Siga este link para ver outros tipos de publicações sobre o tema: Ballet – 2000-.
Artigos de revistas sobre o tema "Ballet – 2000-"
Crie uma referência precisa em APA, MLA, Chicago, Harvard, e outros estilos
Veja os 50 melhores artigos de revistas para estudos sobre o assunto "Ballet – 2000-".
Ao lado de cada fonte na lista de referências, há um botão "Adicionar à bibliografia". Clique e geraremos automaticamente a citação bibliográfica do trabalho escolhido no estilo de citação de que você precisa: APA, MLA, Harvard, Chicago, Vancouver, etc.
Você também pode baixar o texto completo da publicação científica em formato .pdf e ler o resumo do trabalho online se estiver presente nos metadados.
Veja os artigos de revistas das mais diversas áreas científicas e compile uma bibliografia correta.
1
Nye, Edward. "The Eighteenth-Century Ballet-Pantomime and Modern Mime". New Theatre Quarterly 25, n.º 1 (fevereiro de 2009): 22–43. http://dx.doi.org/10.1017/s0266464x09000037.
Texto completo da fonteResumo:
Histories of mime largely overlook one of the most remarkable theatrical phenomena of the eighteenth and early nineteenth century: the ballet-pantomime. In contrast, it is widely discussed in dance history circles, as if there were a tacit understanding that only one half of this hyphenated art mattered: the ballet rather than the pantomime. This article explores the mime component of the ballet-pantomime in order to compare and contrast it with modern mime, especially Etienne Decroux's principles and practices. Through the works of Noverre particularly (since Decroux declares himself an admirer), but with reference also to other famous and less famous eighteenth-century choreographers and dancers, Edward Nye discusses five aspects of mime: use of the body, mime and dance, mime and language, objective and subjective mime, and pedagogy. He finds differences as well as similarities between modern and eighteenth-century mime, but overall argues that there is no reason to exclude the ballet-pantomime from histories of mime. Edward Nye is Fellow of Lincoln College, Oxford, and University Lecturer in French. He has published on seventeenth- and eighteenth-century subjects in French literature and the arts, notably Literary and Linguistic Theories in Eighteenth-Century France (OUP, 2000), and on the literary aesthetics of sports writing, in A Bicyclette (Les Belles Lettres, 2000), and of dance, in Danse et littérature; sur quel pied danser? (ed., Rodopi, 2003).
2
Mawer, Deborah. "Music-Dance (and Design) Relations in Ballet Productions of Ravel’s Daphnis et Chloé". Les Cahiers de la Société québécoise de recherche en musique 13, n.º 1-2 (21 de setembro de 2012): 77–85. http://dx.doi.org/10.7202/1012353ar.
Texto completo da fonteResumo:
This article investigates music−dance (and design) interplay and balletic challenges in Daphnis et Chloé, focusing upon the Ravel−Ashton−Craxton production for The Royal Ballet (1951, revived in 2004), in comparison with the Ravel−Fokine−Bakst original of 1912. Sources drawn upon include accessible choreographic materials of Frederick Ashton (1904−88), held at the Royal Opera House Archives in London, as well as first-hand correspondence with the designer John Craxton (1922−2009). In order to explore the main music−dance relationships and emergent meanings, the study engages with multimedia ideas founded upon “consonance” and “dissonance” (Albright 2000), supported by music analytical (Cook 2001; 1998) and conceptual blending approaches (Fauconnier and Turner 2002). Particular moments from the ballet are selected for interpretation and, moving beyond rather over-simplified oppositions of unity versus independence or consonance versus dissonance, a case is made for complexes, transformation, and plurality.
3
Kamalyan, Margarita. "JEAN CARZOU'S CONTRIBUTION TO THE THEATRICAL-DECORATIVE ART OF FRANCE". Medicine and Art 2, n.º 2 (15 de julho de 2024): 95–105. http://dx.doi.org/10.60042/2949-2165-2024-2-2-95-105.
Texto completo da fonteResumo:
In the 50-60s of the last century the famous French-Armenian artist Jean Carzou (Garnik Zouloumian, 1907-2000) created seven works of theatrical-decorative art for musical and dramatic theaters of France, having designed Jean-Philippe Rameau's opera-ballet «Les Indes Galantes», Adolphe Adam's ballet «Giselle», Jean Racine's drama «Athalie», Jacques Offenbach's operetta «La Périchole», etc. The aim of this article is to present concisely and analyze Carzou's theatrical-decorative work on the basis of archival materials.For stage designs of the productions by venerable directors and choreographers of France of the time, like Maurice Lehmann, Roland Petit, John Butler and others Carzou worked for a long time, combining their vision with his own unique aesthetics. These vibrant, highly artistic works were a success, in some cases contributing to the polymodal synesthesia requisite for theater. These works have graced the stages of the world's most prestigious theaters - Grand Opera, Comédie Française, La Scala...
4
Adam, Maya U., Glenn S. Brassington e Gordon O. Matheson. "Psychological Factors Associated with Performance-Limiting Injuries in Professional Ballet Dancers". Journal of Dance Medicine & Science 8, n.º 2 (junho de 2004): 43–46. http://dx.doi.org/10.1177/1089313x0400800202.
Texto completo da fonteResumo:
The purpose of this study was to assess the relationship between a broad range of psychosocial variables and performance-limiting physical injuries in a sample of elite ballet dancers in order to identify potential factors that could be included in interventions to prevent and treat dance injuries. Participants were asked to complete a battery of questionnaires assessing psychological well-being and social support. Participants also participated in a structured interview designed to solicit information about dance-related injuries in the 10-month period preceding the study. Study was conducted at the workplace of a 60-member professional ballet company. The company is part of a large, government-funded state theatre in Germany. Participants were 30 female and 24 male (mean age: 26.59 years; SD: 6.2 years) ballet dancers, representing 20 countries. Participants were employed in the company for the 2000-2001 performance season and were not injured at the time of participation in the study. Participants were asked to complete a battery of questionnaires including: a demographics questionnaire, the Cohen Perceived Stress Scale, the Social Support Appraisal Scale, the Profile of Mood States, and the Pittsburgh Sleep Quality Index. Percent of performance and rehearsal days missed due to injury was computed as follows: (number of days missed due to injury/scheduled days) X 100. To identify potential correlates of injuries, Pearson Product-moment Correlation Coefficients were computed between the injury variable and each of the psychosocial variables. Absence due to injury was significantly positively correlated with stress, sleep disturbances, daytime sleepiness, and negative mood states (i.e., tension, depression, anger, fatigue, and confusion). However, absence due to injury was significantly negatively associated with social support. Future interventions designed to prevent and treat injuries in elite ballet dancers should include the assessment and treatment of psychological distress (i.e., perceived stress, negative mood states, sleep problems) as well as the enhancement of social support in their programs.
5
Rönkkö, Reetta, Heliövaara Markku, Antti Malmivaara, Risto Roine, Seppo Seitsalo, Päivi Sainio e Jyrki Kettunen. "Musculoskeletal Pain, Disability and Quality of Life among Retired Dancers". Journal of Dance Medicine & Science 11, n.º 4 (dezembro de 2007): 105–9. http://dx.doi.org/10.1177/1089313x0701100401.
Texto completo da fonteResumo:
The aim of this study was to examine the long-term effects of professional dancing by comparing the prevalence of musculoskeletal complaints between retired dancers and the general population. A structured questionnaire on the history of regional pains, disability, and overall health was mailed to all available retired members of the Finnish National Ballet (n = 37) and to all retired members of the Union of Finnish Dance Artists (n = 32). An age-matched pool of non-dancer controls (n = 631) was chosen from the Health 2000-Survey to represent the general Finnish population. Disability, overall health and quality of life were assessed using the Visual Analogue Scale (VAS). Differences in the occurrence of musculoskeletal complaints between dancers and controls were analyzed with a logistic regression model. The relative risks were evaluated as odds radios (OR) with 95% confidence intervals. Adjusted mean values of VAS scores were estimated using a generated linear model. The mean age of the ballet dancers was 59 years (range: 49 to 71 years) and that of the modern dancers 50 years (range: 42 to 62 years). Adjusted for age and sex, the risk, OR (95% CI in brackets), of walking difficulty or limping because of hip pain during the past month was 2.9 (1.3-6.3) in the retired dancers (ballet and modern combined) compared with the general population. With similar adjustments, the OR for a knee complaint was 3.7 (1.8-7.5) in the former dancer group in comparison to the controls. The risk of suffering from walking difficulty or limping because of hip or knee pain is significantly increased in dancers as compared to non-dancing controls. The walking difficulty and limping because of hip and knee pain are noteworthy symptoms when assessing a former dancers musculoskeletal health.
6
Savchenko, G. S. "Constants and Innovations in the Orchestral Writing of I. Stravinsky’s Ballet “Agon”". Culture of Ukraine, n.º 71 (2 de abril de 2021): 118–24. http://dx.doi.org/10.31516/2410-5325.071.15.
Texto completo da fonteResumo:
The aim of this paper is to identify the specifics of orchestral writing in the later works of I. Stravinsky on the example of the ballet “Agon” (1953–1957).
Significance of the topic. From 1953 begins the late (serial) period of I. Stravinsky’s work. Due to stylistic “modulation”, the study of orchestral writing in later works at the intersection of constant principles (multifigure, combinativity and plasticity) and innovations found out by us is relevant.
Research methodology. I. Stravinsky’s late style is studied in various aspects. A topical issue is the composer’s interpretation of serial technique (Glivinsky, 1995; Rogers, 2004; Straus, 1999; Smyth, 2000). N. Kardash (2010) offers a multidisciplinary textological approach in the studying of recent opera and ballet. Renaissance dance forms are studied in “Agon” by M. Richardson (2003). Characteristics of later works are contained in the section of the monograph of M. Druskin (2009). V. Zaderatsky’s monograph (1980) is devoted to the polyphonic thinking of the composer.
Historical, comparative, functional, systematic research methods are used in the work.
Results. I. Stravinsky’s original orchestral writing was formed in his early works (1908–1910). They gradually formed the principles of multifigure, combinativity (Savchenko, 2019; Savchenko, 2020) and plasticity, found out by us, as universal principles of the composer’s orchestral writing.
In the ballet “Agon” the composer applied a serial technique that determines the key role of polyphonic techniques of work with thematic invention, respectively, the dominance of horizontal thinking. At the same time in the creative comprehension and elaboration of techniques of serial technique the composer relies on the methods developed in his works (“formular” thematic invention, motives rotation technique, counterpoint combination of them) (Druskin, 2009, p. 226–227), motive-variant work (Savenko, 2001). Accordingly, ballet acts can be divided into two groups: with horizontal or horizontal/vertical priority in the organization of the orchestral texture.
Where the priority is horizontal, we highlight the following variants of the composition of the orchestral texture: 1) monophony (unison) or splitting of unison 2) texture based on the counterpoint interaction of short lines (sometimes — sound points); 3) on the basis of contrasting polyphony; 4) on the basis of imitation polyphony.
Conclusions. 1) In the orchestral writing of acts with horizontal/vertical priority, the constant principles of multifigure, combinativity and plasticity remain dominant; 2) Where the horizontal is a priority, innovative principles of organization of the orchestral texture prevail; constant principles are revealed covertly or in a modified form; 3) At the level of a ballet composition as a whole, the alternation of different types of organization of the orchestral texture is formed, in which different ideas about time and space are embodied; thoughtful timbre strategy and handling of different types of orchestral texture give rise to the original timbre-texture structure of the work.
7
Mihkelev, Anneli. "Folk Tradition and Multimedia in Contemporary Estonian Culture". Interlitteraria 24, n.º 2 (15 de janeiro de 2020): 396–407. http://dx.doi.org/10.12697/il.2019.24.2.10.
Texto completo da fonteResumo:
The legends of the kratt or the treasure-bearer have existed in lively oral tradition in Estonian culture for a very long time. These myths and legends have traversed from the oral tradition to literary works, visual culture and music. All these texts on the kratt exist in the culture as metatexts which create the world of the kratt, where different cultural memories and interpretations are intertwined. This means that the kratt as a cultural text is also a multimedial text. Different media use different tools and this makes the interpretations more playful and interesting. Andrus Kivirähk’s novel Rehepapp (The Old Barny, 2000) is the central literary work on the kratt in contemporary Estonian literature. Kivirähk combines the mythical kratt with the figure of Old Barny (rehepapp), who is the unofficial leader of the village and a cunning manor house barn-keeper. There are several cultural texts based on Kivirähk’s novel, but the most important are the opera Rehepapp (2013) by Tauno Aints, libretto by Urmas Lennuk, and the film November (2016) by Rainer Sarnet. The 2015 production of the ballet Kratt (1943) by Eduard Tubin is more contemporary in its setting and represents everyday life in the modern factory. The article analyses how different multimedial texts about the kratt and Old Barny use and combine multimedia to create and convey the social meaning of the kratt, and how multimedia use audio-visual poetics to convey a greater number of emotions and aesthetic values in the cultural text. The film by Rainer Sarnet and the ballet by Eduard Tubin represent harmony with different poetics factors and the meanings of the cultural texts.
8
Steorn, Patrik. "Med popkultur i kroppen - Benny Nemerofsky Ramsays videoverk från tidigt 2000-tal". Tidskrift för genusvetenskap 32, n.º 1 (13 de junho de 2022): 111–25. http://dx.doi.org/10.55870/tgv.v32i1.3574.
Texto completo da fonteResumo:
Artists who use experiences from a life outside the heterosexual norm as inspiration have attracted increasingly more attention in contemporary art during the last decade. The author suggests that one feature they have in common is the strategy to make themselves into artistic material, by means not only of their own bodies but also of the self-perceptions. They also use explicit references to the impact of pop-culture in cultural stagings of normative and non-normative notions of identities, feelings and desires. Canadian video and performance artist Benny Nemerofsky Ramsay combines both these features in his production. Works from the earlier part of the 2000s as well as interviews with the artist from mainstream media, form the primary base of this article that aims to analyze how emotions and body are used as artistic material in the work of an artist who is outside the heterosexual norm, but right in the mainstream of popular culture. In the light of theories on contemporary consumer culture, the role of the subject and of the body in contemporary art as well as popular culture as arena for self-fashioning activities, particularly two works are analyzed: I am a Boy Band (2002), and Lyric (2004). The self-perception of a gay man is used as artistic material in the work of Nemerofsky Ramsay. His childhood activities of singing in a choir and taking ballet classes are linked together with his artist’s role in his adult work. With references to traditions of “camp” and lesbian and gay performance art he uses his own body in the form of flamboyant gestures and emotional facial expressions, to stage how queer appropriating and incorporation of the surrounding culture is filled with both passion and disgust and also how these practices can point to positionalities beyond the dichotomy of depth and surface.
9
Armstrong, Charles K. "The Cultural Cold War in Korea, 1945–1950". Journal of Asian Studies 62, n.º 1 (fevereiro de 2003): 71–99. http://dx.doi.org/10.2307/3096136.
Texto completo da fonteResumo:
By definition, the cold war was understood on both sides of the conflict to be a global struggle that stopped short of direct military engagement between the superpowers (the U.S. and the USSR). In Europe, the putative center ofthat struggle, the geopolitical battle lines were fixed after the early 1950s, or they at least could not be altered by normal military means without provoking World War III—which would result in mutual annihilation. Therefore, each side hoped to make gains over the other by using more subtle, political, and often clandestine methods, winning the “hearts and minds” of people in the other bloc (as well as maintaining potentially wayward support in one's own bloc), hoping to subvert the other side from within. The cold war was an enormous campaign of propaganda and psychological warfare on both sides. A vast range of cultural resources, from propaganda posters and radio broadcasts to sophisticated literary magazines, jazz bands, ballet troupes, and symphony orchestras, were weapons in what has recently come to be called the “Cultural Cold War” (Saunders 1999). Studies of the cultural cold war have proliferated since the late 1990s, most of which focus on U.S. cultural policy and are concerned with the European “theater” of this conflict (Hixson 1997; Fehrenbach and Poiger 2000; Poiger 2000; Berghahn 2001).
10
Kupets, Lyubov A. "“New Ballet Criticism” (1993–2003) About “Soviet” Ballet: Forms of Cultural Recycling". Problemy muzykal'noi nauki / Music Scholarship, n.º 4 (dezembro de 2023): 22–34. http://dx.doi.org/10.56620/2782-3598.2023.4.022-034.
Texto completo da fonteResumo:
In post-Soviet Russia ballet criticism, similar to opera criticism, has an almost 30-year-old history, but the period perceived as the brightest and most significant is the first period, spanning the 1990s and the early part of the first decade of the 21st century. For this New Ballet Criticism (as it has been labelled by Vadim Gaevsky), as a part of New Russian Music Criticism (as defined by Olga Manulkina and Pavel Gershenzon), a number of features have become normative: provocative styles and titles, a demythologization of works and of choreographers, the use of comparisons with mass culture in narratives, and ironic subtext. Similar to opera, political discourse has become important in ballet receptions of that time. Reviews of Soviet-era ballet productions (as well as other types of performance) often refer to the main elements of Soviet mass art — Soviet films, as well as symbols of the totalitarian culture, such as sculpture and ideological materials. The styles and headlines exploit numerous Sovietisms that are familiar and recognizable by the audience. Just like in opera reviews, the recent “Soviet” element in ballet receptions is synthesized with Soviet mass culture and fashionable trends in the country via the cult of Western cinema and the influence of domestic and foreign literary, scholarly and epistolary texts. But unlike opera criticism, ballet narratives clearly record the diversity of genres of “Soviet” ballet (ranking Sergei Prokofiev and Dmitri Shostakovich among them); ballets since 1961 have been interpreted as a transformation of the “Soviet” element under the influence of George Balanchine’s choreography; the concept of “Soviet choreography” also implies the unreachable, for example, in the embodiment of heroic moods and the creation of mass scenes. Four forms of cultural recycling in ballet receptions are identified: recycling, recycling à la ballet, double recycling and quasi-recycling.
11
Nye, Edward. "Jean-Gaspard Deburau: Romantic Pierrot". New Theatre Quarterly 30, n.º 2 (maio de 2014): 107–19. http://dx.doi.org/10.1017/s0266464x14000232.
Texto completo da fonteResumo:
Jean-Gaspard Deburau was the nineteenth-century mime artist who created a new model for subsequent performers to either imitate or reject, but hardly to ignore. Silent cinema benefited from the nineteenth-century vogue for the mime in general – and the Pierrot character that he did so much to popularize in particular. The most famous mime of the twentieth century, Marcel Marceau, derived his character ‘Bip’ in part from Deburau's Pierrot. And while two of the most influential French mime artists of the twentieth century, Jean-Louis Barrault and Étienne Decroux, sought a radical departure from his Pierrot tradition, they ironically found themselves in the now legendary French film Les Enfants du paradis acting the parts respectively of Deburau and Deburau's father. In this article Edward Nye explores the reasons for Deburau's success from two perspectives: first, by considering Deburau's reputation for clarity of expression, and the absence of critical or public debate over any obscurity; and second, the context of the Romantic movement which primed spectators to appreciate his style of performance. Edward Nye is Fellow of Lincoln College, Oxford, and University Lecturer in French. He has published on seventeenth- and eighteenth-century subjects in French literature and the arts, notably Mime, Music, and Drama on the Eighteenth-Century Stage: the Ballet d'Action (CUP 2011), Literary and Linguistic Theories in Eighteenth-Century France (OUP, 2000), and on the literary aesthetics of sports writing, in À Bicyclette (Les Belles Lettres, 2000).
12
BOTA, Eugen, e Gabriel ARNĂUTU. "SPORT PERFORMANCE IN DANCE – A SYSTEMATIC REVIEW OF THE METHODS USED IN PHYSICAL CONDITIONING TRAINING". Studia Universitatis Babeş-Bolyai Educatio Artis Gymnasticae 67, n.º 4 (10 de março de 2023): 59–74. http://dx.doi.org/10.24193/subbeag.67(4).34.
Texto completo da fonteResumo:
ABSTRACT. To assist academics and coaches to better understand dance and the training methods, a literature review of all pertinent articles was conducted. Although it has been proposed that dancers should add strength training into their regimen, many dance institutions are either hesitant to do so or lack the resources or knowledge necessary to do it. It has been suggested that dancers are hesitant to engage in strength training because they are concerned about muscular hypertrophy and the potential effects it may have on dance aesthetics. However, recent study has indicated that this might no longer be the case and that attitudes toward strength training are changing, especially among dance students and professionals. We conducted a search into multiple database (PubMed, Google Scholar, ScienceDirect) to gather the most important research articles to achieve our purpose. Our key word for this search was: strength training, plyometric training, dancers, ballroom, resistance training. The inclusion criteria were as follows: healthy subjects (male or female) who participated in a type of supplementary training, articles no older than year of 2000. Exclusion criteria: ballet dancers, injury related articles, elderly participants.
13
Dolinskaya, Elena B. "PREMIERE HALF A CENTURY LATER (S. M. Slonimsky’s opera “The Master and Margarita” on the stage of the Samara Opera and Ballet Theatre named after D. D. Shostakovich)". Arts education and science 1, n.º 38 (2024): 133–39. http://dx.doi.org/10.36871/hon.202401133.
Texto completo da fonteResumo:
In October 2023, the premiere of S. M. Slonimsky’s chamber opera “The Master and Margarita” took place at the Samara Opera and Ballet Theatre named after D. D. Shostakovich, which became a significant event for Russian musical theatre. Completed in 1972, the opera was performed at the Leningrad House of Composers, but in a reduced form, and was rejected by cultural officials. The concert production of the opera by M. Yurovsky in the Great Hall of the Moscow Conservatory in 1989, could not fully satisfy the composer, as well as the Hamburg production of 2000, which was in German. Only half a century later, the opera “The Master and Margarita” saw the light of the theatrical footlights in its original version. The three premiere days in Samara demonstrated the public’s interest in S. M. Slonimsky’s work. It was also important that the core of the performers consisted of young singers, who took part in the production along with venerable vocalists. The musical director of the theatre and conductor Evgeny Khokhlov, as well as the director Yu. Alexandrov had to gradually immerse themselves in the musical text of the opera, repeatedly playing the score in order to unravel the meaning embedded in it by the composer.
14
Kelly, Veronica. "The Globalized and the Local: Theatre in Australia and Aotearoa/New Zealand Enters the New Millennium". Theatre Research International 26, n.º 1 (março de 2001): 1–14. http://dx.doi.org/10.1017/s0307883301000013.
Texto completo da fonteResumo:
Late in 1999 the Commonwealth of Australia's Department of Communications, Information Technology and the Arts released Securing the Future, the final Report of the Major Performing Arts Enquiry chaired by Helen Nugent (commonly referred to as the Nugent Report). The operations of the committee and the findings of the Report occasioned considerable public debate in the Australian arts world in the late 1990s, as the Enquiry solicited and analysed information and opinion on the financial health and artistic practices of thirty-one national major performing arts companies producing opera, ballet, chamber and orchestral music as well as theatre. The Report saw the financial viability of Australian live performance as deeply affected by the impact of globalization, especially by what elsewhere has been called ‘Baumol's disease’ – escalating technical, administrative and wage costs but fixed revenue – which threaten the subsidized state theatre companies of Brisbane, Adelaide and Perth with their relatively small population bases. The structural implementation recommended a considerable financial commitment by Commonwealth and State Governments to undertake a defined period of stabilizing and repositioning of companies. Early in 2000 both levels of Government committed themselves to this funding – in fact increasing Nugent's requested $52 million to $70 million – and to the principle of a strengthened Australia Council dispensing arms-length subsidy. In an economically philistine political environment, these outcomes are a tribute to Nugent's astute use of economic rhetoric to gain at least a symbolic victory for the performing arts sector. In 2000 New Zealand arts gained a similar major injection of funding, while a commissioned Heart of the Nation report, advocating the dilution of the principle of arm's-length funding through the abolition of the national funding organization Creative New Zealand, was rejected by Prime Minister Helen Clark.
15
Petrova, Luisa R. "Author’s ballet on stage of M.Jalil Tatar Academic State Opera and Ballet Theatre in Soviet and post-Soviet periods". Historical Ethnology 9, n.º 2 (23 de julho de 2024): 303–13. http://dx.doi.org/10.22378/he.2024-9-2.303-313.
Texto completo da fonteResumo:
The article is devoted to the analysis of the activities of the ballet troupe of M.Jalil Tatar Academic State Opera and Ballet Theater in the Soviet and post-Soviet periods. It shows that after the premiere of the first ballet “Vain Precaution” by P.Hertel in 1939, the troupe continued to master the performances of the classical heritage “Giselle” by A.Adam (1945) and “Swan Lake” by P.Tchaikovsky (1947). At the same time, the troupe was working on creating a national ballet performance. Turning to the historical past and folklore, the authors of the libretto and choreographers immersed the viewer in the life and culture of the Tatar people, and the composers built the score based on centuries-old musical traditions. All this was expressed in the ballets “Shurale” by F.Yarullin (1945) and “Zyugra” by N.Zhiganov (1946). At this time, new productions appear in the repertoire, reflecting the current ideas of Soviet art at the time of creation. These are “Bakhchisarai Fountain” by B.Asafiev (1946) and “Laurencia” by A.Crane (1953). In the 2000s, a number of premieres took place produced for the Kazan ballet stage – “The Tale of Yusuf” (2001) by L.Lyubovskiy, choreography by N.Boyarchikov, G.Kovtun; “Peer Gynt” (2003) by E.Grieg, “The Golden Horde” (2013), R.Akhiyarova – choreography by G.Kovtun; “Сarmina Вurana, or the Wheel of Fortune” (2013) by K.Orff, choreography by A.Polubentsev. The author sets the task of identifying trends in the development of the repertoire in the post-Soviet period. His focus is on original ballet performances. The conclusion was that the result of the search for choreographers on the Kazan stage, expressed in the synthesis of genres, styles, and appeal to new subjects for the ballet theater, was the enrichment of the repertoire of M.Jalil Tatar Academic State Opera and Ballet Theater and entertainment culture in general.
16
Schupp, Karen. "Dancing the ‘American Dream’: Dance Competition Culture in Times of Shifting Values". Nordic Journal of Dance 9, n.º 1 (1 de junho de 2018): 32–43. http://dx.doi.org/10.2478/njd-2018-0004.
Texto completo da fonteResumo:
Abstract Dance competitions–events where local dance studios that are focused on contemporary, jazz, ballet, hip hop and tap compete in regional and national events for awards–are not simply venues for entertainment; they are a microcosm of the social and cultural values in the United States. Competitors need to persevere despite personal challenges, the open entry system for competitions makes it seem that anyone who can pay the entry fee has an equal chance at winning first place, and the construction of a glamorous performance all reinforce the myth of the American Dream—if you work hard, you can achieve fame. Drawing on original and previously published theoretical and empirical studies of the culture surrounding dance competitions, this article investigates dance competition culture in relation to shifting United States democratic ideals. If the dance competition culture does in fact reflect broader United States socio-cultural and political values, what does this mean in relation to Donald Trump’s ascendency and the emerging political values of ‘Generation Z’, or those who were born after the year 2000 (the key participants in dance competition culture). Examining both the dancing that occurs in and the frameworks and practices that support the dance competition culture raises valuable questions about the performance of United States democratic ideals on the dance competition stage.
17
Huschka, Sabine. "Media-Bodies: Choreography as Intermedial Thinking Through in the Work of William Forsythe". Dance Research Journal 42, n.º 1 (2010): 61–72. http://dx.doi.org/10.1017/s0149767700000838.
Texto completo da fonteResumo:
Since Ballet Frankfurt was reconstituted as the Forsythe Company in 2004, William Forsythe has increasingly explored formats of installation art practice. Works such as Human Writes (in collaboration with Kendall Thomas, 2005) and You made me a monster (2005) develop within an interactive and intermedial space and experiment with new ways to experience the production and perception of movement. “Performance installation” is the new term for this intertwined process of movement production and movement perception. The choreographic composition itself grows out of procedures of performative sensing by the dancers, which spreads to onlookers. This multiplex awareness of movement for which the dancer's body is the medium constitutes what I shall call the “media-body” as an essential moment of performance installation as choreographic event. Compared to earlier Forsythe installations—which he called “choreographic objects”—like White Bouncy Castle (1997), City of Abstracts (2000), or Scattered Crowd (2002), with their accessible spaces of movement (in White Bouncy Castle the spectator was a visitor moving about freely inside a white inflatable castle, and City of Abstracts featured choreographic projections of movement on large screens in open spaces) performance installations take place squarely in the theatrical context: in theater lobbies, exhibit halls, or accessible public performance spaces where dancers and the audience come together in a mutually shared yet operationally divided space that leads them into an interactive relationship.
18
Knechtle, Beat, Zbigniew Jastrzębski, Lee Hill e Pantelis T. Nikolaidis. "Vitamin D and Stress Fractures in Sport: Preventive and Therapeutic Measures—A Narrative Review". Medicina 57, n.º 3 (1 de março de 2021): 223. http://dx.doi.org/10.3390/medicina57030223.
Texto completo da fonteResumo:
There are numerous risk factors for stress fractures that have been identified in literature. Among different risk factors, a prolonged lack of vitamin D (25(OH)D) can lead to stress fractures in athletes since 25(OH)D insufficiency is associated with an increased incidence of a fracture. A 25(OH)D value of <75.8 nmol/L is a risk factor for a stress fracture. 25(OH)D deficiency is, however, only one of several potential risk factors. Well-documented risk factors for a stress fracture include female sex, white ethnicity, older age, taller stature, lower aerobic fitness, prior physical inactivity, greater amounts of current physical training, thinner bones, 25(OH)D deficiency, iron deficiency, menstrual disturbances, and inadequate intake of 25(OH)D and/or calcium. Stress fractures are not uncommon in athletes and affect around 20% of all competitors. Most athletes with a stress fracture are under 25 years of age. Stress fractures can affect every sporty person, from weekend athletes to top athletes. Stress fractures are common in certain sports disciplines such as basketball, baseball, athletics, rowing, soccer, aerobics, and classical ballet. The lower extremity is increasingly affected for stress fractures with the locations of the tibia, metatarsalia and pelvis. Regarding prevention and therapy, 25(OH)D seems to play an important role. Athletes should have an evaluation of 25(OH)D -dependent calcium homeostasis based on laboratory tests of 25-OH-D3, calcium, creatinine, and parathyroid hormone. In case of a deficiency of 25(OH)D, normal blood levels of ≥30 ng/mL may be restored by optimizing the athlete’s lifestyle and, if appropriate, an oral substitution of 25(OH)D. Very recent studies suggested that the prevalence of stress fractures decreased when athletes are supplemented daily with 800 IU 25(OH)D and 2000 mg calcium. Recommendations of daily 25(OH)D intake may go up to 2000 IU of 25(OH)D per day.
19
Vikárius, László. "Transfigurations of The Miraculous Mandarin: The Significance of Genre in the Genesis of Bartók’s Pantomime". Studia Musicologica 60, n.º 1-4 (21 de outubro de 2020): 23–68. http://dx.doi.org/10.1556/6.2019.00003.
Texto completo da fonteResumo:
Based on a fresh study of all primary sources of Bartók’s The Miraculous Mandarin (composition: 1918/19, orchestration: 1924) the article reconsiders the entire history of composition and repeated revisions of the work. The original choice of genre (expressive “pantomime” in contrast to “ballet”) seems to have played a significant role in this troubled history, which shows the composer’s efforts to transform sections of the original “gesture” music into a more symphonic style often making the music more succinct. Puzzlingly, the first full score of the complete work and a revised edition of the piano reduction published posthumously in 1955 by Universal Edition present an abridged form of the work, which cannot be fully authenticated and was finally restored to its more complete form in Peter Bartók’s new edition of 2000. Looking for the possible origin of the more obscure cuts, discussions with choreographer Aurelio Milloss in 1936 and Gyula Harangozó in 1939/40, both of whom later directed and danced productions of the work under the baton of János Ferencsik with great success (in Milan in 1942 and in Budapest in 1945, resp.), should probably be taken into consideration as these might have resulted in the integration of cuts into the published full score. Apart from trying to understand the different stages of the work’s long evolution, the article argues that it is essential to study the original version in the compositional sources since it reveals Bartók’s first concept of the piece composed in his period of highest expressionism.
20
Franco Hidalgo-Chacon, Juan Pedro, Iñigo Rodríguez-Arteche e Mª Mercedes Martínez-Aznar. "¿Qué hacen los estudiantes de Educación Primaria españoles fuera del horario académico? Actividades extraescolares". Revista Complutense de Educación 33, n.º 3 (14 de março de 2022): 459–74. http://dx.doi.org/10.5209/rced.74490.
Texto completo da fonteResumo:
Las actividades extraescolares se engloban dentro de la educación no formal. Diversos autores destacan su impacto positivo en el desarrollo de las competencias interpersonales, el pensamiento crítico y la madurez de los escolares. En 2007, cerca del 92.0% del alumnado de Educación Primaria participaba en alguna actividad extraescolar. En este trabajo se presenta: una revisión sistemática de los artículos publicados entre 2000 y 2020 sobre las actividades extraescolares realizadas en España, y un estudio para profundizar en la naturaleza de las mismas, desarrollado con una encuesta referida al curso 2018/2019 y analizada siguiendo técnicas de estadística descriptiva e inferencial. De la revisión sistemática cabe destacar que más del 62.0% del alumnado viene participando en actividades extraescolares, preferentemente de carácter recreativo. En cuanto a la encuesta, no se aprecian preferencias marcadas entre las actividades cognitivas y las recreativas (50.2% vs. 49.8%). Entre las últimas, los niños participan 1.9 veces más que las niñas en las deportivas (Fútbol, Baloncesto, Tenis, etc.), mientras que las niñas realizan 7.6 veces más las relacionadas con las artes escénicas (Danza, Ballet, Flamenco, etc.). Un 76.7% de los escolares dedican de 2 a 4 días a la semana a estas actividades y el 26.7% las desarrollan en su propio colegio. Por otra parte, el 45.0% de sus tutores declaran un gasto mensual por escolar de 70€ o más para estas actividades. Se observa un cambio de tendencia hacia las actividades extraescolares cognitivas, con la aparición de nuevas como la Robótica, la Programación y las Científicas. La elección la realizan los propios escolares, manteniendo el sesgo de género en la decisión. Por último, su elevado coste, podría suponer un elemento más de exclusión social en las familias con menos recursos y no contribuir a la conciliación familiar y laboral.
21
Heyer, Jessica H., e Donald J. Rose. "Os Trigonum Excision in Dancers via an Open Posteromedial Approach". Foot & Ankle International 38, n.º 1 (22 de agosto de 2016): 27–35. http://dx.doi.org/10.1177/1071100716665576.
Texto completo da fonteResumo:
Background: An os trigonum is a potential source of posterior ankle pain in dancers, often associated with flexor hallucis longus (FHL) pathology. Options for operative excision include open excision, subtalar arthroscopy, and posterior endoscopy. The purpose of this paper was to present a series of dancers who underwent excision of a symptomatic os trigonum via an open posteromedial approach. Methods: This study is a retrospective case series of 40 ankles in 38 dancers who underwent os trigonum excision via an open posteromedial approach with FHL tenolysis between 2000 and 2013. All patients were interviewed and charts retrospectively analyzed. Collected variables included pre- and postoperative pain level, time to return to dance, and subjective satisfaction. The average age was 19.2 years; ballet was the primary dance form in 36 (95%) of patient-cases. Eight (20%) of the patient-cases were professional dancers, and 30 (75%) were students or preprofessional dancers. Results: Average preoperative pain level was 7.7/10, which decreased to 0.6/10 postoperatively. Seventeen (42.5%) experienced concurrent preoperation-associated FHL symptomatology, all of whom experienced relief postoperatively. The average time to return to dance was 7.9 weeks, and time to pain-free dance was 17.7 weeks. Of the 37 patient-cases desiring to return to dance, 35 (94.6%) returned to their preoperative level of dance. There were no neurovascular or other major complications. Four (10%) had minor wound complications that resolved, and 38 cases (95%) considered the procedure a success. Conclusion: Open posteromedial excision of an os trigonum in dancers provided satisfactory pain relief, return to dance, and complication rates compared to other approaches, and allowed for identifying and treating any associated FHL pathology. Level of Evidence: Level IV, retrospective case series.
22
CLARK, MARIBETH. "Marian Smith, Ballet and Opera in the Age of Giselle. Princeton: Princeton University Press, 2000. xx+306 pp., illustrations, music, 24 cm. Princeton studies in opera. Bibliographic references pp. [241]-300, and index." Cambridge Opera Journal 13, n.º 2 (julho de 2001): 191–96. http://dx.doi.org/10.1017/s0954586701001914.
Texto completo da fonte
23
Trentacosta, Natasha, Dai Sugimoto e Lyle J. Micheli. "Hip and Groin Injuries in Dancers: A Systematic Review". Sports Health: A Multidisciplinary Approach 9, n.º 5 (7 de agosto de 2017): 422–27. http://dx.doi.org/10.1177/1941738117724159.
Texto completo da fonteResumo:
Context: Injury data on hip and groin injuries vary, and these injuries are often misrepresented or overlooked for more commonly seen injuries, such as those to the foot and ankle. Objective: To provide a systematic review of the injury rates of hip and groin pathology in dancers and look to establish a better understanding of the occurrence of hip and groin injuries in the dancer population. Data Sources: A literature search was performed using PubMed and CINAHL databases for articles published between 2000 and 2016. Study Selection: Inclusion criteria consisted of (1) documentation of the number of hip and/or groin injuries, (2) study population consisting of dancers whose training included some level of ballet, and (3) studies of levels 1 through 3 evidence. Study Design: Systematic review. Level of Evidence: Level 3. Data Extraction: A single reviewer identified studies that met the inclusion criteria. The number of overall injuries, hip/groin injuries, study participants, injured participants, training hours per week, mean age of study group, injury definition, injury reporting method, and study time frame were extracted. Results: Thirteen unique studies were included in the descriptive analysis. Of the 2001 dancers included in this study, 3527 musculoskeletal injuries were seen in 1553 dancers. Of these, 345 injuries were localized to the hip and groin region (overall rate, 17.2%). An incidence rate of 0.09 hip and groin injuries per 1000 dance-hours was seen in the selected cohort studies. Of 462 professional dancers, 128 hip/groin injuries were recorded, for an injury rate of 27.7%. Of the 1539 student dancers, 217 hip/groin injuries were recorded, for an injury rate of 14.1% ( P < 0.01). Conclusion: Data on hip and groin injuries have many limitations. However, these injuries represent an important health issue for dancers of all skill levels, encompassing 17.2% of musculoskeletal injuries seen in dancers. An increasing rate of hip/groin injuries is seen in professional dancers compared with students.
24
Broussolle, Paul. "Paul Balvet (1907–2001)". L'Évolution Psychiatrique 67, n.º 2 (abril de 2002): 434–35. http://dx.doi.org/10.1016/s0014-3855(02)00143-3.
Texto completo da fonte
25
Franko, M. "BALLET AND THE QUEER SENSIBILITY". GLQ: A Journal of Lesbian and Gay Studies 14, n.º 2-3 (1 de janeiro de 2008): 448–50. http://dx.doi.org/10.1215/10642684-2007-048.
Texto completo da fonte
26
Blauvelt, Robert P. "An Examination of Seven Sociopolitical Factors and Their Connection with State Environmental Expenditures". Journal of Environment and Ecology 6, n.º 2 (22 de novembro de 2015): 48. http://dx.doi.org/10.5296/jee.v6i2.7865.
Texto completo da fonteResumo:
<p class="1"><span lang="EN-GB">State environmental agencies serve as first-responders during and after environmental disasters (man-made or natural), track and identify individuals and businesses that violate anti-pollution statutes, and function as scientific and data-gathering centers for policy makers. The robustness of a state environmental agency’s budget also can be a measure of a state’s environmental commitment. An understanding of the funding dynamics associated with establishing a state’s environmental agency budget is a complex political ballet with often mysterious and competing forces influencing the financial choreography. </span></p><p class="1"><span lang="EN-GB">This paper analyzes possible political and cultural influences on budgetary outcomes in an attempt to identify those common, underlying, non-econometric factors that may drive or significantly contribute to state environmental agency funding. Those described here include, for 49 states (exclusive of Hawaii) between 2000 and 2009, total state expenditures, per capita income, educational attainment, agency staffing, environmental quality as measured through impaired waters, citizen ideology, and state agency performance. A Pearson’s product moment correlation coefficient is used to compare state environmental expenditures to these seven data sets. </span></p><p class="1"><span lang="EN-GB">Those states showing the biggest change (positive or negative) in annual environmental agency budgets also have the strongest correlation (positive or negative) with the total number of independent variables. This relationship implies that changes to sociopolitical factors may sway or have an influence on state environmental agency funding. As the number of correlations increase, their effect on agency funding may become more pronounced. This suggests a “critical mass” type relationship. Alternatively, as more sociopolitical factors combine to compel either increases or decreases in environmental agency funding, legislative priorities might be re-organized to accommodate that pressure with funding levels adjusted accordingly. The confluence of these special interests, either positively or negatively, may force environmental agency funding levels to overcome or shed local suppressive or masking effects (political scandals, policy distractions, etc.) to more closely reflect constituent demands and concerns. </span></p>
27
Semkin, Dmitry N., e Valentina A. Arhipova. "CREATIVE ACTIVITY OF A.V. SERGEYEVA-ZINKINA". Historical Search 3, n.º 4 (25 de dezembro de 2022): 140–48. http://dx.doi.org/10.47026/2712-9454-2022-3-4-140-148.
Texto completo da fonteResumo:
The relevance of the topic touched upon in the article is due to the need to preserve the national musical heritage of the Chuvash Republic as part of the Russian Federation, to perpetuate a brief study of the creative activity of the Honored Artist of Russia, People’s Artist of Chuvashia Alevtina Vasilyevna Sergeeva-Zinkina in the history of the vocal art of Chuvashia and Russia. A.V. Zinkina is one of the most talented singers in the history of professional vocal art of Chuvashia, the owner of a dramatic soprano voice rare in strength and beauty, a graduate of Moscow State Conservatory named after P.I. Tchaikovsky. The aim of the work was to systematize versatile information about the creative path of the opera singer. The article provides basic biographical information, including the beginning of singing classes, information about teachers (K.Z. Shcherbinina, E.D. Kruglikova) who brought up the young singer. The beginning of A.V. Zinkina’s creative path is described. The article provides information on main roles in classical Russian and foreign operas, operettas, children’s performances, in national productions performed on the stage of the Chuvash State Musical Theater and the Opera and Ballet Theater, indicating the year of the first appearance in the role. Significant premieres of performances (“Tosca”, “Faust”, “Iolanta”, “Troubadour”, etc.) are noted, the versatility of the singer’s repertoire, including concert and chamber repertoire, is emphasized. The features of A.V. Sergeyeva-Zinkina’s idiom are given prominence to. The names of famous conductors and directors with whom the singer worked closely are given (V.A. Vazhorov, M.N. Adamovich, S. Lapirov, etc.). The history of pedagogical activity of current professor of the Chuvash State Institute of Culture and Arts Alevtina Vasilyevna Sergeeva-Zinkina is described in detail: at the Arts Department at I.N. Ulyanov Chuvash State University (which was the first in Chuvashia to start training vocalists with higher education since 1995), at the Vocal Art Department at the Chuvash State Institute of Culture and Arts (since 2000). The list of the most famous students – graduates of solo singing class headed by A.V. Zinkina is given, her most notable scientific and educational publications in the period of pedagogical work are indicated.
28
Vietrov, Oleksii. "Mykola Koval in the history of vocal art in the Kharkiv region". Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 64, n.º 64 (7 de dezembro de 2022): 24–37. http://dx.doi.org/10.34064/khnum1-64.02.
Texto completo da fonteResumo:
Statement of the problem. People’s Artist of Ukraine Mykola Petrovych Koval (1946–2018) is a representative of the Kharkiv vocal school, which was established at the turn of the nineteenth and twentieth centuries. Possessing a wonderful dramatic baritone (bass-baritone) of rich timbre, he was a successor to the traditions of Italian bel canto that prevailed in the classes of prominent Kharkiv vocal teachers P. Holubiev, M. Mykhailov, T. Veske. The significance of the multifaceted work of this outstanding artist necessitates a systematic study of his music legacy, which has not yet been sufficiently researched. The only monographic study by Yu. Shchukina (2019) dedicated to the singer presents mostly biographical materials. The purpose of this article is to present a complete creative portrait of the singer and to characterize his performance style. The study of creativity and pedagogical activity of M. Koval using biographical and stylistic approaches allowed to identify the features of his individual style and to classify the latter according to the performance archetype (developed by O. Katrych, 2000), which is an innovative element of the work. Results and conclusions. The creative activity of M. Koval had a significant impact on the development of the The Mykola Lysenko Kharkiv Academic Opera and Ballet Theatre, where he had performed the main roles in almost all opera productions since 1974. His vocal practice was a model for the young singers who worked with him at the theater, and his performances as both an opera and concert singer had a wide public response, drawing attention to the activities of the Kharkiv Opera House far beyond the city. His repertoire included works of various vocal genres, in particular, in solo concerts he performed opera arias (from M. Mussorgsky’s “Borys Godunov”, G. Verdi’s “Otello” and “Rigoletto”, G. Puccini’s “Tosca”, O. Borodin’s “Prince Igor”, etc.), romances and songs by Ukrainian composers (P. Maiboroda, I. Shamo), and folk songs. The pedagogical activity of M. Koval, who worked at Kharkiv I. P. Kotlyarevsky National University of Arts, at the Solo Singing Department from 2002 to 2018, deserves further study. Today, his students work at The Mykola Lysenko Kharkiv Academic Opera and Ballet Theatre, as well as in other Opera Houses and music schools in Ukraine, continuing the traditions of their Teacher. The analysis of M. Koval’s vocal and pedagogical work allows us to draw the following conclusions: – M. Koval’s individual style is characterized by a high vocal and artistic culture, in particular, a careful attitude to the word, clear expressive diction, a certain emotional restraint and balance (which makes him “the Apollo archetype” of the artist); deep psychologism in the interpretation of musical images, the brilliant embodiment of which is facilitated by his exceptional acting talent. – These features of the individual style also determined the formation of the singer’s pedagogical principles. The teacher often said that one should always sing with the soul, inspiration and frankly, “from the heart,” and that the music itself would help solve technical difficulties. Therefore, perfect vocal technique or voice volume is not an end in itself, but only a component. Technique and vocal can be learned, but the subtle reception of music cannot be learned; it is something that is given to people by nature. – In addition to his unique vocal and acting talent, exceptional diligence and perseverance were important factors that contributed to his successful career. – Thus, it can be confidently stated that an entire era of vocal, in particular opera, art in the Kharkiv region is associated with the name of M. Koval. After the master passed away, most of the performances in which he had sung the main roles were removed from the repertoire due to the lack of an artist of such a talent.
29
Caturwati, Endang, Een Herdiani e Suzen HR Lumban Tobing. "Ramayana Ballet Performance's Allure at Purawisata Yogyakarta". Mudra Jurnal Seni Budaya 37, n.º 4 (17 de outubro de 2022): 368–73. http://dx.doi.org/10.31091/mudra.v37i4.2102.
Texto completo da fonteResumo:
Indonesia is known for its Wayang Orang performances, especially in the areas of Surakarta, Yogyakarta, Semarang, Jakarta, and Bali. Among the Wayang Orang performances, there was a group that switched to ballet performances, which later became known as the Ramaya Ballet Purawisata Yogyakarta. The purpose of this study is to dissect more deeply the Ramayana Ballet Performance and the extent of its influence on people's lives. Purawisata's Ramayana Ballet, shown in full every night from 20.00–21.30 WIB since 1976 until 2001, won the 'Guinness Book of Records' (MURI) for its consistency in performing cultural performances for 29 years continuously. Consistency in maintaining the noble values of culture continues until August 10, 2021, when Purawisata's Ramayana Ballet is 45 years old. The method used in this research is a qualitative, descriptive analysis method that explores and understands the meaning of a number of individuals or groups of arts being studied. The results of the study show that the innovation strategies offered to the audience are: (1) Special Package Ramayana Performances; (2) Ramayana Edukasi; and (3) Regular Ramayana, so the Ramayana Ballet show still exists today. Even at regular shows, tickets with seating for 600 people are always full.
30
Reid, John. "Fortran 2000 CD ballot and WG5's response". ACM SIGPLAN Fortran Forum 22, n.º 2 (agosto de 2003): 13–17. http://dx.doi.org/10.1145/941558.941562.
Texto completo da fonte
31
KLEMANSKI, JOHN S., DAVID A. DULIO e HARIS COGO. "Does Money Always Matter? Campaign Spending in Michigan State Ballot Proposal Elections". Michigan Academician 45, n.º 2 (1 de janeiro de 2018): 278–300. http://dx.doi.org/10.7245/0026-2005-45.2.278.
Texto completo da fonteResumo:
ABSTRACT This article explores the role of money in Michigan statewide ballot proposals from 1978 to 2015. Of particular concern is how spending patterns in ballot proposal campaigns compare to candidate-centered campaigns. Ballot proposal campaigns do not experience many of the influences that are associated with candidate campaigns. For example, there is no incumbency advantage in fundraising, or name recognition to help voters decide, and little or no political party involvement such as a party label on the ballot or party mobilization of voters. In the period investigated, we found that: ballot proposal campaign spending has skyrocketed; spending is greater with controversial ballot proposals; more money in Michigan ballot proposal campaigns was spent by those supporting a proposal than opposing a proposal beginning in the 2000s while the opposite was true before; and, although it does not guarantee a victory, money can have a meaningful effect when spent strategically.
32
Velázquez Álvarez, Rosa. "LAFUENTE BALLE, José María (2000). La judicialización de la interpretación constitucional. Madrid: Colex". Asamblea. Revista parlamentaria de la Asamblea de Madrid, n.º 5 (1 de dezembro de 2001): 175–80. http://dx.doi.org/10.59991/rvam/2001/n.5/735.
Texto completo da fonte
33
Warren, Vincent. "Yearning for the Spiritual Ideal: The Influence of India on Western Dance 1626–2003". Dance Research Journal 38, n.º 1-2 (2006): 97–114. http://dx.doi.org/10.1017/s0149767700007403.
Texto completo da fonteResumo:
Europeans have imagined India as a land of fabulous riches and exotic legends since the time of ancient Greece. In Greek mythology Dionysus, the god of passion and wine, was said to have come from India, and Alexander the Great's proudest achievement was arriving at the banks of the Indus. When, after 1498, explorers from Portugal, Holland, England, Denmark, and France began to establish trade links with the subcontinent, it seemed the legends were true; rare spices, silks, gold, and precious stones were transported to Europe and added fuel to already inflamed imaginations. The very name of the city of Golconda became a synonym for unimaginable wealth. There was confusion between all things exotic or “oriental.” Turks, Africans, Persians, American “Indians,” and Caribbeans were all from the same imaginary region, “the Indies,” which existed more in the poetic fantasies of Europeans than on a geographical map.As early as 1626 at the court of Louis XIII, king of France, the mysterious figure of Asia appeared in the Grand Bal de la Douairière de Billebahaut, a ballet danced by the king and his noble companions. In 1635 The Temple of Love, a court masque (as le ballet du cour was known in England), was presented at Whitehall Palace in London. In this spectacle, Persian youths voyaged to India to encounter Indamora, Queen of Narasinga, danced by Queen Henrietta Maria herself in a costume designed by Inigo Jones. Back in France, a Sanjac Indien represented the continent of Asia in another court ballet, Les Entretiens de la Fontaine de Vaucluse (1649).
34
Nugent, Paul. "Ethnicity as an Explanatory Factor in the Ghana 2000 Elections". African Issues 29, n.º 1-2 (2001): 2–7. http://dx.doi.org/10.1017/s1548450500006120.
Texto completo da fonteResumo:
Ghana opened a new chapter in its checkered political history when in December 2000 the ruling National Democratic Congress (NDC) was removed from office by means of the ballot box. The New Patriotic Party (NPP) won half the parliamentary seats and its presidential candidate, John A. Kufuor, triumphed with something to spare in the second round of balloting. Although there were some violent incidents that marred the proceedings, the assessment of most observers was that the polls were well conducted and that the final result accurately reflected how Ghanaians had actually voted.
35
Salka, William M. "Determinants of Countywide Voting Behavior on Environmental Ballot Measures: 1990-2000*". Rural Sociology 68, n.º 2 (22 de outubro de 2009): 253–77. http://dx.doi.org/10.1111/j.1549-0831.2003.tb00137.x.
Texto completo da fonte
36
Put, Gert-Jan, Jef Smulders e Bart Maddens. "How local personal vote-earning attributes affect the aggregate party vote share: Evidence from the Belgian flexible-list PR system (2003–2014)". Politics 39, n.º 4 (7 de novembro de 2018): 464–79. http://dx.doi.org/10.1177/0263395718811969.
Texto completo da fonteResumo:
This article investigates the effect of candidates exhibiting local personal vote-earning attributes (PVEA) on the aggregate party vote share at the district level. Previous research has often assumed that packing ballot lists with localized candidates increases the aggregate party vote and seat shares. We present a strict empirical test of this argument by analysing the relative electoral swing of ballot lists at the district level, a measure of change in party vote shares which controls for the national party trend and previous party results in the district. The analysis is based on data of 7527 candidacies during six Belgian regional and federal election cycles between 2003 and 2014, which is aggregated to an original data set of 223 ballot lists. The ordinary least squares (OLS) regression models do not show a significant effect of candidates exhibiting local PVEA on relative electoral swing of ballot lists. However, the results suggest that ballot lists do benefit electorally if candidates with local PVEA are geographically distributed over different municipalities in the district.
37
Foldes, A., A. Danziger, N. Constantini e M. Popovtzer. "Reduced Ultrasound Velocity in Tibial Bone of Young Ballet Dancers". International Journal of Sports Medicine 18, n.º 04 (maio de 1997): 296–99. http://dx.doi.org/10.1055/s-2007-972637.
Texto completo da fonte
38
Kuno, M., T. Fukunaga, Y. Hirano e M. Miyashita. "Anthropometric Variables and Muscle Properties of Japanese Female Ballet Dancers". International Journal of Sports Medicine 17, n.º 02 (fevereiro de 1996): 100–105. http://dx.doi.org/10.1055/s-2007-972815.
Texto completo da fonte
39
Arendt, Y., e F. Kerschbaumer. "Verletzungen und Überlastungserscheinungen im professionellen Ballett". Zeitschrift für Orthopädie und ihre Grenzgebiete 141, n.º 03 (24 de junho de 2003): 349–56. http://dx.doi.org/10.1055/s-2003-40088.
Texto completo da fonte
40
KUROIWA, Miyu, e Banjou SASAKI. "The relationship between psychosocial skills acquired by classical ballet practice and goal orientation". Taiikugaku kenkyu (Japan Journal of Physical Education, Health and Sport Sciences) 65 (2020): 447–63. http://dx.doi.org/10.5432/jjpehss.20002.
Texto completo da fonte
41
Graves, Scott. "Competing Interests in State Supreme Courts: Justices' Votes and Voting Rights". American Review of Politics 24 (1 de novembro de 2003): 267–83. http://dx.doi.org/10.15763/issn.2374-7781.2003.24.0.267-283.
Texto completo da fonteResumo:
The presidential election of 2000 put a spotlight on the substantial opportunities for judicial involvement in the electoral process and the potential for partisan and ideological preferences to conflict in judicial choices. Building on recent scholarship analyzing the influence of institutions and preferences on state supreme court decision-making, I hypothesize that in cases involving voting rights decisions the partisan affiliation of justices rather than ideology contributes to justices’ voting behavior. Using data from the State Supreme Court Data Project and other data, I test the comparative influence of traditional left-right ideology and alignment with the dominant party of the state on ballot access cases. I find evidence that partisanship does matter to justices in ballot access cases, conditional on the method of judicial selection.
42
Middleton, Beth. "SWS 2006 BALLOT". Society of Wetland Scientists Bulletin 23, n.º 1 (março de 2006): 12. http://dx.doi.org/10.1672/0732-9393(2006)23[12:sb]2.0.co;2.
Texto completo da fonte
43
Lippe, Gerd von der. "Kvinnelige fotballspillere har ikke baller". Samtiden 116, n.º 04 (11 de março de 2008): 86–95. http://dx.doi.org/10.18261/issn1890-0690-2007-04-11.
Texto completo da fonte
44
Goertzen, M., R. Ringelband e K. P. Schulitz. "Verletzungen und Überlastungsschäden beim klassischen Ballett-Tanz". Zeitschrift für Orthopädie und ihre Grenzgebiete 127, n.º 01 (18 de março de 2008): 98–107. http://dx.doi.org/10.1055/s-2008-1040096.
Texto completo da fonte
45
Hatipova, I. A. "Mikhail Vasilyevich Sechkin – Pianist, Conductor, Teacher". Aspects of Historical Musicology 18, n.º 18 (28 de dezembro de 2019): 155–70. http://dx.doi.org/10.34064/khnum2-18.09.
Texto completo da fonteResumo:
Target setting. In the modern musical culture of the Republic of Moldova M. V. Sechkin stands out as one of the key figures. He proved to be a multi skilled musician: piano player, conductor, and pedagogue. The scientific challenge disclosed in the article touches on creation of a coherent reflection of the work conducted by M. Sechkin in musical and artistic institutions of the Republic of Moldova during 1988–2015. Thus, notably contributing to the theoretical perception of the process of musical art development in the Republic of Moldova at the turn of the 21st century while filling up the gap in studying the history of Moldovan musical culture. Review of literature. The activity conducted by M. Sechkin was not reflected in the scientific literature. The present paper is the first attempt to present the creative portrait of the musician by summarizing press articles and a range of interviews. The purpose of this paper is confined to disclosing the contribution made by the famous piano player, conductor, and pedagogue M. Sechkin in the process of musical art development in Moldova at the turn of the 21st century. Research methodology. In the research of creative activity of M. Sechkin, use has been made of a complex of methods applicable in modern study of art: the empirical level of scientific research was established through informal personal conversations with M. Sechkin and other musicians, directly linked with his activity. Applied at the theoretical level were general scientific methods, such as analysis and synthesis, induction and deduction, comparison, etc. Statement of basic material. Over the years, M. V. Sechkin, born on March 31, 1943 in the Ukrainian City of Kharkov, has contributed decisively to the development of musical culture in the Republic of Moldova as a pianist, opera and symphony orchestra conductor, professor and public figure. He took his first lessons in music from his mother Maria Sechkin Zakharchenko, the follower of K. N. Igumnov. He attended the profile secondary musical school, class of Regina Gorovitz – the sister to the famous pianist Vladimir Gorovitz. In 1966, M. Sechkin graduated from Kharkov Conservatoire as a pianist on the class of Professor Mikhail Khazanovsky and then selected to remain with the Chair as an assistant. However, his dream of making a carrier of symphony and opera conductor has taken the young musician to a different path. The interest for conducting appeared under the influence of the art of conducting revealed by Leonid Khudoley, disciple of Nikolay Golovanov. Therefore, two years later, after graduation, M. Sechkin has entered the faculty of conductors at Kharkov Institute of Arts. One year later, he moves to Kyiv Conservatoire named after P. I. Tchaikovsky, where he attended the class of Professor Mikhail Kanershtein, disciple of one of the founders of the Soviet school of conducting Nicolay Malko. Next followed probation assistantship, where M. Sechkin attended a training course headed by the outstanding Ukrainian conductor Stephan Turchak. Having accomplished his probation assistantship, M. Sechkin has joined the Symphonic orchestra of Zaporozhye Philharmonics and later on invited to Donetsk Opera Theatre, where he mastered a rather comprehensive theatrical repertoire. The Chisinau (Moldova) period of maestro’s creative biography started beck in 1988, when he accepted the invitation to join the Moldovan State Conservatoire as Professor of the Chair of Special Piano and the Chair of Operatic Training. By then he headed the Students Symphony Orchestra, being one of the first conductors of Opera Studio. The Studio repertoire included the best images of West European and Russian opera classics. Prepared from the scratch were such operas as Carmen by G. Bizet and the Noblewoman Vera Sheloga by N. А. Rimsky Korsakov. The students – alumni of this conservatoire then worked successfully at the National Opera Theatre, performed in prestigious opera scenes around the world; among these one could mention Petru Racovita, Natalia Margarit, Lilya Sholomey, Yuri Gasca, Robert Khvalov, Stephan Curudimov, Mefodie Bujor, and Liliana Lavric. The Opera Studio Orchestra was touring in Italy and Spain. For a number of decades, M. Sechkin acted as one of the key conductors at the National Opera and Ballet Theatre, while from 1990 to 1992 acted as the Principal Conductor and the Art Director. Here he worked on staging the ballets Romeo & Juliette by S. Prokofiev, Spartacus by А. Khachaturian, and operas the Marriage of Figaro by W. Mozart, Don Carlos by G. Verdi, and Iolanta by P. I. Tchaikovsky. In parallel to the theatre plays, M. Sechkin has brightly proven his qualities as a conductor of the Symphony Orchestra of the National Philharmonics named after S. Lunchevici. Under his leadership (2008–2013), the orchestra performed more than twenty show programs, including premiere hits by P. Tchaikovsky (Symphony No. 5, symphony Manfred), A. Scriabin (Symphony No. 2 and No. 3), and S. Rachmaninoff (Symphony No. 3). Many of the musicians are marking high conducting mastery of M. Sechkin in performing orchestral accompaniment and special work with the soloists prior to orchestra performance. Likewise appreciated was the work of maestro with young musicians. The conductor devotes a lot of his time to promoting the oeuvre of Moldovan composers. Since 2000 and until nowadays, within the frameworks of the Days of New Music Festival, jointly with the National Philharmonics Orchestra, the maestro prepared a number of programs compiled from the works of V. Polyakov, V. Zagorsky, V. Rotaru, A. Luxemburg, O. Negruza, B. Dubossarsky, and Z. Tcaci. In 30 years of his activity in Chisinau, M. Sechkin cooperated with all of the known orchestra ensembles. Back in 90th, maestro was successfully touring with the National Opera and Ballet Theatre in Italy, Spain, Portugal, Switzerland, Rumania and Chile. In Rumania, M. Sechkin was working full time as a conductor and then as the principal conductor of the Symphony Orchestra of the city of Botosani (1998–2013), where he managed to stage about 70 show programs. The multifaceted and fruitful activity of the musician was repeatedly marked with Certificates of Honor and Diplomas. In 1996, he was decorated with the award Maestru în Artă (Master of Arts) and in 2018 with the noble award of the People’s Artist of the Republic of Moldova. Conclusions and prospects. While appreciating the contribution made by this outstanding musician into the development of the musical culture in the Republic of Moldova, one could clearly see the determinant trajectory of his life and artistic journey – the stalwart devotion to music, musical education, nurturing young performers and listeners of different age group generations.
46
Mixon, Franklin G., e Ernest W. King. "Helping Hispanic-America vote? Ballot technology, voter fatigue andHAVA 2002". Applied Economics 44, n.º 6 (fevereiro de 2012): 785–92. http://dx.doi.org/10.1080/00036846.2010.522526.
Texto completo da fonte
47
Rossiou, D., S. Papadopoulou, I. Pagkalos, A. Kokkinopoulou, D. Petridis e M. Hassapidou. "Energy expenditure and nutrition status of ballet, jazz and contemporary dance students". Progress in Health Sciences 7, n.º 1 (14 de julho de 2017): 31–38. http://dx.doi.org/10.5604/01.3001.0010.1771.
Texto completo da fonteResumo:
Purpose: To evaluate of the energy expenditure in 3 types of dance classes (ballet, Jazz, and contemporary), as well as of the daily energy balance depending on dance type. Materials and methods: 40 females attending dance classes with a median age of 21.0 (19.0-25.0) and 10 males with a median age of 27.0 (20.0-28.0) participated in this study. The energy cost of each dance class was measured using the BodyMedia SenseWear Sensor and total daily energy expenditure was evaluated using a 3-day recording of physical activity. The dietary intake was evaluated with a 3-day food diary recording. Statistical analysis was performed using the SPSS software. Results: Median energy expenditure varied from 306 (277-328) Kcals/class for contemporary dance to 327 (290-355) Kcals/class for ballet and 369 (333-394) Kcals/class for jazz for females with significant differences between contemporary and jazz classes. For males, energy expenditure was 508 (447-589) Kcals/class and 564 (538-593) Kcals/class for ballet and jazz classes, respectively. Females had lower values for all anthropometric measurements, energy intake, macronutrient intakes, and energy expenditure, compared with males. The anthropometric characteristics did not differ between dance types. Both female and male dance students were in a negative energy balance. Conclusions: The use of sensors such as BodyMedia SenseWear together with keeping daily diaries make measurement of physical activity in dancing reliable and accurate. Exercise expenditure differs across types of dance in females but not in males. Both sexes had inadequate energy and carbohydrate intakes.
48
Guidetti, L., M. Gallotta, G. Emerenziani e C. Baldari. "Exercise Intensities during a Ballet Lesson in Female Adolescents with Different Technical Ability". International Journal of Sports Medicine 28, n.º 9 (setembro de 2007): 736–42. http://dx.doi.org/10.1055/s-2007-964909.
Texto completo da fonte
49
Raschke, Ehrhard. "Editorial: BALTEX: Baltic Sea Experiment". Meteorologische Zeitschrift 9, n.º 1 (26 de abril de 2000): 5–6. http://dx.doi.org/10.1127/metz/9/2000/5.
Texto completo da fonte
50
Raschke, Ehrhard. "Editorial: BALTEX: Baltic Sea Experiment". Meteorologische Zeitschrift 9, n.º 2 (14 de julho de 2000): 75–76. http://dx.doi.org/10.1127/metz/9/2000/75.
Texto completo da fonte