Les Biches
1994
Choreographer(s) : Nijinska, Bronislava (Russian Federation)
Present in collection(s): Maison de la Danse de Lyon
Les Biches
1994
Choreographer(s) : Nijinska, Bronislava (Russian Federation)
Present in collection(s): Maison de la Danse de Lyon
Biches (Les)
Les biches (The Hinds or The Little Darlings) is a ballet choreographed by Bronislava Nijinska to music by Francis Poulenc and premiered by the Ballets Russes on 6 January 1924. Some consider this piece a milestone in ballet history.
Source: Wikipedia
Nijinska, Bronislava
Bronislava Nijinska was born in Minsk, the third child of the Polish dancers Tomasz and Eleonora Bereda Niżyńsky. Her brother was Vaslav Nijinsky. She was just 4 years old when she made her theatrical debut in a Christmas pageant with her brothers inNizhny Novgorod. In 1900 she and her brother were accepted at the Imperial School of Ballet in St. Petersburg on a 7-year scholarship from the State of Russia. From 1900 - 1907 she studied dance and music at the Imperial School of Ballet, graduating with honors as a ballet dancer. After graduating in 1908, she then joined the Maryinsky Ballet. She and her brother joined Diaghilev's Ballets Russes in 1909. Some of the roles she created were in Fokine's Carnaval (1910), and Petrushka (1911). Vaslav was dismissed from theMaryinsly Ballet in 1911, Nijinska insisted that she also be dismissed, and she was forced to forfeit her title "Artist of the Imperial Theatre." Nijinska danced in her brother's short lived ballet company in London in 1914. In 1915, she returned to Russia. Nijinska danced in Kiev, opening a school where she trained her most famous student, Serge Lifar. In 1921 Nijinska rejoined the Ballets Russes. While a dancer with the Ballets Russes, she also became the chief choreographer of the company. One of her first pieces was Three Ivans for Petipa's The Sleeping Beauty. Her first ballets were Igor Stravinsky's Renard in 1922 and Les Noces 1923. The following year she choreographed Les Biches, Les Fâcheux and Le Train Bleu. Bronislava later choreographed for the Opera de Paris, Opéra Russe à Paris, and her own company. Ocassionally she taught at the American Ballet Theatre School in New York City. From 1927 - 1929 Bronislava Nijinska worked for the Ballet of Paris, then in 1928 - 1929 she worked for the Ballet of Ida Rubinstein. During the seasons of 1930 and 1931 she worked with the Russian Opera in Paris, 1932 - 1934 directed her own ballet company, called Polish Ballets of Paris, then, in 1935 worked with the Ballet Russe of Monte Carlo. In 1935 Nijinska made her film debut as a choreographer in Max Reinhardt's film version of William Shakespeare's A Midsummer Night's Dream (1935). In 1938 Nijinska moved to America, settling in Los Angeles. There she opened her own school of dance. She established herself as a reputable teacher and choreographer, and worked with the touring company called Original Ballet Russe. She was married twice. Her first husband was Alexander Kochetovsky, a fellow Ballet Russes dancer by whom she had two children-a son, Leo Kochetovsky, who was tragically killed in a car accident and a daughter, Irina Nijinska, a ballet dancer in her own right. The true love of her life, but to whom she was never married, was the great Russian bass singer Feodor Chaliapin. Bronislava died of heart failure on February 21, 1972, in Pacific Palisades, Los Angeles, California.
Source : Russian Ballet history
More information : http://www.russianballethistory.com/
CCN - Ballet de Lorraine
Since acquiring the CCN title in 1999, the Centre Chorégraphique National - Ballet de Lorraine has dedicated itself to supporting contemporary choreographic creation. As of July 2011 the organization is under the general and artistic direction of Petter Jacobsson.
The CCN – Ballet de Lorraine and its company of 26 dancers is one of the most important companies working in Europe, performing contemporary creations while retaining and programming a rich and extensive repertory, spanning our modern history, made up of works by some of our generations most highly regarded choreographers.
The CCN functions as an art center and venue for multiple possibilities in the fields of research, experimentation and artistic creation. It is a platform open to many different disciplines, a space where the many visions of dance of today may meet.
More information : http://ballet-de-lorraine.eu
Western classical dance enters the modernity of the 20th century: The Ballets russes and the Ballets suédois
If the 19th century is that of romanticism, the entry into the new century is synonymous of modernity! It was a few decades later that it would be assigned, a posteriori, the name of “neo-classical”.
James Carlès
The American origins of modern dance: [1930-1950] from the expressive to the abstract
[1970-2018] Neoclassical developments: They spread worldwide, as well as having multiple repertoires and dialogues with contemporary dance.
In the 1970s, artists’ drive towards a new classic had been ongoing for more than a half century and several generations had already formed since the Russian Ballets. As the years went by, everyone defended or defends classical dance as innovative, unique, connected to the other arts and the preoccupations of its time.
Why do I dance ?
Round dance
Presentation of the Round’s figure in choreography.
The Dance Biennale
Female / male
A walk between different conceptions and receptions of genres in different styles and eras of dance.
Dance and visual arts
Dance and visual arts have often been inspiring for each other and have influenced each other. This Parcours can not address all the forms of their relations; he only tries to show the importance of plastic creation in some choreographies.
Les Rencontres chorégraphiques internationales de Seine-Saint-Denis
Vlovajobpru company
40 years of dance and music
Body and conflicts
A look on the bonds which appear to emerge between the dancing body and the world considered as a living organism.
The national choreographic centres
Roots of Diversity in Contemporary Dance
A Rite of Passage
Do you mean Folklores?
Presentation of how choreographers are revisiting Folklore in contemporary creations.
Ballet pushed to the edge
Ballet’s evolution from its romantic form until néo-classicism.
Dancing bodies
Focus on the variety of bodies offered by contemporary dance and how to show these bodies: from complete nudity to the body completely hidden or covered.