The arabesque: a compositional design

Article Abstract:

The arabesque as a choreographic design was influenced by neoclassical figurative arts. Dance was a popular motif and inspired poets and writers in the late 18th and early 19th centuries. Arabesque was used to give dance a logic of composition and a precision of attitudes, and was related to the rhythm and movement of dance. Decorations given to dancers such as veils and garlands served to provide balance to the composition in space.

Methods, Analysis, Dancing, Dance, Dance production, Dance criticism

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The Italian style and the period

Article Abstract:

Pantomimic dance came to the fore in Italy between 1748 and 1830, with traits peculiar to that country, and this dance found a reason for being with its own specific field, namely, the ballet d'action. A discussion on pantomimic dance examines the theory behind the style, as well as the compositional techniques of Salvatore Vigano, in particular how the pantomimic discourse is put together using criteria of immediacy and rapidity.

Italy, Evaluation, Ballet dancing, Pantomime, 1748 AD, 1830 AD

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The teaching of Victor Gsovsky in Berlin, 1926-1936, as seen by Lilian Karina

Article Abstract:

The description of Russian-born choreographer and teacher Victor Gsovsky along with his teaching of classical dance is given. His teaching provided a base for tackling any stylistic variation in dance. The period of his life in Berlin in the decade is narrated.

Germany, Russia, Criticism and interpretation, Choreographers, Gsovsky, Victor

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