Ballet Technique for the Male Dancer by Nikolai I Tarasov ; Adapted by Marian Horosko ; Translated by Elizabeth Kraft ; Edited by N. T. Finogenova ; Illustrated by N. M. Vovnoboy
New York : Doubleday, 1985. First American Edition. Hardcover. 421 pages ; Photographs, Illustrations ; 24 cm. $24.95 dust jacket with minimal wear. Pages are clean and unmarked. Binding is firm.
BALLET TECHNIQUE FOR THE MALE DANCER
NIKOLAI IVANOVICH TARASOV
Balanchine once said, "Ballet is woman," and, until very recently, ballet in America has been dominated by women, in both training and performance. However, the phenomenal success and breathtaking virtuosity of such artists as Nureyev, Baryshnikov, and Godunov has emphasized the importance of the male dancer, and heralded his return to stellar roles. They have opened vast possibilities while reflecting a growing need for new techniques in training that would enable male dancers to realize their fullest potential.
Originally published in the Soviet Union, where the status of the male and female, dancer has always been equal, BALLET TECHNIQUE FOR THE MALE DANCER provides a definitive reference for American dancers, teachers, choreographers, critics, and audiences alike. This first English edition—the first book devoted entirely to male classical ballet technique—contains the complete syllabus of Russian ballet master Nikolai Ivanovich Tarasov's renowned training program, exactly as it is practiced in the USSR. Included in this volume are exciting new photographs of contemporary Russian dancers demonstrating the continuation of Tarasov's impeccable training and methodology. The Chair of Choreography of GITIS (the USSR's highest institute of learning devoted to the theater arts) has acknowledged BALLET TECHNIQUE FOR THE MALE DANCER as the textbook by giving this invaluable work its highest award, the Lenin Prize. A must for all dancers and avid aficionados.
Nikolai Ivanovich Tarasov was graduated from the Moscow Choreographic School of the Bolshoi Theater in 1920 and became the Bolshoi Ballet's leading soloist in the 1920s and 1930s, performing with some of the era's greatest ballerinas. During this time, Tarasov also taught the graduating classes of male dancers at the Bolshoi School, eventually becoming the school's Director and Artistic Adviser. For over twenty-five years he was the Chairman of Choreography of the Government Institute of Theatrical Arts, first as a teacher of classical dance composition and as a regisseur, and later as its Artistic Director of Teachers. Tarasov died in 1976.
Marian Horosko, who adapted this book for the American market, is a former member of the New York City Ballet and currently an associate editor of technique and education at Dance Magazine.
"I believe that since A. Vaganova's Bask Principles of Classical Ballet, nothing but Tarasov's BALLET TECHNIQUE FOR THE MALE DANCER has so individually explained, with such thorough analysis, the tradition and pedagogical principles of the Russian method. What Vaganova's book did for female dancers, this book will do for teachers and male dancers. I know that when my colleagues are introduced to Tarasov's material, it will become as invaluable to them as it is to me." —Jiirgen Schneider | Ballet Master/Principal Coach American Ballet Theater
"Long overdue. This book describes what potential the male performer may reach with careful, specific study." —Woytek Lowski Ballet Master American Ballet Theater
"I was a Tarasov pupil in 1949, in his experimental class for advanced students to develop stamina. I owe my strength today to these classes, which were simple but required many repetitions of tour de force steps, a strong attack, and full-out, broad movements that covered space.
"My hope is that teachers in the West, where the training of male and female dancers is the same., will be inspired to recognize the psychological as well as the physical differences, especially in the early years. Although no one can imitate another with complete success, the Tarasov style for male dancers, his philosophy, and the plan for education of the dancer can help develop the new generations of dancers to their full potential. Eventually, male dancers with fully developed technique can influence new choreography as well." —Andrei Kramarevsky Teacher | School of American Ballet
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