THE COURSE AIMS: A) TO REFLECT ON THE DIFFERENT TRADITIONS AND INSTITUTIONS AS PART OF WESTERN THEATRICAL DANCE, B) TO ILLUSTRATE THE CHOREOGRAPHY OF THE TWENTIETH CENTURY AND TO UNDERSTAND THE CONTEMPORARY DANCE IN ALL ITS COMPLEXITY.
teacher profile teaching materials
To demonstrate the importance of dance in Russia in comparison with European dance theater, the classes will consider:
a) the dancer in the theater from XIX to XXI centuries;
b) the repertoire between philology and new versions (in particular Mats Ek);
c) the artistic and choreographic vanguards at the beginning of the Twentieth Century:
d) the American-Russian Balanchine: Apollo's Angeles from Europe to America.
COMPULSORY TEXTS AND VIDEOGRAPHY:
C. Lo Iacono, Il volo di Tersicore. Una storia per immagini del balletto russo (1636 - 2009), Massimiliano Piretti Editore, Bologna (forthcoming).
OR: Jennifer Homans, Gli angeli di Apollo. Storia del balletto, EDT, Torino, 2015 (Apollo’s Angels: a History of Ballet, Random House, New York, 2010)
In addition, for non-attending students, a mandatory book among the following ones:
1. Concetta Lo Iacono, Il danzatore attore da Noverre a Pina Bausch, Dino Audino editore, Roma 2007
2. Christina Ezrahi, I Cigni del Cremlino. Balletto e potere nella Russia sovietica, Gremese, Roma 2017
3. Donatella Gavrilovich, Le arti e la danza. I coreografi russi e sovietici tra riforma e rivoluzione, Universitalia, Roma 2012
Three mandatory videos among the following ones:
1. Bella figura, choreography by J. Kylian
2. Giselle, new version by Lavrovskij from the original by Corelli-Perrot, with Galina Ulanova (London, 1956)
3. Sleeping Beauty, choreography Mats Ek (and/or the classical version La belle au bois dormant, chor. Marius Petipa, Mariinskij Teather of Saint Petersburg)
4. Le Sacre du Printemps, choreography by Vaslav Nijinsky (and/or Pina Bausch's version)
5. Pétrouchka, chor. Fokin, int. Nureyev (and/or Les Noces, chor. B. Nijinska)
6. Romeo and Juliet, chor. Lavrovskij, int. Galina Ulanova (or chor. MacMillan, int. Alessandra Ferri)
7. Serenade and Apollon, chor. Balanchine, New York City Ballet
E-MAIL: concetta.loiacono@uniroma3.it
COURSE: SPRING SEMESTER
C. Lo Iacono, Il volo di Tersicore. Una storia per immagini del balletto russo (1636 - 2009), Massimiliano Piretti Editore, Bologna (in preparation).
or:
Jennifer Homans, Apollo’s Angels: a History of Ballet, Random House, New York, 2010
For non-attending students, in addition, one book to be chosen among the following:
1. Concetta Lo Iacono, Il danzatore attore da Noverre a Pina Bausch, Dino Audino editore, Rome 2007
2. Christina Ezrahi, Swans of the Kreml. Ballet and power in Soviet Russia, 2012
3. Donatella Gavrilovich, Le arti e la danza. I coreografi russi e sovietici tra riforma e rivoluzione, Universitalia, Roma 2012
Three videos, to be chosen among the following:
1. Bella figura, choreography by Jiri Kylian
2. Giselle, chor. Leonid Lavrovskij from Coralli-Perrot, with Galina Ulanova (London, 1956)
3. Sleeping Beauty, chor. Mats Ek (and/or La belle au bois dormant, chor. Marius Petipa, Mariinskij, Saint Petersburg)
4. Le Sacre du Printemps, chor. Vaslav Nijinsky (and/or Pina Bausch's version, with malou Airaudo)
5. Pétrouchka, chor. Michajl Fokin, with Rudolf Nureyev (and/or Les Noces, chor. Bronislava Nijinska)
6. Romeo and Juliet, chor. Leonid Lavrovskij, with Galina Ulanova (or chor. MacMillan, with Alessandra Ferri)
7. Serenade and Apollon, chor. George Balanchine, New York City Ballet
E-MAIL: concetta.loiacono@uniroma3.it
SPRING SEMESTER
Programme
TITLE: Europe/Russia. Dance between repertoire and new choreographiesTo demonstrate the importance of dance in Russia in comparison with European dance theater, the classes will consider:
a) the dancer in the theater from XIX to XXI centuries;
b) the repertoire between philology and new versions (in particular Mats Ek);
c) the artistic and choreographic vanguards at the beginning of the Twentieth Century:
d) the American-Russian Balanchine: Apollo's Angeles from Europe to America.
COMPULSORY TEXTS AND VIDEOGRAPHY:
C. Lo Iacono, Il volo di Tersicore. Una storia per immagini del balletto russo (1636 - 2009), Massimiliano Piretti Editore, Bologna (forthcoming).
OR: Jennifer Homans, Gli angeli di Apollo. Storia del balletto, EDT, Torino, 2015 (Apollo’s Angels: a History of Ballet, Random House, New York, 2010)
In addition, for non-attending students, a mandatory book among the following ones:
1. Concetta Lo Iacono, Il danzatore attore da Noverre a Pina Bausch, Dino Audino editore, Roma 2007
2. Christina Ezrahi, I Cigni del Cremlino. Balletto e potere nella Russia sovietica, Gremese, Roma 2017
3. Donatella Gavrilovich, Le arti e la danza. I coreografi russi e sovietici tra riforma e rivoluzione, Universitalia, Roma 2012
Three mandatory videos among the following ones:
1. Bella figura, choreography by J. Kylian
2. Giselle, new version by Lavrovskij from the original by Corelli-Perrot, with Galina Ulanova (London, 1956)
3. Sleeping Beauty, choreography Mats Ek (and/or the classical version La belle au bois dormant, chor. Marius Petipa, Mariinskij Teather of Saint Petersburg)
4. Le Sacre du Printemps, choreography by Vaslav Nijinsky (and/or Pina Bausch's version)
5. Pétrouchka, chor. Fokin, int. Nureyev (and/or Les Noces, chor. B. Nijinska)
6. Romeo and Juliet, chor. Lavrovskij, int. Galina Ulanova (or chor. MacMillan, int. Alessandra Ferri)
7. Serenade and Apollon, chor. Balanchine, New York City Ballet
E-MAIL: concetta.loiacono@uniroma3.it
COURSE: SPRING SEMESTER
Core Documentation
TEXTBOOKS:C. Lo Iacono, Il volo di Tersicore. Una storia per immagini del balletto russo (1636 - 2009), Massimiliano Piretti Editore, Bologna (in preparation).
or:
Jennifer Homans, Apollo’s Angels: a History of Ballet, Random House, New York, 2010
For non-attending students, in addition, one book to be chosen among the following:
1. Concetta Lo Iacono, Il danzatore attore da Noverre a Pina Bausch, Dino Audino editore, Rome 2007
2. Christina Ezrahi, Swans of the Kreml. Ballet and power in Soviet Russia, 2012
3. Donatella Gavrilovich, Le arti e la danza. I coreografi russi e sovietici tra riforma e rivoluzione, Universitalia, Roma 2012
Three videos, to be chosen among the following:
1. Bella figura, choreography by Jiri Kylian
2. Giselle, chor. Leonid Lavrovskij from Coralli-Perrot, with Galina Ulanova (London, 1956)
3. Sleeping Beauty, chor. Mats Ek (and/or La belle au bois dormant, chor. Marius Petipa, Mariinskij, Saint Petersburg)
4. Le Sacre du Printemps, chor. Vaslav Nijinsky (and/or Pina Bausch's version, with malou Airaudo)
5. Pétrouchka, chor. Michajl Fokin, with Rudolf Nureyev (and/or Les Noces, chor. Bronislava Nijinska)
6. Romeo and Juliet, chor. Leonid Lavrovskij, with Galina Ulanova (or chor. MacMillan, with Alessandra Ferri)
7. Serenade and Apollon, chor. George Balanchine, New York City Ballet
E-MAIL: concetta.loiacono@uniroma3.it
SPRING SEMESTER
Type of delivery of the course
Lectures: Powerpoint Presentations with multimedia slides or ReadingsAttendance
NON-MANDATORY FREQUENCY Attending students (with at least 7 lessons) For non-attending students see the programType of evaluation
ORAL EXAMINATION The interview will focus on the texts and videos required to be viewed in full (not limited to some extracts on the web). The knowledge of the choreographies indicated above (available not only on Youtube but also in our Library, via Ostiense 139) will be verified through the said interview. We recommend the wise use of internet sources for research (or ask our librarians about databases, official sites, specific journals) finding only ones that are reliable and useful, and with good bibliographies. The use of summaries and notes on the web might be actually misleading to students. The punctual connections among the texts and the choreographies (videos, films or theatre performances) are instead well appreciated. Finally, we recommend to check on the web the exact pronunciation of the proper names and the ballets titles in the original language; otherwise, the Italian translation is preferable. E-MAIL: concetta.loiacono@uniroma3.it SPRING SEMESTER