, assisting students in the matter of practicing complex real-world projects management and solving actual problems are essential. Authentic project-based learning (APBL) is an active pedagogical approach that requires real clients, real users, and projects involving in the curriculum that demand real solutions provided by the learners. APBL has been shown to provide students with challenges that lead to greater motivation, higher levels of student performance, and retention rate across elementary, secondary, and postsecondary levels. Therefore, as a means of enhancing student interest and motivation and compensating for the absence of direct face-to-face contact imposed on higher education by the Covid 19 pandemic, a marketing course was redesigned using APBL pedagogy and Project Management Body of Knowledge® Guide Project Management Institute). This paper presents and introduces how the APBL course was designed, implemented, and delivered in the fall semester of 2020. This paper also elaborates how students applied integrated brand promotion (IBP) strategies and project management skills to promote and deliver a new ballet production to audiences. Several important learning outcomes were realised, including maximising students' learning, increasing efficiency, and significantly minimising 'student syndrome' (procrastination). Future research and teaching opportunities with limitations of this project are provided at the end. [ABSTRACT FROM AUTHOR]

The purpose of the article was to study the peculiarities of the production process of the first Ukrainian television film-ballet "Lileya," based on the works of T. Shevchenko. The methodology includes the use of the following cultural research methods: comparative-historical, systemic, typological, structural-functional. The scientific novelty of the publication is that it first analyzed the specifics of the production of a ballet film as a completely independent musical-choreographic ballet created for television viewing. Conclusions. The first national television film ballet Lileya became a new and original phenomenon of the mid-twentieth-century in Ukrainian culture. The production was based on the famous works of the classic literature of T. Shevchenko: "Princess", "Marina", "Witch", "Mermaid", "Drowned", "Blind" and more. The choreographic vocabulary of the ballet movie, invented by the ballet master V. Vronsky, and put on emotional (with a strong psychological influence), however, quite understandable for a wide range of viewers music by K. Dankevich, gravitated to imaginative dance, accuracy, and character; Due to the skillful work of filmmaker V. Lapoknysh and cameramen O. Ananasov and M. Topchy, the artistic action developed dynamically and richly. The popularity of the film-ballet ensured the participation of leading soloists of the ballet troupe of the Kyiv National Opera and Ballet Theatre named by T. Shevchenko: R. Vizirenko-Klyavina, E. Ershova, A. Arkadyev, V. Kalinovskaya, O. Segal, V. Ferro, and other artists. [ABSTRACT FROM AUTHOR]

The article discusses the legacy and recognition of ballets created by the late British choreographer Frederick Ashton. Topics explored include the Ashton repertoire acknowledged by the Royal Ballet, the January 2019 revival of his ballet "The Two Pigeons" at the Royal Opera House in London, England, and the significant interest expressed by Sarasota Ballet director Iain Webb in works developed by Ashton.

This section presents an interview with New York City Ballet (NYCB) and School of American Ballet (SAB) artistic director Jonathan Stafford. Topics discussed include the challenges associated with the operations of NYCB and SAB, the collaboration of NYCB with ballet dancers that previously worked with notable choreographer George Balanchine such as Suzanne Farrell and Patricia McBride, and the ballet performances to be presented by the NYCB at the Saratoga Performing Arts Center in New York.

This section presents an interview with several Stuttgart Ballet dancers and artistic director Tamas Detrich. Topics discussed include Stuttgart's production of the ballet "Mayerling," choreographed by Kenneth MacMillan, the views offered by dancer Friedemann Vogel on his portrayal of the character of Austrian Prince Rudolf, and the challenges faced by dancer Elisa Badenes in her portrayal of the character of Baroness Mary Vetsera.

The purpose of the article is to identify the features of the creative activity of the sixties choreographers in the context of the evolution of the Ukrainian ballet theater of the ―P. Shelest era‖ (1963–1972). Methodology. The method of historicism is applied (to study socio-political conditions and cultural trends of a particular period); cultural method, which helped to study the activities of the sixties choreographers in the context of the development of Ukrainian culture; methods of comparative analysis and stylistic approach aimed at determining the specifics of the choreographic structure of ballet performances, etc. Scientific novelty. The tendencies of development of Ukrainian ballet art in accordance with the specifics of socio-political and cultural life of 1963–1972 are determined; revealed the specifics of the creative search for sixties choreographers in the context of the evolution of the Ukrainian ballet theater of the ―P. Shelest era‖; The features of the interaction of folk and classical dance in the productions of the sixties choreographers are traced. Conclusions. The performances of the Ukrainian sixties choreographers are distinguished by the non-standard way of solving the images, originality, and individuality, they provide examples of innovative directorial decisions already performed by other choreographers of the productions and the first reading of choreographic works. Socio-political conditions and cultural and artistic trends of 1963–1972 reflected on the specifics of the evolution of the Ukrainian ballet theater, manifesting itself primarily in the intensification of attempts to expand the boundaries of the artistic language by using broad generalizing images, stylizing folk dance or its elements, moving to indirect quoting of folklore sources and enriching choreographic imagery in the context of the reflection of modern issues. Some representations of domestic sixties choreographers are positioned as reconnaissance of new ways in ballet art, which contributed to the formation of innovative trends in choreographic theater and the development of new expressive means of ballet. Their work reflects a variety of genres, forms, vocabulary, and directions of the ballet theater in the culture of Ukraine of the 1960s. [ABSTRACT FROM AUTHOR]

The study focuses on the form of dance in productions of Laterna magika from its historical beginnings up to the modern era at the turn of the millennium. Dance was one elementary elements present in multimedia productions of this experimental scene since the Expo World Exhibition in 1958 in Brussels. The dance changed its position according to a different creative starting points -- from an insignificant mediator linking individual scenic elements through dominant role in the period of ballet productions at the turn of the 1980s and 1990s, to the the total absence of dance in the era of so-called drama programs. Throughout Laterna magika's history, dance appeared in a variety of dance styles and formats: from revision motion sketches and pantomime etudes, through technically demanding dance figures as well as master de pas de deux. Dancer on stage worked as a useful linker or mediator between the film image and the living stage events. The study examines the intensity of the dance present on the stage, the way it is he developed a dialogue between the dancer and the film medium, what was the image of dance presented in film sequences of theatrical productions, to which relocations there was. In particular, it attempts to look at different conceptual starting points intermedia relationship of dance and film on the scene of Laterna magika. [ABSTRACT FROM AUTHOR]

The article discusses the Japanese traditional dance known as bugaku. Topics explored include the production of the ballet "Bugaku," choreographed by then New York City Ballet (NYCB) artistic director George Balanchine following the 1958 NYCB tour in Japan, the 2019 exhibition "Shinto: Discovery of the Divine in Japanese Art," presented at the Cleveland Museum of Art in Ohio which featured bugaku dancing scenes, and the gagaku instrumental and vocal music of bugaku dancing.

The article presents an interview with ballet dancer Madeleine Onne, who discusses her role as ballet director, working with Frank Andersen, Director of the Royal Swedish Ballet and her work in set decor in Hong Kong.

An interview with choreographer and director Simone Messmer is presented. It mentions that Messmer began studying dance at the age of nine at Ballet Arts Minnesota and was awarded the Jeannot B. Cerrone Award for Excellence in Dance. It reports that Messmer participated in American Ballet Theatre's Summer Intensive Program in 2001 and joined ABT Studio Company.

An interview with artistic director and choreographer Preeti Vasudevan is presented. Topics discussed include the challenges he faced while working with international stars and unknown future stars; her work that is about storytelling in dance; and her residency at the Center for Ballet and the Arts (CBA) at New York University (NYU).

The article presents an interview with director and choreographer Louis Johnson. Topics discussed include his background of dance, theater, or music; his learning in in acrobatics; his views on African American ballet dancers; and the inspiration he received from ballet called "Ballade" choreographed by Jerry Robbins for the New York City Ballet.