Eight Female Classical Ballet Variations

Nina Danilova

Gathers together eight foundational ballet variations
Combines technique with historical context
Lessons can be customized for classroom or studio use

Eight Female Classical Ballet Variations

Nina Danilova

Description

From the graceful flutter of Princess Florine at Sleeping Beauty's wedding to the playful jetées in the first act of Giselle, the variation - or short solo work - is one of the key elements of classical ballet. Arguing that true artistry requires in-depth knowledge, author Nina Danilova has worked with students for many years to focus on performing individual variations with the greatest extent of technical proficiency and artistic sensitivity.

Eight Female Classical Ballet Variations lays out eight variations in the ballerina's repertoire. Each chapter is divided into five sections: a piano reduction of the score; a contextual note covering the history of the ballet, the plot, and memorable dancers who have performed the role; and instructions for dancing the variation itself, illustrated step by step.

Accompanied by a comprehensive companion website, Eight Female Classical Ballet Variations pairs Danilova's method of teaching students with her decades of pedagogical experience.

Eight Female Classical Ballet Variations

Nina Danilova

Foreword
Preface
Acknowledgements
Introduction by Natalia Makarova

The Program of the Course
Explanation of the process of teaching the new Variations Course
How to Read Ballet Variations of Danilova's Series of Variations

Part one Variations (1-4)
1. Le Talisman. Choreography after M.Petipa. From Pas de deux
2 Giselle. Choreography after M.Petipa from Peasant pas de deux
3. Paquita. Choreography after M.Petipa. 2nd Solo La Sylphide from Grand Pas
4. Paquita. Choreography after M.Petipa. 1st Solo Grand Fouetté from Grand Pas

Part two Variations (5-8)
5. Paquita. Choreography after M.Petipa 3rd Solo Chelesta from Grand Pas
6. Raymonda . Choreography after M.Petipa. From 1st act - Raymonda's dream.
7. Le Corsaire. Choreography after M.Petipa. 2nd Solo Emboîté from Pas de Odalisques
8.(a) Sleeping Beauty . Choreography after M.Petipa. Princess Florine from Bluebird pas de deux
8.(b) Sleeping Beauty . Choreography after M.Petipa. Princess Florine from Bluebird pas de deux

Ballet Terminology
Biographies: Danilova, Models, and technical and creative assistants
Bibliography
Credits
Index

Eight Female Classical Ballet Variations

Nina Danilova

Author Information

Nina Danilova is a Vaganova-trained dancer and a former member of the Kirov company. She holds a graduate degree in ballet pedagogy and has worked with the award-winning Pacific Northwest Ballet. She is currently Associate Professor of Dance at the University of North Carolina School of the Arts, where her popular variations class provided the inspiration for this book.

Eight Female Classical Ballet Variations

Nina Danilova

Reviews and Awards

"Nina Danilova has created a valuable resource for the aspiring dancer of classical ballet. Her system provides the teacher or the student with necessary tools to continue study and pass down classical variations to the next generation. Ms. Danilova is recognized in the dance world for her outstanding ability at training hundreds of young dancers for professional career. This book is a wonderful complement to any serious training program." -- Wanda H. Plemmons, Director, Academy of Dance Arts, Inc.

"Nina Danilova has provided a detailed and useful guide for teaching these eight classical ballet variations. It is a valuable reference and resource to have in the classroom and ballet studio." -- Rick McCullough, Associate Professor, School of Dance, Florida State University

"Its essentials are an excellent resource and a great benefit for all ballet students, delivering new perspectives for future professional careers."--Snezana Filipovska, Ph.D.

"Nina Danilova's Eight Female Classical Ballet Variations book is a best example for gaining a knowledge of ballet skills. The years of her creative maturity, as an experienced dancer and professionally certified teacher, are an insidious source of inspiration to write this book, in which she has pointed out a well developed aesthetic principles of ballet skill. The Components and Models of teaching the Variations Course in her program, has enriched the theory bringing the artistic perfection to each student individuality, as well as improving the professional style. The textbook is marked with emotional hidden meanings and plastic meditations, in the manner that the students gain a new vision of genuine Variations."-- Snezana Filipovska, Ph.D.