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Balanchine the TeacherFundamentals That Shaped the First Generation of New York City Ballet Dancers$
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Barbara Walczak and Una Kai

Print publication date: 2008

Print ISBN-13: 9780813032528

Published to Florida Scholarship Online: September 2012

DOI: 10.5744/florida/9780813032528.001.0001

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Summary

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Chapter:
(p.301) Summary
Source:
Balanchine the Teacher
Author(s):

Barbara Walczak

Una Kai

Publisher:
University Press of Florida
DOI:10.5744/florida/9780813032528.003.0029

This chapter presents some concluding thoughts from the authors. A thread runs through Balanchine's teaching that pertains not only to the innovations he made in technique, but also to musicality and timing. The dancer was another musician. But instead of creating sound, the dancer became visible sound. Each and every dancer is just as important as each and every musician in creating the magic of sound and movement. What we take for granted as part of our technique did not exist before the 1950s. Before Balanchine's time, the glissade did not end with both feet simultaneously. The jeté and assemblé with legs held together out to the side, the preparations for steps, and the speed and breadth of movement were what Balanchine added to classical ballet. The intricate partnering in pas de deux and the use of the vibrato that underlies the melody are part of Balanchine's legacy to us.

Keywords:   George Balanchine, dance, ballet, dancers

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