Les fêtes d'Hébée, ou, Les talents liriques: ballet

mis en musique par M. Rameau, et réprésenté pour la premiere fois, par l'Académie royale de musique, au mois de may 1739.

Musculoskeletal effects and injury risk in collegiate Indian classical and ballet dancers

Dancers of all forms often engage in aesthetic yet challenging movements. Their training, choreography, and performances require strength, stamina, flexibility, grace, passion, and emotion. Ballet and Bharatanatyam (an Indian classical dance form) dancers utilize two movements in each of their dance forms that are similar—a half-sitting pose and a full-sitting pose, both requiring external rotation of the legs and bending at the knee joints. The purpose of this study was to examine and compare the biomechanics of joint reaction forces and knee angles in both styles of dance for these particular poses. The study included nine female ballet dancers and seven female Bharatanatyam dancers. Hamstring and gastrocnemius flexibility were measured for each dancer. Knee angles, vertical peak forces, and moments were determined for dancers at the lowest point of their bending positions. Mann-Whitney U tests found significant differences in hamstring flexibility, right gastrocnemius flexibility, and knee angles for the full-sitting poses between ballet and Bharatanatyam dancers. No significant difference was found in the vertical peak forces as a ratio to total body weight and moments between the two styles of dance. Further research can be done to more directly assess a difference in injury risk between the ballet and Bharatanatyam dancers.

The Uses of Print and Writing in Eighteenth Century European Ballet: the Case of The Letters on Dancing and Ballets by Jean-Georges Noverre

This article aims to study the uses of print, especially the Letters on Dancing and Ballets by Jean-Georges Noverre, throughout the emergence of pantomime ballet in the late eighteenth century. Noverre’s discourse is directly associated with a project to revitalize the art of dance. In this sense, books as an object are not only a support for the new aesthetic discourse, but a tool with multiple uses. It simultaneously seeks to modify the spectator’s view of the scene, legitimize the success of the new theatrical genre and value the ballet master profession.

Autocriticismo, Estima Corporal e Sintomas de Perturbação do Comportamento Alimentar em Adolescentes do Sexo Feminino, Praticantes de Ballet e Andebol

Introdução: As Perturbações do Comportamento Alimentar (PCA) constituem um grave problema de saúde pública. Poucos estudos em Portugal ligam esta temática a áreas como o autocriticismo e a estima corporal. Assim, são nossos objetivos principais: explorar, numa amostra de adolescentes do sexo feminino, as diferenças entre praticantes de ballet e praticantes de andebol, nos sintomas de PCA, índice de massa corporal (IMC), dimensões avaliativas da aparência e níveis de autocriticismo; analisar se níveis maiores de autocriticismo e uma visão mais depreciativa em termos de aparência se associam a níveis mais elevados de sintomas de PCA (nas duas modalidades desportivas). Em virtude das associações encontradas, pretendemos realizar análises preditivas, controlando a influência de sintomas de depressão, ansiedade e stress. Metodologia: A amostra é constituída por 105 adolescentes do sexo feminino (n = 52; 49,5% do ballet e n = 53; 50,5% do andebol) com idades compreendidas entre os 12 e 18 anos (M = 14,5; DP = 1,80). As participantes preencheram um protocolo composto por um questionário sociodemográfico, pela Escala de Autocriticismo e Autotranquilização (FSCRS), pelo Teste de Atitudes Alimentares-25 (TAA-25/EAT-25), pela Escala Estima Corporal (BES) e pela Escala Depressão Ansiedade e Stress (DASS-21). Resultados: Verificaram-se percentagens preocupantes de eventual PCA (ponto de corte de 19) nas praticantes de Ballet (7,7%) e de Andebol (9,4%). Quanto ao IMC, na amostra de praticantes de ballet, encontrou-se uma percentagem relevante de jovens com magreza (34,6%). As praticantes de Ballet e de Andebol apenas se diferenciaram no IMC e na dimensão FSCRS_eu inadequado (valores superiores nas praticantes de Andebol). Verificaram-se, na subamostra Ballet, associações significativas entre a Motivação para a Magreza e as formas de autocriticismo FSCRS_eu inadequado, FSCRS_eu detestado, FSCRS_eu tranquilizador e FSCRS_total e entre os Comportamentos Bulímicos e as formas de autocriticismo FSCRS_eu detestado e FSCRS_total. Na subamostra Andebol constataram-se associações significativas entre a Motivação para a Magreza e a forma de autocriticismo FSCRS_eu inadequado e FSCRS_total. A dimensão FSCRS_eu detestado mostrou predizer, na subamostra Ballet, a Motivação para a Magreza e os Comportamentos Bulímicos. Na subamostra Andebol o BES_Peso foi o preditor significativo da Motivação para a Magreza. Discussão: É preocupante a percentagem de eventual PCA (em ambas em subamostras) bem como a percentagem de jovens que praticam Ballet com um IMC indicador de magreza, principalmente por serem jovens atletas e estarem mais focadas no seu corpo e forma física, estando mais vulneráveis ao desenvolvimento da patologia. É um contributo fundamental deste trabalho verificar associações (bem como o papel preditivo) nestas duas modalidades desportivas, separadamente, entre as formas de autocriticismo e as dimensões do TAA-25 Motivação para a Magreza e Comportamentos Bulímicos. Parece essencial o desenvolvimento de ações de sensibilização junto dos professores/treinadores, com o intuito de despertar uma maior atenção para a visão crítica das suas bailarinas/atletas em relação ao seu corpo, que parece influenciar as suas atitudes alimentares. Será importante iniciar estas ações/intervenções precocemente (antes mesmo da adolescência) não esquecendo a inclusão das figuras paternas, com vista a melhorar o seu sucesso, tendo consciência que particularmente no “nicho” desportivo do ballet a imagem/aparência e o peso continuam e continuarão, muito provavelmente, a ser valorizados e reforçados. / Introduction: Eating Disorders are a major public health problem. Few studies in Portugal associate this theme with areas such as self-criticism and body esteem. Thus, our main objectives are: to explore, in a sample of female adolescents, the differences between ballet and handball practitioners as to symptoms of eating disorders, body mass index (BMI) and evaluative dimensions of appearance and self-criticism levels; to analyze whether higher levels of self-criticism and a more derogatory vision in terms of appearance are associated with higher levels of PCA symptoms (in both sports). Having these associations into account, we intend to perform predictive analysis, controlling the influence of symptoms of depression, anxiety and stress. Methodology: Our sample is composed by 105 female adolescents (n = 52; 49.5% from ballet and n = 53; 50.5% from handball) with ages between 12 and 18 years (M = 14.5; DP = 1.80). The participants filled in a protocol composed by a sociodemographic questionnaire, the Forms of Self-Criticizing and Reassuring Scale (FSCRS), the Eating Attitudes Test-25 (TAA-25/EAT-25), the Body Esteem Scale (BES) and Depression, Anxiety and Stress Scale (DASS-21). Results: There were worrying percentages of eventual PCA (cutoff of 19) in Ballet practitioners (7.7%) and Handball (9.4%). As to the BMI, in the sample of practitioners of ballet we found a significant percentage of young people with malnutrition (34.6%). Ballet and Handball practitioners only differed in BMI and in the inadequate self form (higher values in Handball practitioners). In the Ballet subsample there were significant associations between Motivation for thinness and forms of self-criticism, inadequate self form, hated self form, reassure self form and total self criticism and between Bulimic behaviors and inadequate self form and total self criticism. In the Handball subsample, significant associations were found between Motivation for thinness, the inadequate self form and total self criticism. The hated self form predicted, in the Ballet subsample, Motivation for thinness and Bulimic behaviors. In the subsample Handball BES_Weight was the significant predictor of Motivation for thinness. Discussion: The percentage of any Eating Disorders (in both subsamples) and the percentage of young people who practice ballet with a IMC indicating thinness is worrying, especially in young athletes who are more focused on their body and physical form, being more vulnerable to develop these disorders/symptoms. A major contribution of this work is to have shown the associations (as well as the predictive role), in these two sports, separately, between self-criticism forms and the TAA-25 dimensions Motivation for thinness and Bulimic behaviors. It seems essential to develop awareness-raising among teachers/trainers, in order to raise greater attention to the critical view of their dancers / athletes in relation to their body, which seems to influence their eating attitudes. It will be important to start these actions/interventions earlier (even before adolescence) not forgetting the inclusion of parents in order to improve their success, particularly in the ballet “niche”, where image/appearance and weight will most likely continue to be valued and reinforced.

Petr Eben's oratorio Apologia Sokratus (1967) and ballet Curses and Blessings (1983): An interpretative analysis of the symbolism behind the text settings and musical style

The Czech composer Petr Eben (1927-2007) has written music in all genres except symphony, but he is highly recognized for his organ and choral compositions, which are his preferred genres. His vocal works include choral songs and vocal-instrumental works at a wide range of difficulty levels, from simple pedagogical songs to very advanced and technically challenging compositions. This study examines two of Eben‘s vocal-instrumental compositions. The oratorio Apologia Sokratus (1967) is a three-movement work; its libretto is based on Plato‘s Apology of Socrates. The ballet Curses and Blessings (1983) has a libretto compiled from numerous texts from the thirteenth to the twentieth centuries. The formal design of the ballet is unusual—a three-movement composition where the first is choral, the second is orchestral, and the third combines the previous two played simultaneously. Eben assembled the libretti for both compositions and they both address the contrasting sides of the human soul, evil and good, and the everlasting fight between them. This unity and contrast is the philosophical foundation for both compositions. The dissertation discusses the multileveled meanings behind the text settings and musical style of the oratorio and ballet in analyses focusing on the text, melodic and harmonic construction, and symbolism. Additional brief analyses of other vocal and vocal-instrumental compositions by Eben establish the ground for the examination of the oratorio and ballet and for understanding features of the composer‘s musical style. While the oratorio Apologia Sokratus was discussed in short articles in the 1970s, the ballet Curses and Blessings has never previously been addressed within Eben scholarship. The dissertation examines the significant features of Eben‘s music. His melodic style incorporates influences as diverse as Gregorian chant and folk tunes on the one hand, and modern vocal techniques such as Sprechgesang and vocal aleatoricism on the other. His harmonic language includes bitonality and polytonality, used to augment the tonal legacy of earlier times, together with elements of pitch collections and limited serial procedures as well as various secundal and quartal harmonic sonorities derived from them. His music features the vibrant rhythms of folk music, and incorporates other folk devices like ostinato, repetitive patterns, and improvisation.

La escena moderna como crisol de la vanguardia: su reflejo en el ballet "La Romería de los Cornudos" (1927-1933) y el espectáculo "La Tragedia de Doña Ajada" (1929)

La presente tesis doctoral se centra en el período en el que se definen los primeros movimientos de vanguardia en los diferentes campos artísticos –el primer tercio del siglo XX–, período especialmente fructífero en cuanto a la colaboración de diversos lenguajes artísticos sobre la escena. En esta tesis se explica cómo la escena se convierte en crisol de dichos lenguajes, dando lugar a resultados de gran modernidad, y cómo se refleja todo ello en el ballet La romería de los cornudos (1927-1933) y el espectáculo La tragedia de Doña Ajada (1929), que se crean y estrenan en Madrid. Esta investigación, concebida desde un punto de vista eminentemente interdisciplinario, ha sido organizada en torno a cuatro capítulos principales. En los dos primeros, debido a la importancia que la vanguardia representa para este trabajo y tras clarificar las particularidades del fenómeno en su conjunto, se lleva a cabo una reflexión, desde la perspectiva europea y española, en torno a las primeras vanguardias en el campo musical, el de las artes plásticas, el escénico-teatral y el de la danza, por ser estas artes las que fundamentalmente colaboran sobre la escena en la época que nos ocupa y en las dos obras concretas que se estudian posteriormente. Asimismo, se indaga en los orígenes de dicha colaboración y su repercusión más allá de la superficialmente repetida influencia de la Gesamtkunstwerk wagneriana. Lo desarrollado en los dos capítulos precedentes se vierte en los capítulos tercero y cuarto, dedicados a las dos obras mencionadas, cuyos creadores se cuentan entre los más relevantes de la primera vanguardia española: Cipriano de Rivas Cherif, Federico García Lorca, Gustavo Pittaluga, Alberto Sánchez, Antonia Mercé –la Argentina– y Encarnación López –la Argentinita–, de La romería de los cornudos; Manuel Abril, el portugués José de Almada Negreiros y Salvador Bacarisse, de La tragedia de Doña Ajada. A la hora de analizar esas obras, se hace especial hincapié: por un lado, en la colaboración entre estos artistas, su propia vocación interdisciplinaria y su vinculación con la renovación en los distintos campos; por otro, en la confluencia e interdependencia entre los diferentes elementos del espectáculo, y su relación con la vanguardia musical, plástica, teatral y coreográfica. Dicho análisis pretende superar las aproximaciones parciales que sobre la vanguardia en España en general, y sobre La romería de los cornudos y La tragedia de Doña Ajada en particular, han sido realizadas hasta ahora, así como contextualizar las obras y los elementos que las componen, tanto en el momento de su creación como en el de su estreno, con la importancia que este último comporta de cara a la recepción. El resultado es un estudio que conecta los diferentes elementos de la representación, a la vez que se analiza cada uno de ellos en ambas obras, y los explica como resultado de un todo unitario...

Similar prevalence of acetabular labral tear in professional ballet dancers and sporting participants

OBJECTIVE: To compare the prevalence of acetabular labral tear in male and female professional ballet dancers with age-matched and sex-matched sporting participants and to determine the relationship to clinical findings and cartilage defects. DESIGN: Case-control study. SETTING: Clinical and radiology practices. PARTICIPANTS: Forty-nine (98 hips) male and female professional ballet dancers (current and retired) with median age 30 years (range: 19-64 years) and 49 (98 hips) age-matched and sex-matched sporting participants. INDEPENDENT VARIABLES: Group (ballet or sports), sex, age, hip cartilage defects, history of hip pain, Hip and Groin Outcome Score, passive hip internal rotation (IR), and external rotation range of movement (ROM). MAIN OUTCOME MEASURES: Labral tear identified with 3T magnetic resonance imaging (MRI). RESULTS: Labral tears were identified in 51% of all 196 hips. The prevalence did not differ significantly between the ballet and sporting participants (P = 0.41) or between sexes (P = 0.34). Labral tear was not significantly associated with clinical measures, such as pain and function scores or rotation ROM (P > 0.01 for all). Pain provocation test using IR at 90° of hip flexion had excellent specificity [96%, 95% confidence intervals (CIs), 0.77%-0.998%] but poor sensitivity (50%, 95% CI, 0.26%-0.74%) for identifying labral tear in participants reporting hip pain. Older age and cartilage defect presence were independently associated with an increased risk of labral tear (both P < 0.001). CONCLUSIONS: The prevalence of labral tear in male and female professional ballet dancers was similar to a sporting population. Labral tears were not associated with clinical findings but were related to cartilage defects, independent of aging. CLINICAL RELEVANCE: Caution is required when interpreting MRI findings as labral tear may not be the source of the ballet dancer's symptoms.

Dance review: Australian ballet's Vitesse finds leap of faith falls just short

Dance review of The Australian Ballet