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Haryana Legislative Assembly
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Haryana Legislative Assembly
13th Legislative Assembly of Haryana
Type
Type
Unicameral
Term limits
5 years
Leadership
Speaker
Kanwar Pal Gujjar, BJP
Since 3 November 2014
Deputy Speaker
Santosh Yadav, BJP
Since 3 November 2014
Leader of the House
(Chief Minister)
Manohar Lal Khattar, BJP
Since 26 October 2014
Leader of Opposition
Abhay Singh Chautala, INLD
Since October 2014
Structure
Seats
90
Political groups
Government (48)
BJP (47)
SAD (1)
Opposition (42)
INLD (19)
INC (17)
BSP (1)
Independents (5)
Elections
Voting system
First past the post
Last election
15 October 2014
Meeting place
Secretariat Building, Chandigarh, India
Website
haryanaassembly.gov.in
The Haryana Vidhan Sabha or the Haryana Legislative Assembly is the unicameral state legislature of Haryana state in northern India. The seat of the Vidhan Sabha is at Chandigarh, the capital of the state. The Vidhan Sabha comprises 90 Members of Legislative Assembly, directly elected from single-seat constituencies.[1] The term of office is five years.
Contents
[hide]
1 History
2 Political parties
3 People
4 Assembly members : Thirteenth Vidhan Sabha
5 References
6 External links
History[edit]
The body was founded in 1966, when the state was created from part of the state of Punjab, by the Punjab Reorganisation Act, 1966. The house initially had 54 seats, ten reserved for scheduled castes, this was increased to 81 seats in March 1967, and to 90 seats (including 17 reserved seats) in 1977.[2]
From
To
First sitting
1st Vidhan Sabha 1 November 1966 28 February 1967 6 December 1966
2nd Vidhan Sabha 17 March 1967 21 November 1967 17 March 1967
3rd Vidhan Sabha 15 July 1968 21 January 1972 15 July 1968
4th Vidhan Sabha 3 April 1972 30 April 1977 3 April 1972
5th Vidhan Sabha 4 July 1977 19 April 1982 4 July 1977
6th Vidhan Sabha 24 June 1982 23 June 1987 24 June 1982
7th Vidhan Sabha 9 July 1987 6 April 1991 9 July 1987 (Lok Dal – 60 + BJP – 16, out of 90)
8th Vidhan Sabha 9 July 1991 10 May 1996 9 July 1991
9th Vidhan Sabha 22 May 1996 14 December 1999 22 May 1996
10th Vidhan Sabha 9 March 2000 8 March 2005 9 March 2000
11th Vidhan Sabha 21 March 2005 21 August 2009 21 March 2005
12th Vidhan Sabha 28 October 2009 20-Oct-2014 28 October 2009 (Congress – 40/90)
13th Vidhan Sabha 20 October 2014 October 2014 (BJP – 47/90, Lok Dal – 20, Congress – 15)
Political parties[edit]
SN
Party
No. of candidates
No. of elected
No. of votes %
1 Indian National Congress (INC) 90 17 24.20
2 Indian National Lok Dal (INLD) 90 19 24.10
3 Independents 5 10.60
4 Bharatiya Janata Party (BJP) 90 47 33.20
5 Bahujan Samaj Party 90 1 4.40
6 Shiromani Akali Dal 1 1 0.60
Total: 425 90 100
The Haryana Janhit Congress (BL), which won 2 seats in 2014 elections, merged with INC on 28 April 2016.
People[edit]
Governor of Haryana: kaptan Singh Solanki
Chief Minister of Haryana: Manohar Lal Khattar
Speaker of the house: Kanwar Pal Gurjar
Dy. Speaker of the house: Santosh Yadav
Leader of Opposition: Abhay Singh Chautala
Minister of Parliamentary Affairs: Ram Bilas Sharma
Principal Secretary Sumit Kumar[1]
Assembly members : Thirteenth Vidhan Sabha[edit]
Name
Gender
Constituency
Party
Shri Abhay Singh Chautala Male Ellenabad INLD
Shri Zakir Hussain Male Nuh INLD
Smt. Naina Singh Chautala Female Dabwali INLD
Shri. Randhir Singh Kapriwas Male Rewari BJP
Shri Kanwar Pal Male Jagadhri BJP
Shri Vipul Goyal Male Faridabad BJP
Shri Anand Singh Dangi Male Meham INC
Shri Krishan Kumar Male Shahbad BJP
Shri Anil Vij Male Ambala Cantt BJP
Smt. Santosh Yadav Female Ateli BJP
Shri. Karan Dev Kamboj Male Indri BJP
Shri Subhash Sudha Male Thanesar BJP
Shri Abhe Singh Yadav Male Nangal Chaudhry BJP
Smt. Rohita Rewri Female Panipat City BJP
Shri Manish Grover Male Rohtak BJP
Shri Bhupinder Singh Hooda Male Garhi Sampla-Kiloi INC
Shri Shyam Singh Male Radaur BJP
Shri Balkaur Singh Male Kalanwali SAD
Shri Ram Bilas Sharma Male Mahendragarh BJP
Shri Gian Chand Gupta Male Panchkula BJP
Shri Om Parkash Barwa Male Loharu INLD
Shri Narbir Singh,Rao Male Badshahpur BJP
Shri Ravinder Machhrouli Male Samalkha Independent
Shri Tejpal Tawar Male Sohna BJP
Shri Ghanshyam Dass Male Yamuna Nagar BJP
Smt. Bimla Chaudhary Female Pataudi BJP
Smt. Geeta Bhukkal Female Jhajjar INC
Shri Ghanshyam Saraf Male Bhiwani BJP
Shri Makhan Lal Singla Male Sirsa INLD
Shri Hari Chand Middha Male Jind INLD
Sardar Jaswinder Singh Sandhu Male Pehowa INLD
Shri Jagbir Singh Malik Male Gohana INC
Shri Udai Bhan Male Hodal INC
Shri Jai Tirath Male Rai INC
Shri Jaiveer Male Kharkhauda INC
Shri Kehar Singh Male Hathin INLD
Prof. Ravinder Baliala Male Ratia INLD
Shri Jasbir Male Safidon Independent
Smt. Kavita Jain Female Sonipat BJP
Smt. Kiran Choudhry Female Tosham INC
Shri Ramchand Kamboj Male Rania INLD
Shri Krishan Lal Panwar Male Israna BJP
Shri Lalit Nagar Male Tigaon INC
Shri Kuldeep Sharma Male Ganaur INC
Smt. Seema Trikha Female Badkhal BJP
Shri Bhagwan Dass Kabir Panthi Male Nilokheri BJP
Shri Rahish Khan Male Punahana Independent
Shri Harvinder Kalyan Male Gharaunda BJP
Shri Om Prakash Male Narnaul BJP
Shri Om Prakash Dhankhar Male Badli BJP
Shri Anoop Dhanak Male Uklana INLD
Ch. Naseem Ahmed Male Ferozepur Jhirka INLD
Smt. Prem Lata Female Uchana Kalan BJP
Shri Mahipal Dhanda Male Panipat Rural BJP
Shri Subhash Barala Male Tohana BJP
Smt. Latika Sharma Female Kalka BJP
Shri Parminder Singh Dhull Male Julana INLD
Shri Kulwant Ram Bazigar Male Guhla BJP
Shri Pirthi Singh Male Narwana INLD
Shri Balwan Singh Daulatpuria Male Fatehabad INLD
Shri Sukhvinder (Badhra) Male Badhra BJP
Shri Tekchand Sharma Male Prithla BSP
Dr. Raghuvir Singh Kadian Male Beri INC
Shri Santosh Chauhan Sarwan Male Mulana BJP
Shri Naresh Kaushik Male Bahadurgarh BJP
Shri Balwant Singh Male Sadhuna BJP
Shri Bishamber Singh Male Bawani Khera BJP
Shri Nayab Singh Male Naraingarh BJP
Shri Ved Narang Male Barwala INLD
Dr. Banwari Lal Male Bawal BJP
Shri Jai Prakash Male Kalayat Independent
Shri Randeep Singh Surjewala Male Kaithal INC
Shri. Kuldeep Bishnoi Male Adampur HJC BL
Shri Ranbir Gangwa Male Nalwa INLD
Capt. Abhimanyu Sindhu Male Narnaund BJP
Shri Rajdeep Male Dadri INLD
Dr. Kamal Gupta Male Hisar BJP
Smt. Shakuntla Khatak Female Kalanaur INC
Pt Mool Chand Sharma Male Ballabgarh BJP
Dr. Pawan Saini Male Ladwa BJP
Shri Nagender Bhadana Male Faridabad NIT INLD
Shri Sri Krishan Hooda Male Baroda INC
Shri Karan Singh Dalal Male Palwal INC
Shri Umesh Aggarwal Male Gurgaon BJP
Shri Dinesh Kaushik Male Pundri Independent
Shri. Manohar Lal Khattar (CM) Male Karnal BJP
Shri Aseem Goel Male Ambala City BJP
Smt. Renuka Bishnoi Female Hansi HJC BL
Shri Bikram Singh Thekedar Male Kosli BJP
Sardar Bakhshish Singh Virk Male Assandh BJP
References[edit]
^ Jump up to: a b "Haryana Vidhan Sabha". Legislative Bodies in India website.
Jump up ^ "Haryana Legislative Assembly". Legislative Bodies in India website.
External links[edit]
Official website
[show]
v
t
e
Elections in Haryana
Legislative Assembly elections
1967
1968
1972
1977
1982
1987
1991
1996
2000
2005
2009
2014
General elections
1967
1971
1977
1980
1984
1989
1991
1996
1998
1999
2004
2009
2014
[show]
v
t
e
Constituencies of the Haryana Legislative Assembly
Adampur
Ambala Cantt
Ambala City
Assandh
Ateli
Badhra
Badkhal
Badli
Badshahpur
Bahadurgarh
Ballabgarh
Baroda
Barwala
Bawal
Bawani Khera
Beri
Bhiwani
Dabwali
Dadri
Ellenabad
Faridabad
Faridabad NIT
Fatehabad
Ferozepur Jhirka
Ganaur
Garhi Sampla-Kiloi
Gharaunda
Gohana
Guhla
Gurgaon
Hansi
Hathin
Hisar
Hodal
Indri
Israna
Jagadhri
Jhajjar
Jind
Julana
Kaithal
Kalanaur
Kalanwali
Kalayat
Kalka
Karnal
Kharkhauda
Kosli
Ladwa
Loharu
Mahendragarh
Meham
Mulana
Nalwa Chaudhry
Nangal Chaudhry
Naraingarh
Narnaul
Narnaund
Narwana
Nilokheri
Nuh
Palwal
Panchkula
Panipat City
Panipat Rural
Pataudi
Pehowa
Prithla
Punahana
Pundri
Radaur
Rai
Rania
Ratia
Rewari
Rohtak
Sadhaura
Safidon
Samalkha
Shahbad
Sirsa
Sohna
Sonipat
Thanesar
Tigaon
Tohana
Tosham
Uchana
Uklana
Yamuna Nagar
[show]
v
t
e
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British Raj
Council of India
Imperial Legislative Council
Council of State
Central Legislative Assembly
Chamber of Princes
Constituent Assembly of India
Sansad
Rajya Sabha
Lok Sabha
Vidhan Sabha
Andhra Pradesh
Arunachal Pradesh
Assam
Bihar
Chhattisgarh
National Capital Territory of Delhi
Goa
Gujarat
Haryana
Himachal Pradesh
Jammu and Kashmir
Jharkhand
Karnataka
Kerala
Madhya Pradesh
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Manipur
Meghalaya
Mizoram
Nagaland
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West Bengal
Vidhan Parishad
Andhra Pradesh
Bihar
Jammu and Kashmir
Karnataka
Maharashtra
Telangana
Uttar Pradesh
[show]
v
t
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State of Haryana
Capital: Chandigarh
Topics
Outline
History
Tourism
Geography
Politics
Government
Governors
Economy
Sports
Districts and divisions
Ambala division
Ambala
Kurukshetra
Panchkula
Yamuna Nagar
Faridabad division
Faridabad
Nuh
Palwal
Gurgaon division
Gurgaon
Mahendragarh
Rewari
Hisar division
Fatehabad
Hisar
Jind
Sirsa
Karnal division
Kaithal
Karnal
Panipat
Rohtak division
Bhiwani
Charkhi Dadri
Jhajjar
Rohtak
Sonipat
Major cities
Faridabad
Gurgaon
Panipat
Yamunanagar
Rohtak
Hisar
Karnal
Sonipat
Panchkula
Bhiwani
Sirsa
Bahadurgarh
Jind
Kurukshetra
Kaithal
Rewari
Palwal
Culture
Dance
Music
Swang
Haryanvi Films
Haryanvi language
Loarki language
Mewati language
Economy
Power stations and power organisations
[show]
Places of interest
Indus Valley Civilization
Balu, Haryana
Banawali
Bhirrana
Farmana
Jognakhera
Kunal
Lohari Ragho
Mitathal
Rakhigarhi
Siswal
Sothi
Archaeological
Agroha Mound
Chaneti Stupa
Havelis: Nangal Sirohi
Stepwells: Dhumaspur Baoli, Shahjahan ki Baoli
Forts
Asigarh Fort (Hansi)
Badhshapur Fort
Buria Fort
Chhachhrauli Fort
Dhosi Hill Fort
Fatehabad Fort
Farrukhnagar Fort
Hisar-e-Firoza
Fort Kotla
Indor Fort
Jind Fort
Kaithal Fort
Gajpat Singh Fort at Karnal
Loharu Fort
Madhogarh Fort
Mahendragarh Fort
Meham Fort
Nahar Singh Fort at Ballabhgargh
Pinjore Fort
Raipur Rani Fort
Fort of King Saras of Sirsa
Tosham Hill Fort
Hills
Dhosi Hill near Narnaul
Kotla Hill in Mewat
Indor Hill in Mewat
Madhogarh Hill near Mahendragarh
Mahendragarh Hill
Morni Hills in Yamuna Nagar
Tosham Hill in Bhiwani
Caves
Chyvan Rishi Cave at Dhosi Hill
Tosham Hill Caverns
Nar Narayan Cave in Yamuna Nagar
Historical
Bhima Devi Temple Complex at Pinjore
Dhosi Hill
Farrukhnagar
Mughal Bridge at Kernal
Harsh ka Tilla at Kurukshetra
Nahar Singh Mahal
Narnaul
Pataudi Palace
Pinjore Gardens
Sthaneshwar Mahadev Temple
Surajkund
Tomb of Saikh Taiyab at Kaithal
Tosham rock inscription
State Protected Monuments
Monuments of National Importance
Wildlife Sanctuary
Abubshahar Wildlife Sanctuary
Bhindawas Wildlife Sanctuary
Bir Shikargah Wildlife Sanctuary
Chhilchhila Wildlife Sanctuary
Kalesar National Park
Khaparwas Wildlife Sanctuary
Khol Hi-Raitan Wildlife Sanctuary
Morni
Nahar Wildlife Sanctuary
Saraswati Wildlife Sanctuary
Sohna
Sultanpur Lake Bird Sanctuary
Endangered Wildlife Breeding
Chinkara Breeding Centre Kairu, Bhiwani
Crocodile Breeding Centre, Kurukshetra
Vulture Conservation and Breeding Centre, Pinjore
Pheasant Breeding Centre Morni
Pheasant Breeding Centre, Berwala
Peacock & Chinkara Breading Centre, Jhabua in Rewari district
Deer Park, Hisar
Zoos in Haryana
Bhiwani Zoo
Hisar Deer Park
Rohtak Zoo
Pipli Zoo
Herbal Parks
Shatavar Vatika Herbal Park, Hisar
Ch. Surender Singh Memorial Herbal Park, Tosham
Ch. Surender Singh Memorial Herbal Park, Kairu
Ch. Devi Lal Herbal Nature Park
Lakes
Badkhal Lake
Blue Bird Lake at Hisar
Damdama Lake
Karna Lake
Tilyar Lake at Rohtak
Dams
Anagpur Dam
Hathnikund Barrage
Kaushalya Dam
Masani barrage
Ottu barrage
Palla barrage
Pathrala barrage
Tajewala Barrage
Rivers
Chautang
Ghaggar-Hakra
Markanda River
Najafgarh
Sahibi River
Sarasvati River
Yamuna
Religious
Adi Badri (Haryana) Sarsvati udgam sthal
Agroha Dham
Baba Thakur
Banbhori Devi
Brahma Sarovar
Bhuteshwar Temple
Jayanti Devi Temple
Jyotisar
Kartikeya Temple
Markandeshwar
Mata Mansa Devi Mandir
Nada Sahib
Naugaja Peer
Pindara Temple
Sannihit Sarovar
Sita Mai Temple
Sthaneshwar Mahadev Temple
Sheetla Mata Mandir Gurgaon
St. Thomas' Church at Hisar
Offices
High Court
Legislative Assembly
Raj Bhavan
Public places
Kingdom of Dreams
Mall of India
The Oberoi
Extreme Corners of Haryana
Eastern-most point: Kalesar village Yamuna riverbank in Yamuna Nagar District
Western-most point: Chautala-Sangari border road crossing in Sirsa district
Southern-most point: Kol Gaon hill in Ferozepur Jhirka tehsil of Gurgaon district
Northern-most point: Khokhra village riverbank north of Chandigarh-Baddi river bridge in Panchkula district
Highest-lowest of Haryana
Highest point: Karoh Peak in Shivalik Hills of Panchkula district
Lowest natural Surface elevation point:
Deepest Underground Cave:
Coldest avg temp: Karoh Peak in Shivalik Hills of Panchkula district
Hottest avg temp: Hisar
Wettest avg rainfall: Morni hills in Shivalik Hills of Panchkula district
Driest avg rainfall: Bhiwani
Oldest of Haryana
Oldest archaeological site: Rakhigarhi 4700 BC or 6700 years old Indus Valley Civilization in Hisar district
Oldest archaeological mine site: Kaliyana hill Indus Valley Civilization stone mine (3000 BC or 5000 years old) west of Charkhi Dadri
[show]
Government and Politics
Elections
1991
1996
1998
1999
2004
2009
2014
Chief Ministers
Banarsi Das Gupta
Rao Birender Singh
Bansi Lal
Bhagwat Dayal Sharma
Bhajan Lal
Devi Lal
Om Prakash Chautala
Hukam Singh
Bhupinder Singh Hooda
Manohar Lal Khattar
Governors
Dharma Vira
Birendra Narayan Chakraborty
Ranjit Singh Narula
Jaisukh Lal Hathi
Harcharan Singh Brar
Surjit Singh Sandhawalia
Ganpatrao Devji Tapase
Saiyid Muzaffar Husain Burney
Hari Anand Barari
Dhanik Lal Mandal
Mahaveer Prasad
Babu Parmanand
Om Prakash Verma
Akhlaqur Rahman Kidwai
Jagannath Pahadia
Kaptan Singh Solanki
State agencies
Dakshin Haryana Bijli Vitran Nigam
Debt Conciliation Board
Doordarshan Haryana
Foreign Investment and NRI Cell
Forests Department, Haryana
Department of Economic and Statistical Analysis, Haryana
Department of Environment, Haryana
Department of Excise & Taxation, Haryana
Department of Finance, Haryana
Department of Industries & Commerce, Haryana
Department of Industrial Training & Vocational Education, Haryana
Department of Institutional Finance & Credit Control, Haryana
Department of Labour & Employment, Haryana
Department of Land records & Consolidation, Haryana
Department of Revenue and Disaster Management, Haryana
Department of Rehabilitation, Haryana
Department of Higher Education, Haryana
Department of School Education, Haryana
Department of Elementary Education, Haryana
Haryana Board of School Education
Haryana Civil Medical Services
Haryana Environment Protection Council
Haryana Land Record Information System
Haryana Power Generation Corporation Limited
Haryana Police
Haryana Roadways
Haryana Seeds Development Corporation
Haryana State Directorate of Archaeology & Museums
Haryana State Legal Services Authority, Haryana
Haryana Tourism Corporation Limited
Haryana Urban Development Authority
Haryana Waqf Board
State Counselling Board, Haryana
Uttar Haryana Bijli Vitran Nigam
[show]
Sports
Venues
Chaudhary Bansi Lal Cricket Stadium
Nahar Singh Stadium
Tau Devi Lal Stadium
Sector 16 Stadium
Mahabir Stadium
Associations
Haryana Archery Association
Haryana Cricket Association
Teams
Haryana cricket team
Haryana football team
Bhiwani Boxing Club
Portal: Haryana
Category: Haryana
Wikiproject: Haryana
Retrieved from "https://en.wikipedia.org/w/index.php?title=Haryana_Legislative_Assembly&oldid=837527618"
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History of ballet
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Main articles: Ballet and History of dance
A publicity photo for the premiere of Tchaikovsky's ballet The Sleeping Beauty (1890).
Ballet is a formalized form of dance with its origins in the Italian Renaissance courts of 15th and 16th centuries. Ballet spread from Italy to France with the help of Catherine de' Medici, where ballet developed even further under her aristocratic influence. An early example of Catherine's development of ballet is through 'Le Paradis d' Amour', a piece of work presented at her daughter's wedding, Marguerite de Valois to Henry of Navarre. Aristocratic money was responsible for the initial stages of development in 'court ballet', as it was royal money that dictated the ideas, literature and music used in ballets that were created to primarily entertain the aristocrats of the time. The first formal 'court ballet' ever recognized was staged in 1573, 'Ballet des Polonais'. In true form of royal entertainment, 'Ballet des Polonais' was commissioned by Catherine de' Medici to honor the Polish ambassadors who were visiting Paris upon the accession of Henry of Anjou to the throne of Poland. In 1581, Catherine de' Medici commissioned another court ballet, Ballet Comique de la Reine, however it was her compatriot, Balthasar de Beaujoyeulx, who organized the ballet. Catherine de' Medici and Balthasar de Beaujoyeulx were responsible for presenting the first court ballet ever to apply the principles of Baif's Academie, by integrating poetry, dance, music and set design to convey a unified dramatic storyline. Moreover, the early organization and development of 'court ballet' was funded by, influenced by and produced by the aristocrats of the time, fulfilling both their personal entertainment and political propaganda needs.
In the late 17th century Louis XIV founded the Académie Royale de Musique (the Paris Opera) within which emerged the first professional theatrical ballet company, the Paris Opera Ballet. The predominance of French in the vocabulary of ballet reflects this history. Theatrical ballet soon became an independent form of art, although still frequently maintaining a close association with opera, and spread from the heart of Europe to other nations. The Royal Danish Ballet and the Imperial Ballet of the Russian Empire were founded in the 1740s and began to flourish, especially after about 1850. In 1907 the Russian ballet in turn moved back to France, where the Ballets Russes of Sergei Diaghilev and its successors were particularly influential. Soon ballet spread around the world with the formation of new companies, including London's The Royal Ballet (1931), the San Francisco Ballet (1933), American Ballet Theatre (1937), The Royal Winnipeg Ballet (1939), The Australian Ballet (1940), the New York City Ballet (1948), the National Ballet of Canada (1951), and the National Ballet Academy and Trust of India (2002).[1]
In the 20th century styles of ballet continued to develop and strongly influence broader concert dance, for example, in the United States choreographer George Balanchine developed what is now known as neoclassical ballet, subsequent developments have included contemporary ballet and post-structural ballet, for example seen in the work of William Forsythe in Germany.
The etymology of the word "ballet" reflects its history. The word ballet comes from French and was borrowed into English around the 17th century. The French word in turn has its origins in Italian balletto, a diminutive of ballo (dance). Ballet ultimately traces back to Italian ballare, meaning "to dance".[2]
Contents
[hide]
1 Origins
1.1 Renaissance – Italy and France
1.2 17th century – France and Court Dance
1.3 Popularity throughout Europe
2 18th century
2.1 France and development as an art form
2.2 Outside France
3 19th century
3.1 Romantic movement
3.2 Russia
3.3 Argentina
4 20th century and modernism
4.1 Russia and the Ballets Russes
4.2 United States of America
5 Neoclassical ballet
6 Contemporary
7 Development of ballet method
8 See also
9 References
10 Further reading
Origins[edit]
Renaissance – Italy and France[edit]
Main article: Renaissance dance
Engraving of the second scene of the Ballet Comique de la Reine, staged in Paris in 1581 for the French court.
Ballet originated in the Renaissance court as an outgrowth of court pageantry in Italy,[3] where aristocratic weddings were lavish celebrations. Tutus, ballet slippers and pointe work were not yet used. The choreography was adapted from court dance steps.[4] Performers dressed in fashions of the times. For women that meant formal gowns that covered their legs to the ankle.[5] Early ballet was participatory, with the audience joining the dance towards the end.
Domenico da Piacenza (c. 1400–c. 1470) was one of the first dancing masters. Along with his students, Antonio Cornazzano and Guglielmo Ebreo da Pesaro, he was trained in dance and responsible for teaching nobles the art. Da Piacenza left one work: De arte saltandi et choreus ducendi (On the art of dancing and conducting dances), which was put together by his students.[6]
In 1489 Galeazzo, Duke of Milan, married Isabella of Aragon in Tortona. An elaborate dance entertainment was arranged for the celebrations by the Italian dance master Bergonzio di Botta. The dances were linked by a slim narrative concerning Jason and the Argonauts, and each corresponded to a different course for the dinner. Tristano Calco of Milan wrote about the event, and it was considered so impressive, that many similar spectacles were organized elsewhere.[7][8]
Ballet was further shaped by the French ballet de cour, which consisted of social dances performed by the nobility in tandem with music, speech, verse, song, pageant, decor and costume.[9] When Catherine de' Medici, an Italian aristocrat with an interest in the arts, married the French crown heir Henry II, she brought her enthusiasm for dance to France and provided financial support. Catherine's glittering entertainments supported the aims of court politics and usually were organized around mythological themes.[10] The first ballet de cour was the Ballet de Polonais. This Ballet was performed in 1573 on the occasion of the visit of the Polish Ambassador. It was choreographed by Balthasar de Beaaujoyeulx and featured an hour-long dance for sixteen women, each representing a French province. Ballet Comique de la Reine (1581), which was also choreographed and directed by Balthasar de Beaujoyeulx, was commissioned by Louise of Lorraine, queen consort of King Henry III, son of Catherine, to celebrate the marriage of Henry's favorite the Duke de Joyeuse to Marguerite de Lorraine, the sister of Queen Louise. The ballet lasted for more than five hours and was danced by twenty four dancers: twelve naiades and twelve pages.[11][12]
In the same year, the publication of Fabritio Caroso's Il Ballarino, a technical manual on court dancing, both performance and social, helped to establish Italy as a centre of technical ballet development.[13]
17th century – France and Court Dance[edit]
Main article: French ballet
Louis XIV in Lully's Ballet Royal de la Nuit (1653).
Ballet developed as a performance-focused art form in France during the reign of Louis XIV, who was passionate about dance.[14] Pierre Beauchamp, the man who codified the five basic positions of the feet in ballet, was the king's personal dance teacher and favorite partner in ballet de cour in the 1650s.[15] In 1661 Louis XIV, who was determined to reverse a decline in dance standards that began in the 17th century, established the Académie Royale de Danse.[14] Beauchamp was appointed Intendant des ballets du roi and in 1680 became the director of the dance academy, a position he held until 1687.[15]
Jean-Baptiste Lully, an Italian violinist, dancer, choreographer, and composer, who joined the court of Louis XIV in 1652,[16] played a significant role in establishing the general direction ballet would follow for the next century. Supported and admired by King Louis XIV, Lully often cast the king in his ballets. The title of Sun King for the French monarch, originated in Louis XIV's role in Lully's Ballet de la Nuit (1653). The fourteen-year-old Louis XIV danced five roles in this 12-hour ballet.[17] This Ballet was lavish and featured a scene where a set piece of a house was burned down, included witches, werewolves, gypsies, shepherds, thieves, and the goddesses Venus and Diana. Lully's main contribution to ballet were his nuanced compositions. His understanding of movement and dance allowed him to compose specifically for ballet, with musical phrasings that complemented physical movements.[18] Lully also collaborated with the French playwright Molière. Together, they took an Italian theatre style, the commedia dell'arte, and adapted it into their work for a French audience, creating the comédie-ballet. Among their greatest productions, with Beauchamp as the choreographer,[15] was Le Bourgeois Gentilhomme (1670).[19]
In 1669 Louis XIV founded the Académie d'Opéra with Pierre Perrin as director.[20] Louix XIV retired in 1670, largely because of excessive weight gain. Earlier, in 1661 he had founded a school, the Adacemie Royale de danse. Beauchamp was the first ballet-master of the Opéra and created the dances for the new company's first production Pomone with music by Robert Cambert.[15] Later, after Perrin went bankrupt, the king reestablished the Opéra as the Académie royale de Musique and made Lully the director.[20] Beauchamp was one of the principal choreographers.[15] In this position Lully, with his librettist Philippe Quinault, created a new genre, the tragédie en musique, each act of which featured a divertissement that was a miniature ballet scene.[16] With almost all his important creations Jean-Baptiste Lully brought together music and drama with Italian and French dance elements. His work created a legacy which would define the future of ballet.
Popularity throughout Europe[edit]
The Royal Ballet of the Dowager of Bilbao's Grand Ball, 1626.
France's court was in some ways the leading source of fashionable culture for many other royal courts in Europe. Styles of entertainment were imitated, including the royal ballets. Courts in Spain, Portugal, Poland, Germany, and elsewhere all became audiences and participants in ballets. In addition to France, Italy became an important influence on the art form, predominantly Venice.
Professional ballet troupes began to organize and tour Europe, performing for aristocratic audiences. In Poland, King Władysław IV Vasa (1633–1648) hosted Italian opera productions, which included ballet performers in some scenes. The famous European ballet-masters who worked for the Polish court include Louis de Poitiers, Charles Duparc, Jean Favier, Antoine Pitrot, Antonio Sacco and Francesco Caselli.[21]
18th century[edit]
This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (April 2010) (Learn how and when to remove this template message)
France and development as an art form[edit]
The 18th century was a period of advance in the technical standards of ballet and the period when ballet became a serious dramatic art form on par with the opera. Central to this advance was the seminal work of Jean-Georges Noverre, Lettres sur la danse et les ballets (1760), which focused on developing the ballet d'action, in which the movements of the dancers are designed to express character and assist in the narrative. Noverre believed that: ballet should be technical but also move the audience emotionally, plots need to be unified, the scenery and music need to support the plot and be unified within the story, and that pantomime needs to be simple and understandable.[22]
Reforms were made in ballet composition by composers such as Christoph Willibald Gluck. Finally, ballet was divided into three formal techniques sérieux, demi-caractère and comique. Ballet also began to be featured in operas as interludes called divertissements.
Outside France[edit]
Venice continued to be a centre of dance in Europe, particularly during the Venice Carnival, when dancers and visitors from across the continent would travel to the city for a lively cultural exchange. The city's Teatro San Benedetto became a famous landmark largely due to the ballets performed there. Italian ballet techniques remained the dominant influence in much of southern and eastern Europe until Russian techniques supplanted them in the early 20th century.
Ballet performances spread to Eastern Europe during the 18th century, into areas such as Hungary, where they were held in private theatres at aristocratic castles. Professional companies were established that performed throughout Hungary and also toured abroad. The Budapest National Theatre increasingly serving a role as a home for the dancers.[23]
Some of the leading dancers of the time who performed throughout Europe were Louis Dupré, Charles Le Picque with Anna Binetti, Gaetano Vestris, and Jean-Georges Noverre.[21]
19th century[edit]
Polish ballet performers at the 1827 Venice Carnival. The dancer on the left is performing "en travestie" as a woman taking the man's role.
The ballerina became the most popular dance performer in Europe in the first half of the 19th century, gradually turning the spotlight away from the male dancer. In many performances, ballet heroes were played by a woman, like the Principal Boy in pantomime.[24]
The professionalism of ballet companies became a focus for a new generation of ballet masters and dancers. Vienna was an important source of influential ballet coaches. The first ballet master of Hungary's National Theatre and Royal Opera was the Vienna-born Frigyes Campilli, who worked in Budapest for 40 years.[25]
This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (April 2010) (Learn how and when to remove this template message)
The 19th century was a period of great social change, which was reflected in ballet by a shift away from the aristocratic sensibilities that had dominated earlier periods through romantic ballet. Ballerinas such as Geneviève Gosselin, Marie Taglioni and Fanny Elssler experimented with new techniques such as pointework that gave the ballerina prominence as the ideal stage figure. Taglioni was known as the "Christian Dancer," as her image was light and pure (associated with her role as the sylph in La Sylphide). She was trained primarily by her father, Filipo Taglioni. In 1834, Fanny Elssler arrived at the Paris Opera and became known as the "Pagan Dancer," because of the fiery qualities of the Cachucha dance that made her famous. Professional librettists began crafting the stories in ballets. Teachers like Carlo Blasis codified ballet technique in the basic form that is still used today. The ballet boxed toe shoe was invented to support pointe work.
Romantic movement[edit]
Main article: Romantic ballet
Marie Taglioni as Flore in Charles Didelot's ballet Flore et Zéphire (ca. 1831). She was a pioneer of pointework.
The Romantic movement in art, literature, and theatre was a reaction against formal constraints and the mechanics of industrialization.[22] The zeitgeist led choreographers to compose romantic ballets that appeared light, airy and free that would act as a contrast to the spread of reductionist science through many aspects of daily life that had, in the words of Poe, "driven the hamadryad from the woods". These "unreal" ballets portrayed women as fragile unearthly beings, ethereal creatures who could be lifted effortlessly and almost seemed to float in the air. Ballerinas began to wear costumes with pastel, flowing skirts that bared the shins. The stories revolved around uncanny, folkloric spirits. An example of one such romantic ballet is La Sylphide, one of the oldest romantic ballets still performed today.
One strain of the Romantic movement was a new exploration of folklore and traditional ethnic culture. This influence was seen in the emergence of European folk dance and western portrayals of African, Asian, and Middle East peoples on European stages. In ballets from this period, non-European characters were often created as villains or as silly divertisements to fit the orientalist western understanding of the world.[26] The National Opera of Ukraine, a performing arts theatre with a resident opera company, was established in Kiev in 1867. It also included a small resident troupe of ballet dancers, who would perform mainly folk-style dancing during opera productions. By 1893, this grew to a troupe large enough to stage large ballets. Folk dancing and ballets with Ukrainian stories were among the early productions.[27]
Many leading European professional ballet companies that survive today were established at new theatres in Europe's capital cities during the mid- to late- 19th century, including the Kiev Ballet, the Hungarian National Ballet, the National Theatre Ballet (Prague) and the Vienna State Ballet (formerly the Vienna State Opera Ballet). These theatres usually combined large opera, drama and ballet companies under the same roof. Composers, dramatists, and choreographers were then able to create works that took advantage of the ability to collaborate among these performance troupes.
Russia[edit]
Main article: Russian ballet
Mikhail Mordkin as Prince Siegfried and Adelaide Giuri as Odette with students as the little swans in the Moscow Imperial Bolshoi Theatre's production of the Petipa/Ivanov/Tchaikovsky Swan Lake. 1901
While France was instrumental in early ballet, other countries and cultures soon adopted the art form, most notably Russia. Russia has a recognized tradition of ballet, and Russian ballet has had great importance in its country throughout history. After 1850, ballet began to wane in Paris, but it flourished in Denmark and Russia thanks to masters such as August Bournonville, Jules Perrot, Arthur Saint-Léon, Enrico Cecchetti and Marius Petipa. In the late nineteenth century, orientalism was in vogue. Colonialism brought awareness of Asian and African cultures, but distorted with disinformation and fantasy. The East was often perceived as a faraway place where anything was possible, provided it was lavish, exotic and decadent. Petipa appealed to popular taste with The Pharaoh's Daughter (1862), and later The Talisman (1889), and La Bayadère (1877). Petipa is best remembered for his collaborations with Tchaikovsky. He used his music for his choreography of The Nutcracker (1892, though this is open to some debate among historians), The Sleeping Beauty (1890), and the definitive revival of Swan Lake (1895, with Lev Ivanov). These works were all drawn from European folklore.
The female dancers' classical tutu as it is recognized today began to appear at this time. It consisted of a short, stiff skirt supported by layers of crinoline or tulle that revealed the acrobatic legwork, combined with a wide gusset that served to preserve modesty.
Argentina[edit]
Ballet companies from Europe began lucrative tours of theatres in North, Central and South America during the mid-19th century. The prestigious Colon Theater in Buenos Aires, Argentina had hosted foreign ballet artists on its stage, with touring companies from Europe presenting full ballets as early as 1867.[28] By the 1880s, the Colon Theater had its own professional ballet company. It would still be several decades before most countries outside of Europe could claim their own professional ballet companies, however.
20th century and modernism[edit]
Russia and the Ballets Russes[edit]
Anna Pavlova as a bacchante in Bacchanale by Mikhail Mordkin.
Sergei Diaghilev brought ballet full-circle back to Paris when he opened his company, Ballets Russes. It was made up of dancers from the Russian exile community in Paris after the Revolution.
Diaghilev and composer Igor Stravinsky merged their talents to bring Russian folklore to life in The Firebird and Petrushka choreographed by Fokine. Diaghilev's next choreographic commissions went to Nijinsky. His First ballet was L'apres-midi d'un Faune (Afternoon of a Faun) to music by Debussy. It was notable for its two dimensional shapes and lack of ballet technique. It caused controversy by depicting the faun rubbing the scarf of one of the maidens on himself, in simulated masturbation. The most controversial work of the Ballets Russes however, was The Rite of Spring, choreographed by Nijinsky with music by Stravinsky. The ballet's modern music, pigeon toed stomping and theme of human sacrifice shocked audiences so much they rioted.
After the “golden age” of Petipa, Michel Fokine began his career in St. Petersburg but moved to Paris and worked with Diaghilev and the Ballets Russes.
Vaslav Nijinsky in The Spectre of the Rose, 1911.
Russian ballet continued development under Soviet rule. There was little talent left in the country after the Revolution, but it was enough to seed a new generation. After stagnation in the 1920s, by the mid-1930s that new generation of dancers and choreographers appeared on the scene. The technical perfection and precision of dance was promoted (and demanded) by Agrippina Vaganova, who had been taught by Petipa and Cecchetti and headed the Vaganova Ballet Academy, the school to prepare dancers for the Kirov Ballet in St. Petersburg/Leningrad.
Ballet was popular with the public. Both the Moscow-based Bolshoi and the St. Petersburg (then Leningrad)-based Kirov ballet companies were active. Ideological pressure forced the creation of many socialist realist pieces, most of which made little impression on the public and were removed from the repertoire of both companies later.
Some pieces of that era, however, were remarkable. The Romeo and Juliet by Prokofiev and Lavrovsky is a masterpiece. The Flames of Paris, while it shows all the faults of socialist realist art, pioneered the active use of the corps de ballet in the performance and required stunning virtuosity. The ballet version of the Pushkin poem, The Fountain of Bakhchisarai with music from Boris Asafiev and choreography by Rostislav Zakharov was also a hit.
The well-known ballet Cinderella, for which Prokofiev provided the music, is also the product of the Soviet ballet. During the Soviet era, these pieces were mostly unknown outside the Soviet Union and later outside of the Eastern Bloc. However, after the collapse of the Soviet Union they received more recognition.
The 1999 North American premiere of The Fountain of Bakhchisarai by the Kirov Ballet in New York was an outstanding success, for example. The Soviet era of the Russian Ballet put a lot of emphasis on technique, virtuosity and strength. It demanded strength usually above the norm of contemporary Western dancers. When watching restored old footage, one can only marvel at the talent of their prima ballerinas such as Galina Ulanova, Natalya Dudinskaya and Maya Plisetskaya and choreographers such as Pyotr Gusev.
Russian companies, particularly after World War II engaged in multiple tours all over the world that revitalized ballet in the West.
Maiden Tower[29] written by Afrasiyab Badalbeyli is the first ballet in the Muslim East.[30][31][29]
United States of America[edit]
Following the move of the Ballets Russes to France, ballet began to have a broader influence, particularly in the United States of America.
From Paris, after disagreements with Diaghilev, Fokine went to Sweden and then the USA and settled in New York. Diaghilev believed that traditional ballet offered little more than prettiness and athletic display. For Fokine that was not enough. In addition to technical virtuosity he demanded drama, expression and historical authenticity. The choreographer must research the period and cultural context of the setting and reject the traditional tutu in favour of accurate period costuming.
Fokine choreographed Sheherazade and Cleopatra. He also reworked Petrouchka and The Firebird. One of his most famous works was The Dying Swan, performed by Anna Pavlova. Beyond her talents as a ballerina, Pavlova had the theatrical gifts to fulfill Fokine's vision of ballet as drama. Legend has it that Pavlova identified so much with the swan role that she requested her swan costume from her deathbed.
The Dying Swan choreographed by Fokine, performed by three soloists (shown in order): 1. Anna Pavlova (7 seconds) 2. Yvette Chauvire (10 seconds) 3. Natalia Makarova (14 seconds).
George Balanchine developed state-of-the-art technique in America by opening a school in Chicago and more importantly, in New York. He adapted ballet to the new media, movies and television.[32] A prolific worker, Balanchine rechoreographed classics such as Swan Lake and Sleeping Beauty as well as creating new ballets. He produced original interpretations of the dramas of William Shakespeare such as Romeo and Juliet and A Midsummer Night's Dream, and also of Franz Léhar's The Merry Widow.
In 1967, Balanchine's Jewels broke with the narrative tradition and dramatized a theme rather than a plot. This focus fits with the state-sponsored funding sources in the United States which sought to encourage "liberty and freethinking" in contrast to narrative-driven dance, which was seen as to be connected too closely with socialism, especially Soviet communism.[33] Today, partly thanks to Balanchine, ballet is one of the most well-preserved dances in the world.[citation needed]
Barbara Karinska was a Russian emigree and a skilled seamstress who collaborated with Balanchine to elevate the art of costume design from a secondary role to an integral part of a ballet performance. She introduced the bias cut and a simplified classic tutu that allowed the dancer more freedom of movement. With meticulous attention to detail, she decorated her tutus with beadwork, embroidery, crochet and appliqué.
Neoclassical ballet[edit]
Main article: Neoclassical ballet
Ballets Russes with Apollo (1928) choreographed by George Balanchine. Dancers are Alexandrova Danilova and Serge Lifar.
George Balanchine is often considered to have been the first pioneer of what is now known as neoclassical ballet, a style of dance between classical ballet and today's contemporary ballet. Tim Scholl, author of From Petipa to Balanchine, considers Balanchine's Apollo (1928) to be the first neoclassical ballet. It represented a return to form in response to Serge Diaghilev's abstract ballets. Apollo and other works are still performed today, predominantly by the New York City Ballet. However, other companies are able to pay a fee for performance rights to George Balanchine's works.
Frederick Ashton is another prominent choreographer associated with the neoclassical style. Three of his works have become standard pieces in the international repertoire: Sylvia (1952), Romeo and Juliet (1956), and Ondine (1958), the last of which was created as a vehicle to showcase Margot Fonteyn.
Contemporary[edit]
Main article: Contemporary ballet
A 2010 performance of Irène Tassembédo's contemporary ballet piece Allah Garibou.
One dancer who trained with Balanchine and absorbed much of this neo-classical style was Mikhail Baryshnikov. Following Baryshnikov's appointment as artistic director of American Ballet Theatre in 1980, he worked with various modern choreographers, most notably Twyla Tharp. Tharp choreographed Push Comes To Shove for ABT and Baryshnikov in 1976; in 1986 she created In The Upper Room for her own company. Both these pieces were considered innovative for their use of distinctly modern movements melded with the use of pointe shoes and classically trained dancers—for their use of contemporary ballet.
Tharp also worked with the Joffrey Ballet company, founded in 1957 by Robert Joffrey. She choreographed Deuce Coupe for them in 1973, using pop music and a blend of modern and ballet techniques. The Joffrey Ballet continued to perform numerous contemporary pieces, many choreographed by co-founder Gerald Arpino.
Today there are many contemporary ballet companies and choreographers. These include Madrid Ballet; Royal Ballet of Flanders; Alonzo King and his company, Alonzo King LINES Ballet; Nacho Duato and Compañia Nacional de Danza; William Forsythe, who has worked extensively with the Frankfurt Ballet and today runs The Forsythe Company; and Jiří Kylián, formerly the artistic director of the Nederlands Dans Theater. Traditionally "classical" companies, such as the Kirov Ballet and the Paris Opera Ballet, also regularly perform contemporary works.
Development of ballet method[edit]
Main article: Ballet training
Several well-known ballet methods are named after their originators. For example, two prevailing systems from Russia are known as the Vaganova method after Agrippina Vaganova, and the Legat Method, after Nikolai Legat. The Cecchetti method was invented by Italian dancer Enrico Cecchetti (1850–1928), and the Bournonville method, which was invented by August Bournonville (1805–1879), is employed chiefly in Bournonville's own country of Denmark.
See also[edit]
Dance portal
List of ballets by title
Ballet music
History of dance
References[edit]
Jump up ^ National Ballet Academy & Trust of India in New Delhi, India. Retrieved March 29, 2010.
Jump up ^ Chantrell (2002), p. 42.
Jump up ^ Kirstein (1952), p. 4.
Jump up ^ Thoinot Arbeau, _Orchesography_, trans. by Mary Steware Evans, with notes by Julia Sutton (New York: Dover, 1967)
Jump up ^ "BALLET 101: A Complete Guide to Learning and Loving the Ballet by Robert Greskovic".
Jump up ^ Lee (2002), p. 29.
Jump up ^ «Catherine de' Medici (1519-1589)», article from September 1990, published on "Andros on Ballet" page, on Michael Minn website.
Jump up ^ Vuillier, Gaston (1898). History of Dancing from the Earliest Ages to Our Own Times, pp. 65–69. New York: D. Anderson and Company. [Facsimile reprint (2004): Whitefish, Montana: Kessinger Publishing. ISBN 978-0-7661-8166-3.]
Jump up ^ Bland (1976), p. 43.
Jump up ^ Frances A. Yates, _The French Academies of the Sixteenth Century_, 2nd ed. (London: Routledge, 1988)
Jump up ^ Anderson (1992), p. 32.
Jump up ^ Cooper, Elizabeth (2004). "Le Balet Comique de la Reine, 1581: An Analysis". University of Washington website.
Jump up ^ Lee (2002), p. 54.
^ Jump up to: a b Bland (1976), p. 49.
^ Jump up to: a b c d e Costonis, Maureen Needham (1992). "Beauchamps [Beauchamp] Pierre" in Sadie (1992) 1: 364.
^ Jump up to: a b Rosow, Lois (1992). "Lully" in Sadie (1992) 3: 82–89.
Jump up ^ Lee (2002), pp. 72–73.
Jump up ^ Lee (2002)., p. 73.
Jump up ^ Lee (2002), p. 74. Anderson (1992), p. 42.
^ Jump up to: a b Pitt, Charles (1992). "Paris" in Sadie (1992) 3: 856.
^ Jump up to: a b "Polish National Ballet History". Polish National Theatre. Retrieved March 15, 2012.
Jump up ^ Kassing, Gayle. History of dance : an interactive arts approach. Champaign, IL: Human Kinetics, 2007. Print.
Jump up ^ "The Hungarian National Ballet". Hungarian State Opera House. Retrieved March 14, 2012. [permanent dead link]
Jump up ^ "MAD. DESARGUS-LEMAIRE ET MDELLE. AMÉLIE GALSTER / dans / le pas de deux polonais". Victoria and Albert Museum. Retrieved March 15, 2012.
Jump up ^ Buranbaeva, Oksana; Vanja Mladineo (2011). Culture and Customs of Hungary. ABC-CLIO. p. 172. ISBN 978-0-313-38370-0.
Jump up ^ Macaulay, Alastair (5 September 2012). "Stereotypes in Toeshoes". New York Times. New York, United States. Retrieved 5 September 2012.
Jump up ^ Bleiberg, Laura (December 9, 2005). "Kiev Ballet cleaves to the classics". Orange County Register. Retrieved March 10, 2012.
Jump up ^ Foster, David William; Melissa Fitch Lockhart,; Darrell B. Lockhart (1998). Culture and Customs of Argentina. Greenwood Publishing Group. p. 133. ISBN 978-0-313-30319-7.
^ Jump up to: a b Музыкальная энциклопедия. Гл. ред. Ю. В. Келдыш. Т 1. А — Гонг. 1072 стб. с илл. М.: Советская энциклопедия, 1973
Jump up ^ Чингиз Абдуллаев: «Вместо того, чтобы отталкивать нас, россиянам надо менять свои взгляды и отношение к народам бывших союзных республик» Archived May 31, 2014, at the Wayback Machine.
…первый балет на мусульманском востоке появился у нас.
Jump up ^ Большая Советская Энциклопедия. Гл. ред. А. М. Прохоров, 3-е изд. Т. 1. А — Ангоб. 1969. 608 стр., илл.; 47 л. илл. и карт, 1 отд. л. табл.
Jump up ^ "Archived copy". Archived from the original on November 13, 2007. Retrieved February 9, 2008. George Balanchine
Jump up ^ Kiley, Brendan (February 7, 2012). "Old Is the New New: The Cold War and Don Quixote at Pacific Northwest Ballet". The Stranger. Seattle, United States. Retrieved February 10, 2012.
Further reading[edit]
Anderson, Jack (1992). Ballet & Modern Dance: A Concise History (2nd ed.). Princeton, NJ: Princeton Book Company, Publishers. ISBN 0-87127-172-9.
Andre, Paul; Arkadyev, V. (1999) Great History of Russian Ballet: Its Art & Choreography (1999).
Bland, Alexander (1976). A History of Ballet and Dance in the Western World. New York: Praeger Publishers. ISBN 0-275-53740-4.
Caddy, Davinia. (2012). The Ballets Russes and Beyond: Music and Dance in Belle-Epoque Paris. Cambridge: Cambridge University Press.
Cohen, Selma Jeanne, founding editor (1998). International Encyclopedia of Dance. New York: Oxford University Press. CS1 maint: Extra text: authors list (link)
Cross, Samuel H. (1944) "The Russian Ballet Before Dyagilev." Slavonic and East European Review. American Series 3.4 (1944): 19-49. in JSTOR
Ezrahi, Christina. (2012) Swans of the Kremlin: Ballet and Power in Soviet Russia (University of Pittsburgh Press); examines the resilience of artistic creativity in a history of the Bolshoi and Marinsky/Kirov ballets
Franko, Mark (1993). Dance as Text: Ideologies of the Baroque Body. Cambridge: Cambridge University Press.
Homans, Jennifer, (2010). Apollo's Angels: A History of Ballet. New York: Random House.
Johnson, Alfred Edwin. (1913) The Russian Ballet (Houghton Mifflin) online
Kassing, Gayle. (2007). History of dance : an interactive arts approach. Champaign, IL: Human Kinetics.
Lee, Carol (2002). Ballet In Western Culture: A History of its Origins and Evolution. New York: Routledge. ISBN 0-415-94256-X.
Lifar, Serge. (1954). A history of Russian ballet from its origins to the present day (Hutchinson)
McGowan, Margaret M. (1978). L'art du ballet de cour en France, 1581–1643. Paris: Centre National de la Recherche Scientifique.
Propert, Walter Archibald. (1972) The Russian Ballet in Western Europe, 1909-1920. B. Blom
Roslavleva, Natalia. (1966). Era of the Russian Ballet, New York: E.P. Dutton & Co., Inc.
Sadie, Stanley, ed. (1992). The new Grove dictionary of opera (4 volumes). London: Macmillan. ISBN 978-1-56159-228-9.
Surit͡s, E. I͡A, and E. I︠A︡ Surit︠s︡. (1990) Soviet Choreographers in the 1920s (Duke Univ Press, 1990).
Wiley, Roland John. (1990) A century of Russian ballet: documents and accounts, 1810-1910 (Oxford University Press)

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