Handbook : Unit informationEdith Cowan University

School: Western Australian Academy of Performing Arts

This unit information may be updated and amended immediately prior to semester. To ensure you have the correct outline, please check it again at the beginning of semester.

• Unit Title

  Ballet 2

• Unit Code

  DAN2121

• Year

  2016

• Enrolment Period

  1

• Version

  1

• Credit Points

  20

• Full Year Unit

  Y

• Mode of Delivery

  On Campus
  

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Description

In this unit, students engage in practical technique classes in classical ballet from barre to centre practice at a more advanced level. The study of men's classes, pointe work, pas de deux and variations are optional. The importance of daily class is emphasised and the development of reflective practice. Safe dance principles are promoted through an emphasis on correct alignment and increased kinaesthetic awareness. The importance of physical, social and cultural sustainability relating to artform practice and professional career paths is also embraced in this unit through: the choice of repertoire; engagement with industry partners; building social and cultural confidence via exposure to diverse performance environments locally, nationally, regionally and internationally.

Prerequisite Rule

Students must pass 1 units from DAN1021

Equivalent Rule

Unit was previously coded AWD1201

Learning Outcomes

On completion of this unit students should be able to:

1. Articulate principles of alignment and functionality involved in the exercises with considerable detail.
2. Demonstrate a high level of physical and conceptual understanding of the technical principles in classical ballet.
3. Demonstrate a refined ability to quickly absorb and execute new combinations on instruction and/or demonstration.
4. Demonstrate a strong sense of individuality and 'presence' (performance quality).
5. Design, set and teach classroom exercises of increasing complexity using technical terms and describing the functional and meaning-making aspects of the exercise.
6. Embody a developed musicality.
7. Embody an increased range of movement qualities.
8. Engage in self-assessment processes that indicate an informed level of critical analysis of the technique.
9. Execute each section of class work---warm-up, barre, centre practice, turns, travelling sequences, jumps and warm down---with high levels of competency and understanding.
10. Physically adapt to a range of techniques and teaching approaches (eg. Russian, French, Italian and English styles).

Unit Content

1. A wide range of contrasting rhythmic and a-rhythmic structures in class work and performance.
2. An advanced study of self correction in order to increase technical facility.
3. Controlled balances in a wide range of positions of the technique (ouvert, croise, a la seconde, effac and ecart).
4. Execution of enchainments, including turns, with style and confidence.
5. Exploration of spatial awareness in relation to self and others at a greater depth and range.
6. In Men's Coaching classes exercises to develop stamina and basic men's pirouettes, beats and grand allegro will be taught.
7. In variations students will study repertoire at a more advanced level of difficulty emphasising facility and assurance and the stylistic nuances of the work.
8. Practice, at a high level of understanding, classical ballet technique: warm-up, barre, centre practice, turns, travelling sequences, jumps and warm down.
9. Practices to gain high levels of strength, flexibility, coordination and cardio-vascular endurance.
10. Presentation of complex culturally specific rhythmic patterns, eg Indian and Spanish dance.
11. Students will continue their pointe work at the barre and in centre practice to develop increasing levels of balance, control, strength and turning capacity.
12. Study, through combinations of increased difficulty, the articulation and embodiment of alignment principles.
13. The development of confident partnerships with understanding of partnering holds and support and the study of safe lifting techniques.
14. Transforming mathematical structures into meaningful musical phrasing and its integration into performance.

Additional Learning Experience Information

Practical classes. Work with guest teachers. Possible work with professional dance ensembles. Classroom tasks and individual assignments.

Assessment

GS1 GRADING SCHEMA 1 Used for standard coursework units

Students please note: The marks and grades received by students on assessments may be subject to further moderation. All marks and grades are to be considered provisional until endorsed by the relevant Board of Examiners.

Due to the professional competency skill development associated with this Unit, student attendance/participation within listed in-class activities and/or online activities including discussion boards is compulsory. Students failing to meet participation standards as outlined in the unit plan may be awarded an I Grade (Fail - incomplete). Students who are unable to meet this requirement for medical or other reasons must seek the approval of the unit coordinator.

Text References

• Wiley, Roland John. (1997). The life and ballets of Lev Ivanov: Choreographer of The Nutcracker and Swan Lake. England: Clarendon Press & New York: Oxford University Press.
• Wiley, Roland John. (Ed.). (1990). A century of Russian ballet: Documents and accounts, 1810-1910. Oxford, England: Clarendon Press & New York: Oxford University Press.
• Banes, Sally. (1998). Dancing women: Female bodies on stage. London: New York: Routledge.
• Bremser, M. (1993). International dictionary of ballet. Detroit: St James Press.
• Grieg, Valerie. (1994). Inside ballet technique: Separating anatomical fact from fiction in the ballet class. Pennington, NJ: Princeton Book Co.
• Matarasso, Francois. (1999). Magic, myths and money: The impact of English National Ballet in Manchester. Stroud, Glos: Comedia.
• Reynolds, Nancy, & McCormick, Malcolm. (2003). No fixed points: Dance in the twentieth century. New Haven: Yale University Press.
• Scholl, Tim. (1994). From Petipa to Balanchine: Classical revival and the modernization of ballet. London: New York: Routledge.
• Schouvaloff, Alexander. (1997). The art of Ballets Russes: The Serge Lifar Collection of theater designs, costumes and paintings at the Wadsworth Atheneum, Hartford, Connecticut. New Haven: Yale University Press.
• Ward-Warren, G. (1989). Classical Ballet Technique. Tampa, Florida: University of South Florida.
• Ward-Warren, G. (1999.) Art of teaching classical ballet - Ten twentieth century masters. Tampa: University of South Florida.

Other References

• The Firebird & Les noces (2001) [video recording]/ Stravinsky. London: BBC. Note: Video.
• Russian ballet: the glorious tradition (c1993) [video recording] Fort Lee, NJ: Video Artists International. Note: Video.
• Paris dances Diaghilev (1991) [video recording] Hamburg: Teldec Video. Note: Video.
• Jiri Kylian, choreographer (c1996) [videorecording] Longaholme, Qld: Marcom Projects [distributor]. Note: Video.
• Three by Duato (2000) [video recording] London: RM Associates. Note: Video.
• Essential ballet (c1993) [video recording]: stars of Russian Ballet from The Royal Opera House, Covent Garden & Red Square, Moscow. Amsterdam: Phillips. Note: Video.
• Antony Tudor (1992) [video recording] directed by Viola Aberle and Gerd Andersson, Pennington, NJ: Dance Horizons Video. Note: Video.
• The prince of the pagodas. Out of line (1991) [video recording] Hamburg, Germany: Teldec Video. Note: Video.
• Giselle - the making of (1996) [video recording]. New York: View Video. Note: Video.

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