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54-462: Rambert (known as Rambert Dance Company before 2014) is a leading British dance company. Formed at the start of the 20th century as a classical ballet company, it exerted a great deal of influence on the development of dance in the United Kingdom, and today, as a contemporary dance company, continues to be one of the world's most renowned dance companies. It has previously been known as

108-436: A unitard — a one-piece garment that combines tights and a leotard — to enhance the visibility of artistic lines. All dancers wear soft ballet shoes (sometimes called flats ). Typically, female dancers wear pink or beige shoes and men wear black or white shoes. Leg warmers are sometimes worn during the early part of a class to protect leg muscles until they become warm. Females are usually required to restrain their hair in

162-402: A bun or some other hair style that exposes the neck that is not a ponytail. The customary attire and hair style are intended to promote freedom of movement and to reveal body form so that the teacher can evaluate dancers' alignment and technique. After warming up, advanced female students may wear pointe shoes whereas advanced male students continue to wear soft shoes. Pointe shoes are worn after

216-435: A dance teacher and a dance musician is vital to the success of a ballet class. Female attire typically includes pink or flesh colored tights , a leotard , and sometimes a short wrap- skirt , or a skirted leotard . Males typically wear black or dark tights, a form-fitting white, or black, shirt or leotard worn under the tights, and a dance belt beneath the outer dancewear to provide support. In some cases, students may wear

270-563: A dance technique called Taylor technique, which is now taught at modern dance schools like The Ailey School in New York City. Additionally, choreographers like William Forsythe developed techniques that deconstructed classical dance vocabulary and expanded both the technical and conceptual possibilities of contemporary dance. According to the International Encyclopedia of Dance, William Forsythe has established

324-746: A focus on fast, intricate footwork. Many of the stylistic variations are associated with specific training methods that have been named after their originators. Despite these variations, the performance and vocabulary of classical ballet are largely consistent throughout the world. Ballet originated in the Italian Renaissance courts and was brought to France by Catherine de' Medici in the 16th century. During ballet's infancy, court ballets were performed by aristocratic amateurs rather than professional dancers. Most of ballet's early movements evolved from social court dances and prominently featured stage patterns rather than formal ballet technique. In

378-578: A framework for his conceptual ballets which do not conform to a fixed style but instead integrate elements from various trends in contemporary art and thought. His productions utilize language, song, film, video, sculpture, and electronic sounds, as well as amplified noises generated by the dancers. His choreography incorporates academic dance terminology that imparts a classical quality to all of his works, even his most experimental pieces. William Forsythe has cited Rudolf Laban and his Space Harmony movement as an artistic influence, although his ballet technique

432-427: A musical improvisation to support the dancers in the exercise. The dancers are affected by the musician's choices, and they integrate both the ballet teacher's steps and the ballet musician's music into their performance. Ultimately, the ballet teacher has little control over the musical portion of their lesson unless they ask the musician to play a specific piece of music. For this reason, the working relationship between

486-588: A shift from spontaneous and experimental methods to choreographies grounded in intellectual concepts, such as mathematical structures and repetitive patterns. Contemporary dance sometimes incorporates elements of non-western dance cultures, such as elements from African dance including bent knees, or movements from the Japanese contemporary dance, Butoh . Contemporary dance continues to explore natural movement while embracing diverse influences and unconventional staging. Additionally, contemporary dance also examines

540-629: A structured linguistic system, to the subsequent "performative turn" which critiques representational practices and introduces new themes central to contemporary choreography. These themes include liveness, immediacy, authenticity, identity, and the interplay between presence and absence. As a result, contemporary dance works have become platforms for exploring complex themes, such as the unrepresentable and intangible aspects of human existence, which are difficult to represent using traditional and classical movement forms. Contemporary dance draws on both classical ballet and modern dance, whereas postmodern dance

594-498: A unique training system. Some classical ballet training systems employ standardized layouts to define reference locations at the corners, and edges of stages, and dance studio rooms. In the latter case, there is no audience and a mirror typically spans the downstage wall of the room (e.g., points 1-2 of the Cecchetti layout). Contemporary dance Contemporary dance is a genre of dance performance that developed during

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648-401: Is Helen Shute and Benoit Swan Pouffer is Artistic Director.   Rambert is a National Portfolio Organisation of Arts Council England.  Rambert Plus is Rambert's online platform is home to a range of dance and behind the scenes content, podcasts and a library of over 300 on demand classes in 20 different styles for people of all ages and abilities.  Notable members of

702-520: Is an affiliate of the Conservatoire for Dance and Drama . The current principal and artistic director is Amanda Britton. Classical ballet There are stylistic variations related to an area or origin, which are denoted by classifications such as Russian ballet , French ballet , British ballet and Italian ballet . For example, Russian ballet features high extensions and dynamic turns, whereas Italian ballet tends to be more grounded, with

756-509: Is assumed that an element (a movement, a sound , a change of light) is in and of itself expressive; what it communicates is in large part determined by the observer themselves." Cunningham formed the Merce Cunningham Dance Company in 1953 and went on to create more than one hundred and fifty works for the company, many of which have been performed internationally by ballet and modern dance companies . Additionally,

810-476: Is considered to be one of the greatest choreographers of all time) took Romantic ballet and combined it with different aspects of Russian ballet technique (as Petipa was once a choreographer and ballet master at Mariinsky Ballet ). Elements pulled from these things include the storytelling found in Romantic ballet, and the athleticism of Russian technique. Therefore, a new era of ballet, which later became known as

864-601: Is placed on developing flexibility and strengthening the legs, feet, and body core (the center , or abdominals) as a strong core is essential for turns and many other ballet movements. Dancers also learn to use their spot which teaches them to focus on something while turning so as not to become dizzy and lose their balance. Early ballet training for all dancers involves basic technique and develops strength and flexibility. As they progress, female dancers begin to learn pointe technique and both male and female dancers begin to learn partnering and more advanced jumps and turns. As

918-542: Is significantly shaped by George Balanchine . Through the combination of these influences, William Forsythe has developed a technique of dance characterized by its fragmented nature, which further expounds the subtle differences and interconnectedness of modern, postmodern, and contemporary dance. Reflecting the situation in society at large, contemporary dance is increasingly incorporating overtly technological elements, and, in particular, robots. Robotics engineer/dancer Amy LaViers, for example, has incorporated cell phones in

972-680: Is to give them the power to change the world for the better. As one of the world’s most diverse companies of dancers, Rambert transform everyday spaces by making dance that is awe-inspiring, adventurous, dynamic, and relevant, and taking it to their neighbourhood, the nation and the world. Rambert want to hear the most exciting and radical ideas wherever they may come from and connect with brilliant and daring audiences and participants from all backgrounds. Through performances; dance and wellness classes and courses for people of all ages and abilities, Rambert want to ensure they are inspiring, engaging and relevant to everyone.   Rambert’s Chief Executive

1026-435: Is usually a choreographer who makes the creative decisions and decides whether the piece is an abstract or a narrative one. Dancers are selected based on their skill and training. The choreography is determined based on its relation to the music or sounds that is danced to. The role of music in contemporary dance is different from in other genres because it can serve as a backdrop to the piece. The choreographer has control over

1080-649: The Ballet Club , and the Ballet Rambert . Dame Marie Rambert (1888–1982), founder of Rambert Dance Company, was born in Warsaw, Poland where she was inspired to become a dancer after seeing Isadora Duncan perform. She went to Paris and after an early career as a recital artist and teacher she was engaged by Serge Diaghilev 's Ballets Russes as assistant to the choreographer Vaslav Nijinsky on The Rite of Spring . She also taught Dalcroze Eurythmics to

1134-715: The Vaganova method (created by Agrippina Vaganova ) and the Legat Method (by Nikolai Legat ). The Cecchetti method is named after Italian dancer Enrico Cecchetti . Another training system was developed by and named after August Bournonville ; this is taught primarily in Denmark. The Royal Academy of Dance (RAD) method was not created by an individual, but by a group of notable ballet professionals. Despite their associations with geographically named ballet styles, many of these training methods are used worldwide. For example,

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1188-582: The 17th century, as ballet's popularity in France increased, ballet began to gradually transform into a professional art. It was no longer performed by amateurs, but instead ballet performances started to incorporate challenging acrobatic movements that could only be performed by highly skilled street entertainers. In response, the world's first ballet school, the Académie Royale de Danse , was established by King Louis XIV in 1661. The Academie's purpose

1242-1794: The Alvin Ailey American Dance Theatre for seven years and then the director of Cedar Lake Contemporary Ballet in New York for ten years. Benoit has choreographed dance for companies around the world including Rambert and Ailey 2, for feature films, music videos and Broadway shows. Benoit's ability to blend artistically stimulating content with commercially popular work had led to critical acclaim. Prior to Benoit's tenure, Rambert's artistic directors were: Mark Baldwin Dancer with Ballet Rambert (later Rambert Dance Company) 1979-1980, 1983-1992; Artistic Director of Rambert Dance Company (later Rambert) 2002-2018. Christopher Bruce Dancer with Ballet Rambert 1963-1980, 1983, 1986; Associate Director of Ballet Rambert 1975-1979; Associate Choreographer of Ballet Rambert (later Rambert Dance Company) 1980-1994; Artistic Director of Rambert Dance Company 1994-2002; guest artist with Rambert Dance Company in 2000. Richard Alston   Resident Choreographer of Ballet Rambert 1980-1986; Artistic Director of Ballet Rambert (later Rambert Dance Company) 1986-1992; dancer with Ballet Rambert in 1980.
   Robert North Associate Choreographer of Ballet Rambert 1975-1981; Artistic Director of Ballet Rambert 1981-1985; dancer with Ballet Rambert 1981-1985. John Chesworth Dancer with Ballet Rambert 1952-1980; Associate Director of Ballet Rambert 1970-1974; Artistic Director of Ballet Rambert 1974-1980.    Norman Morris   Dancer with Ballet Rambert 1952-1964; Associate Artistic Director of Ballet Rambert 1966-1970 (he

1296-549: The Ballet Rambert moved completely from classical ballet, concentrating instead on the development of contemporary dance . The company has since developed a worldwide reputation in this field, becoming known as the Rambert Dance Company in 1987. In 2013, Dance Company was dropped from its title, to become simply Rambert. Rambert believe that to give brilliant and daring people the chance to inspire others

1350-543: The British Empire. The Rambert Ballet School that Rambert founded in 1919, has reinvented itself on a number of occasions since, and due to the changes and innovations of the dance company, three separate schools have operated under the name. Two of these schools later merged and the third closed to leave the school which survives today. The present day school is based in premises in Twickenham, London, and

1404-465: The Company have included: Frederick Ashton , Antony Tudor , Diana Gould (who married Yehudi Menuhin ), Audrey Hepburn , Maude Lloyd , Sally Gilmour , Beryl Goldwyn , Lucette Aldous , Christopher Bruce and Norman Morrice . Rambert's artistic director is Benoit Swan Pouffer , an internationally renowned dance artist and company leader. Originally from Paris, Benoit was a principal dancer with

1458-610: The Mercury Theatre, the company was best known as a touring company, travelling nationwide and soon became known as the Ballet Rambert, the title by which it was most commonly recognised until the current name was adopted in the 1980s. As the Ballets Russes had disbanded following the death of Serge Diaghilev in 1929, a number of Rambert's former colleagues joined the Ballet Rambert in its formative years, including Alicia Markova and Anton Dolin , who would later become

1512-564: The RAD teaching method is used in more than 70 countries. American-style ballet ( Balanchine ) is not taught by means of a standardized, widespread training system. Similarly, French ballet has no standard training system; each of the major French-style ballet schools, such as the Paris Opera Ballet School , Conservatoire National Supérieur de Musique et de Danse , and Académie de Danse Classique Princesse Grace (Monaco) employs

1566-462: The air. Pointe technique is the part of ballet technique that concerns pointe work , in which a ballet dancer supports all body weight on the tips of fully extended feet on specially designed and handcrafted pointe shoes . In professional companies, the shoes are made to fit the dancers' feet perfectly. Students typically learn ballet terminology and the pronunciation, meaning, and precise body form and movement associated with each term. Emphasis

1620-445: The classical era, began. Even though he was responsible for bringing in the classical ballet era, Petipa was also responsible for choreographing well-known romantic ballets such as Giselle . During the classical era, Marius Petipa was largely responsible for creating choreographic structures that are still used in ballets today. For one, Petipa was the first to use the grand pas de deux in his choreography. Additionally, he cemented

1674-590: The company as a dancer in the corps de ballet . In 1919 Rambert established a dance school in Notting Hill Gate , London, teaching Checchetti's methods and in 1920, she transitioned into teaching ballet professionally. The school would become the foundation of today's Rambert Dance Company. In 1926, Rambert formed a dance troupe using students from her school. Known as the Rambert Dancers, they performed in revues at various London venues. In 1930,

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1728-523: The company. During her year with the Ballets Russes her appreciation of classical ballet developed thus combining a love for traditional and new dance forms. During the First World War she settled in England where she met and married the playwright Ashley Dukes . Her association with Diaghilev led her to study ballet with the renowned Italian ballet master Enrico Cecchetti , after which she joined

1782-415: The concepts of choreography and dramaturgy. The distinction between composition and improvisation, as well as between finished works and ongoing processes, is collapsed in the style of contemporary dance. This dissolution between previously rigid distinctions parallels broader cultural shifts from what scholar Gabrielle Klein calls the "linguistic turn," which treated dance as a form of text and choreography as

1836-749: The costumes and their aesthetic value for the overall composition of the performance and also in regards to how they influence dancers’ movements. Post-structuralist thought has significantly influenced contemporary dance. This influence has led to a deeper exploration of the dancer’s primary medium, the body, which sparked the development and integration of innovative movement techniques. Dance techniques and movement philosophies employed in contemporary dance may include Contemporary ballet , Dance improvisation , Interpretive dance , Lyrical dance , Modern dance styles from United States such as Graham technique , Humphrey-Weidman technique and Horton technique, Modern dance of Europe Bartenieff Fundamentals and

1890-730: The dance technique of Isadora Duncan (also see Free dance ). Contemporary dancers train using contemporary dance techniques as well as non-dance related practices such as Pilates , Yoga , the acting practice of Corporeal mime - Étienne Decroux technique and somatic practices such as Alexander technique , Feldenkrais Method , Sullivan Technique and Franklin-Methode , American contemporary techniques such as José Limón technique and Hawkins technique and Postmodern dance techniques such as Contact improvisation and Cunningham technique, and Release technique . Some well-known choreographers and creators of contemporary dance created schools and techniques of their own. Paul Taylor developed

1944-443: The dancers to make subtle physical shifts of expression that a live dance accompanist will watch and match as they play. The live musician in a ballet class plays a crucial role in the creative process. As the ballet teacher sets an exercise - moving, counting, vocalising - the musician observes and imagines the music that will best support the exercise. The musician then plays either an existing piece of musical repertoire or creates

1998-779: The emergence of Tanztheater , German for “dance theater,” pushed contemporary dance beyond traditional performance boundaries. This genre incorporated everyday movements and blurred the distinction between art and daily life. Tanztheater steered contemporary dance away from linear narratives toward fragmented and montage-like choreography, giving rise to a style marked by disjointed "dance pieces" rather than narrative styles. Cunningham's key ideas include- Other pioneers of contemporary dance (the offspring of modern and postmodern) include Ruth St. Denis , Doris Humphrey , Mary Wigman , Pina Bausch , Francois Delsarte , Émile Jaques-Dalcroze , Paul Taylor , Rudolph von Laban , Loie Fuller , José Limón , Marie Rambert , and Trisha Brown . There

2052-431: The first stars of Dame Ninette de Valois ' Royal Ballet . A number of internationally renowned dancers and choreographers made their early appearances with the Ballet Rambert, including Frederick Ashton , Antony Tudor , Agnes de Mille , Andrée Howard , Pearl Argyle , Walter Gore and Peggy van Praagh . During the 1970s the Ballet Rambert also presented shows, first on stage and later via BBC television to engage

2106-416: The five positions (first, second, third, fourth and fifth) of ballet, which to this day remain the foundation of all formal classical ballet technique. Before classical ballet developed, ballet was in a period referred to as the Romantic era. Romantic ballet was known for its storytelling, and often held a softer aesthetic. Classical ballet came to be when a ballet master by the name of Marius Petipa (who

2160-520: The focus of its technique, contemporary dance tends to combine the strong but controlled legwork of ballet with modern that stresses on torso. It also employs contract-release, floor work , fall and recovery, and improvisation characteristics of modern dance. Unpredictable changes in rhythm, speed, and direction are often used, as well. In the 1980s, the approach to contemporary dance became more intentional and academically focused, often described as “interdisciplinary” and “collaborative.” This period marked

2214-400: The foundations of modern and postmodern dance, emphasizing innovation and a break from traditional forms. Due to its technical similarities, it is often perceived to be closely related to modern dance, ballet, and other classical concert dance styles. It is characterized by a blend of styles that often integrate elements of ballet, modern dance, and cultural or social dance forms. In terms of

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2268-481: The interest of a younger audience, using the anagrammatic name Bertram Batell's Side Show. The art consultant and administrator Adrian Ward-Jackson was the director of the Rambert Dance Company from 1985 until his death in 1991. Whilst developing a strong ballet culture in Britain and insisting on solid classical training, Rambert always intended that her company would dictate new trends in dance. The Ballet Rambert

2322-409: The men get stronger, lifts are added to the partnering. Depending on the teacher and training system, students may progress through various stages or levels of training as their skills advance. The traditional ballet masters of the eighteenth century played the violin for their own ballet classes. They also provided their ballet students with instruction in the relationship between the dance steps and

2376-512: The mid-twentieth century and has since grown to become one of the dominant genres for formally trained dancers throughout the world, with particularly strong popularity in the U.S. and Europe. Although originally informed by and borrowing from classical , modern , and jazz styles, it has come to incorporate elements from many styles of dance. According to the New Grove Musical Dictionary, contemporary dance evolved from

2430-418: The music. By the end of the nineteenth century this had fallen out of fashion, and specialisation in the performing arts meant that the role of the ballet teacher and the ballet musician had become separate professions. By the twentieth century, the violin had given way to the piano as the standard accompaniment for ballet class. When recorded music is substituted for a live musician, there is no opportunity for

2484-569: The student is deemed strong enough in the ankles and can execute the routine to a high standard, usually around or after the age of 12, or after the dancers' feet have stopped developing, so as to protect the dancers' feet from injury common with premature wearing. There are several standardized, widespread, classical ballet training systems , each designed to produce a unique aesthetic quality from its students. Some systems are named after their creators; these are typically called methods or schools . For example, two prevailing systems from Russia are

2538-626: The troupe was re-established as the Ballet Club at the Mercury Theatre in London, which was owned by Rambert's husband. The Ballet Club was formed using the finest dance talent that Rambert could find, and was to become the first classical ballet company established in the United Kingdom. The present day Rambert Dance Company is the UK's oldest established dance company. Despite being based at

2592-403: The usage of the corps de ballet as a standard part of a ballet. Despite his ushering in of the classical era, these elements can be seen in his romantic ballets as well. Ballet technique is the foundational principles of body movement and form used in ballet. A distinctive feature of ballet technique is turnout ; which is the outward rotation of the legs and feet emanating from the hip. This

2646-461: Was a direct and opposite response to modern dance. Merce Cunningham is considered to be the first choreographer to "develop an independent attitude towards modern dance" and defy the ideas that were established by it. In 1944 Cunningham accompanied his dance with music by John Cage , who observed that Cunningham's dance "no longer relies on linear elements (...) nor does it rely on a movement towards and away from climax. As in abstract painting , it

2700-421: Was first introduced into ballet by King Louis XIV because he loved to show off the shiny buckles on his shoes when he performed his own dances. There are five fundamental positions of the feet in ballet , all performed with turnout and named numerically as first through fifth positions. When performing jumps and leaps, classical ballet dancers strive to exhibit ballon , the appearance of briefly floating in

2754-879: Was formed in 2001 as part of the West London Institute of Higher Education . This was later subsumed into Brunel University and in 2003, the Rambert School became independent again and is now known as the Rambert School of Ballet and Contemporary Dance. It offers a two-year foundation degree , a three-year bachelor's degree, a three-year vocational course, and postgraduate courses to doctoral level. Students go on to achieve positions with dance companies including Dutch National Ballet , Northern Ballet Theatre , Scottish Ballet , Boston Ballet , Netherlands Dance Theatre , Merce Cunningham Dance Company , Richard Alston Dance Company , Rambert Dance Company, Bejart Ballet and Scottish Dance Theatre . The Rambert School

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2808-465: Was in practise Artistic Director but refused the title); Co-Artistic Director of Ballet Rambert 1970-1974.  Marie Rambert Founder and Artistic Director of Rambert from 1926-1974. Marie Rambert was really active as artistic director until 1966, and from 1974 is listed as Founder Director. In 1957, she was awarded the Legion d’Honneur. In 1962, Rambert was made Dame Commander (DBE), Order of

2862-466: Was recognised as one of the most innovative ballet companies of the 20th century, producing some of the world's most renowned choreographers. By the middle of the century, the Royal Ballet had superseded the company as the UK's leading classical ballet company, so Rambert made the decision to diversify the work of the company, introducing modern and neoclassical work into the repertoire. In the 1960s,

2916-588: Was to improve the quality of dance training in France and to invent a technique or curriculum that could be used to transform ballet into a formal discipline. Shortly after the Academie was formed, in 1672, King Louis XIV established a performing company called the Academie Royal de Musique de Dance (today known as Paris Opera), and named Pierre Beauchamp the head dancing-master. While at the Academie Royal, Beauchamp revolutionized ballet technique by inventing

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