By Victoria O'Brien
This paintings provides a close research of the 5 key ballet firms that operated in eire among 1927 and 1963: the Abbey Theatre institution of Ballet, the Abbey college of Ballet, the Sara Payne university and corporate, the Irish Ballet membership and the nationwide Ballet college and Company.
through reading a formerly overlooked size of Irish inventive existence, this examine goals to supply a better appreciation of many of the roles that ballet has performed within the improvement of Irish cultural task. It documents the wealthy interplay among different dance artists and activities and their collaborators around the complete spectrum of Irish inventive endeavour, together with Cecil ffrench Salkeld, F. R. Higgins, Mainie Jellett, Patrick Kavanagh, J. F. Larchet, Louis le Brocquy, Elizabeth Maconchy, Donagh MacDonagh, Brinsley MacNamara, Micheál Mac Laimmóir, Norah McGuinness, A. J. Potter, Lennox Robinson, Michael Bowles, Mary Devenport O’Neill, Anne Yeats and W. B. Yeats.
This publication breaks major new floor for a space during which little released info exists. the writer items jointly learn at the faculties and corporations from interviews, ballet programmes, playbills, libretti, rankings, memoirs, modern press studies, literary articles and images, to shape a desirable narrative of the under-researched international of Irish ballet.
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Extra resources for A History of Irish Ballet from 1927 to 1963
The final part of the evening was a new piece of choreography by de Valois entitled The Faun (see Plate 2). From programme notes we can learn a little more of this mysterious work: Tired – he would sleep through the night … And the Shade and Elves find him. They are cunning, these creatures of the wood … who live between night and day … well they know how to lure the foolish fellow from his rock – and steal his pipes … But even the wisdom of the elves cannot stay a woman changing her mind … Dawn finds the spoils returned – and the Faun awakening, wonders … The Faun was performed to music by Harold R.
19 Irish Statesman, 29 September 1928. 20 The Irish Times, 23 April 1929. 21 Abbey Theatre Archives: Abbey Theatre programme, 22 April 1929. The Abbey Theatre School of Ballet 23 There were two dance productions in 1930. Perhaps the most fascinating and neglected of all the Abbey Theatre School of Ballet performances took place on 13 January of that year. The programme, which did not share the billing with a play, was made up of twenty-two separate works divided into three parts. De Valois, Sara Patrick and, surprisingly, Leonide Massine created the choreography.
Hedley Briggs from England danced the part of the Ghost of Cuchulain and six girls from the school produced the ef fect of the waves. The play was well received by the audience and in response to their call for the author, Yeats summarised the collaborations: ‘Your thanks are due’ he said, ‘to the actors, the producer, the musician, the dancers and the mask-maker. ’ It was an entrancing performance, for which credit must go primarily to Miss de Valois and her pupils, but only slightly less so to the producer (Mr.
A History of Irish Ballet from 1927 to 1963 by Victoria O'Brien