BALLET DANCERS STUDIO METROPOL CAIRO EGYPT VINTAGE LARGE PHOTOS 1956 

Ballet dancers, vintage rare original Two photos by Studio Metropol, Cairo, Egypt. Dated with dedication on the back. Photographer studio stamp embossed. Dimensions: 18x13 cm. Good condition. 

Winning bidder pays $10.00 Postage  international registered air mail.
Payment option: Paypal
Authenticity 100% Guaranteed 

Please have a look at my other listings

Good Luck!


A ballet dancer (Italian: ballerina [balleˈriːna] fem.; ballerino [balleˈriːno] masc.) is a person who practices the art of classical ballet. Both females and males can practice ballet; however, dancers have a strict hierarchy and strict gender roles. They rely on years of extensive training and proper technique to become a part of professional companies. Ballet dancers are at a high risk of injury due to the demanding technique of ballet.[1] Contents 1 Training and technique 2 Injuries 3 Gendered titles 4 Hierarchic titles 4.1 Women 4.2 Men 4.3 Today 4.4 Prima ballerina assoluta 5 See also 6 References 7 Training and technique Ballet dancers typically begin training between the ages of 6 and 8 (for females) and 5 and 7 (for male dancers) if they desire to perform professionally. Training does not end when ballet dancers are hired by a professional company. They must attend ballet class six days a week to keep themselves fit and aware. Ballet is a strict form of art, and the dancer must be very athletic and flexible.[citation needed] Ballet dancers begin their classes at the barre, a wooden beam that runs along the walls of the ballet studio. Dancers use the barre to support themselves during exercises. Barre work is designed to warm up the body and stretch muscles to prepare for center work, where they execute exercises without the barre. Center work in the middle of the room starts out with slower exercises, gradually leading up to faster exercises and larger movements. Ballet dancers finish center work practicing big leaps across the floor, which is called grande allegro. After center work, females present exercises on pointe, and on their toes, supported by special pointe shoes. Males practice jumps and turns. They may practice partner work together.[1] Injuries Ballet dancers are susceptible to injury because they are constantly putting strain and stress on their bodies and their feet. A ballet dancer's goal is to make physically demanding choreography appear effortless. Ballet dancers increase their risk of injury if they start training earlier than the age of ten. However, many ballet dancers do start on the average age of 6 to 8 years old.[2] The upper body of a ballet dancer is prone to injury because choreography and class exercises requires them to exert energy into contorting their backs and hips. Back bends cause the back to pinch, making the spine vulnerable to injuries such as spasms and pinched nerves. Extending the legs and holding them in the air while turned out causes damage to the hips. Such damage includes strains, fatigue fractures, and bone density loss.[3] Injuries are common in ballet dancers because ballet consists of putting the body in unnatural positions. One such position is first position, in which the heels are placed together as the toes point outward, rotating, or "turning out" the legs. If First Position is done incorrectly it can cause knee problems, however, when done correctly (turning out with the hips rather than the knees) it should increase flexibility and reduce pressure on the knees. Meniscal tears and dislocations can happen at the knees when positioned incorrectly because it is easy to let the knees slide forward while turned out in first position. Ballet dancer's feet are prone to fractures and other damage. Landing incorrectly (not through the foot, with knees bent) from jumps and working in pointe shoes may increase risk of broken bones and weakened ankles where care and attention is not taken by a conscientious teacher and student. Tendonitis is common in female ballet dancers because pointe work is strenuous on their ankles. Landing from jumps incorrectly may also lead to shin splints, in which the muscle separates from the bone.[2] Class time is used to correct any habits that could lead to injury. If the ballet dancer is properly trained, the dancer will decrease their risk of injury. Some ballet dancers also turn to stretching or other methods of cross training, like Pilates, yoga, non impact cardio, and swimming. This, outside cross training, attempts to minimize the risk of bodily damage by increasing strength, exercise diversity, and stamina. Nevertheless, injuries are a common occurrence in performances. Most injuries do not show up until later in a ballet dancer's life, after years of continuous strain.[1] Gendered titles Traditionally, gender-specific titles are used for ballet dancers. In French, a male ballet dancer is referred to as a danseur and a female as a danseuse. In Italian, a ballerina is a female who typically holds a principal title within a ballet company; the title for equally ranked males is ballerino. In Italian, the common term for a male dancer is danzatore and a female dancer is a danzatrice.[relevant? – discuss] These terms are rarely used in English. Since ballerino is not used in English, it does not enjoy the same connotation as ballerina. A regular male dancer in Italy is called a ballerino. In the English speaking world, boys or men who dance classical ballet are usually referred to as (male) ballet dancers. Often "ballerino" is used in English-based countries as slang. As late as the 1950s a ballerina was the principal female dancer of a ballet company who was also very accomplished in the international world of ballet, especially beyond her own company; female dancers who danced ballet were then called danseuses or simply ballet dancers. Ballerina was a critical accolade bestowed on relatively few female dancers, somewhat similar to the title diva in opera. The male version of this term is danseur noble (French). Since the 1960s, however, the term has lost this honorific aspect and is applied generally to women who are ballet dancers.[4] In the original Italian, the terms ballerino (a male dancer, usually in ballet) and ballerina do not imply the accomplished and critically acclaimed dancers once meant by the terms ballerina and danseur noble when used in English. Rather, they simply mean one who dances ballet. Italian terms that do convey an accomplished female ballet dancer are prima ballerina and prima ballerina assoluta (the French word étoile is used in this sense at the Scala ballet company in Milan but has a different meaning at the Paris Opera Ballet.). The term ballerina is sometimes used to denote a well-trained and highly accomplished female classical ballet dancer. In such cases, it is a critical accolade that signifies exceptional talent and accomplishment. Hierarchic titles Many use the term ballerina incorrectly, often using it to describe any female ballet student or dancer. Ballerina was once a rank given only to the most exceptional female soloists. Women Coppélia, 2010 More or less, depending on the source, the rankings for women—from highest to lowest—used to be: Prima ballerina assoluta (Italy) Prima ballerina, premier sujet or première danseuse Sujet Coryphée Corps de ballet Men For men, the ranks were: Premier danseur noble Premier danseur Danseur Sujet Coryphée Corps de ballet Ballerino Today Ballet companies continue to rank their dancers in hierarchical fashion, although most have adopted a gender neutral classification system, and very few recognise a single leading dancer above all other company members. In most large companies, there are usually several leading dancers of each gender, titled principal dancer or étoile to reflect their seniority, and more often, their status within the company. The most common rankings (in English) are: Principal dancer Soloist (or First soloist) Demi-soloist (or Second soloist) Corps de ballet Apprentice Dancers who are identified as a guest artist are usually those who have achieved a high rank with their home company, and have subsequently been engaged to dance with other ballet companies around the world, normally performing the lead role. They are usually principal dancers or soloists with their home company, but given the title of Guest Artist when performing with another company. Prima ballerina assoluta The title or rank of prima ballerina assoluta was originally inspired by the Italian ballet masters of the early Romantic ballet and was bestowed on a ballerina who was considered to be exceptionally talented, above the standard of other leading ballerinas. The title is very rarely used today and recent uses have typically been symbolic, in recognition of a notable career and as a result, it is commonly viewed as an honour rather than an active rank. his is a list of ballet dancers from the Russian Empire, Soviet Union, and Russian Federation, including both ethnic Russians and people of other ethnicities. This list includes as well those who were born in these three states but later emigrated, and those who were born elsewhere but immigrated to the country and performed there for a significant portion of their careers. The original purpose of the ballet in Russia was to entertain the royal court. The first ballet company was the Imperial School of Ballet in St. Petersburg in the 1740s. The Ballets Russes was a ballet company founded in the 1909 by Sergey Diaghilev, an enormously important figure in the Russian ballet scene. Diaghilev and his Ballets Russes' travels abroad profoundly influenced the development of dance worldwide.[1] The headquarters of his ballet company was located in Paris, France. A protégé of Diaghilev, George Balanchine, founded the New York City Ballet Company. During the early 20th century, many Russian ballet dancers rose to fame. Soviet ballet preserved the perfected 19th century traditions,[2] and the Soviet Union's choreography schools produced one internationally famous star after another. The Bolshoi Ballet in Moscow and the Mariinsky in Saint Petersburg remain famous throughout the world.[3] For the full plain list of Russian ballet dancers see the Category:Russian ballet dancers. The following are nine legendary ballet dancers who've achieved a lot of success and created many opportunities in the ballet world. The following are nine legendary ballet dancers who've achieved a lot of success and created many opportunities in the ballet world. Vaslav Nijinsky. George Balanchine. Alicia Markova. Margot Fonteyn. Rudolf Nureyev. Sylvie Guillem. Mikhail Baryshnikov. Gelsey Kirkland.. George Balanchine. Alicia Markova. Margot Fonteyn. Rudolf Nureyev. Sylvie Guillem. Mikhail Baryshnikov. Gelsey Kirkland. Classical ballet Main article: Classical ballet The Valse des cygnes from Act II of the Ivanov/Petipa edition of Swan Lake Classical ballet is based on traditional ballet technique and vocabulary.[12] Different styles have emerged in different countries, such as French ballet, Italian ballet, English ballet, and Russian ballet. Several of the classical ballet styles are associated with specific training methods, typically named after their creators (see below). The Royal Academy of Dance method is a ballet technique and training system that was founded by a diverse group of ballet dancers. They merged their respective dance methods (Italian, French, Danish and Russian) to create a new style of ballet that is unique to the organization and is recognized internationally as the English style of ballet.[8] Some examples of classical ballet productions are: Swan Lake, The Sleeping Beauty and The Nutcracker. Romantic ballet Main article: Romantic ballet Carlotta Grisi, the original Giselle, 1841, wearing the romantic tutu Romantic ballet was an artistic movement of classical ballet and several productions remain in the classical repertoire today. The Romantic era was marked by the emergence of pointe work, the dominance of female dancers, and longer, flowy tutus that attempt to exemplify softness and a delicate aura.[5] This movement occurred during the early to mid-nineteenth century (the Romantic era) and featured themes that emphasized intense emotion as a source of aesthetic experience. The plots of many romantic ballets revolved around spirit women (sylphs, wilis, and ghosts) who enslaved the hearts and senses of mortal men. The 1827 ballet La Sylphide is widely considered to be the first, and the 1870 ballet Coppélia is considered to be the last.[4] Famous ballet dancers of the Romantic era include Marie Taglioni, Fanny Elssler, and Jules Perrot. Jules Perrot is also known for his choreography, especially that of Giselle, often considered to be the most widely celebrated romantic ballet.[5] Neoclassical ballet Main article: Neoclassical ballet Alexandra Danilova and Serge Lifar, Apollon Musagète, 1928 Neoclassical ballet is usually abstract, with no clear plot, costumes or scenery. Music choice can be diverse and will often include music that is also neoclassical (e.g. Stravinsky, Roussel). Tim Scholl, author of From Petipa to Balanchine, considers George Balanchine's Apollo in 1928 to be the first neoclassical ballet. Apollo represented a return to form in response to Sergei Diaghilev's abstract ballets. Balanchine worked with modern dance choreographer Martha Graham, and brought modern dancers into his company such as Paul Taylor, who in 1959 performed in Balanchine's Episodes.[13] While Balanchine is widely considered the face of neoclassical ballet, there were others who made significant contributions. Frederick Ashton’s Symphonic Variations (1946) is a seminal work for the choreographer. Set to César Franck’s score of the same title, it is a pure-dance interpretation of the score.[5] Another form, Modern Ballet, also emerged as an offshoot of neoclassicism. Among the innovators in this form were Glen Tetley, Robert Joffrey and Gerald Arpino. While difficult to parse modern ballet from neoclassicism, the work of these choreographers favored a greater athleticism that departed from the delicacy of ballet. The physicality was more daring, with mood, subject matter and music more intense. An example of this would be Joffrey's Astarte (1967), which featured a rock score and sexual overtones in the choreography.[8] Contemporary ballet Main article: Contemporary ballet A ballet jump performed with modern, non-classical form in a contemporary ballet This ballet style is often performed barefoot. Contemporary ballets may include mime and acting, and are usually set to music (typically orchestral but occasionally vocal). It can be difficult to differentiate this form from neoclassical or modern ballet. Contemporary ballet is also close to contemporary dance because many contemporary ballet concepts come from the ideas and innovations of twentieth-century modern dance, including floor work and turn-in of the legs. The main distinction is that ballet technique is essential to perform a contemporary ballet. George Balanchine is considered to have been a pioneer of contemporary ballet. Another early contemporary ballet choreographer, Twyla Tharp, choreographed Push Comes To Shove for the American Ballet Theatre in 1976, and in 1986 created In The Upper Room for her own company. Both of these pieces were considered innovative for their melding of distinctly modern movements with the use of pointe shoes and classically trained dancers. Today there are many contemporary ballet companies and choreographers. These include Alonzo King and his company LINES Ballet; Matthew Bourne and his company New Adventures; Complexions Contemporary Ballet; Nacho Duato and his Compañia Nacional de Danza; William Forsythe and The Forsythe Company; and Jiří Kylián of the Nederlands Dans Theater. Traditionally "classical" companies, such as the Mariinsky (Kirov) Ballet and the Paris Opera Ballet, also regularly perform contemporary works. The term ballet has evolved to include all forms associated with it. Someone training as a ballet dancer will now be expected to perform neoclassical, modern and contemporary work. A ballet dancer is expected to be able to be stately and regal for classical work, free and lyrical in neoclassical work, and unassuming, harsh or pedestrian for modern and contemporary work. In addition, there are several modern varieties of dance that fuse classical ballet technique with contemporary dance, such as Hiplet, that require dancers to be practised in non-Western dance styles.[14] Technical methods of ballet instruction There are six widely used, internationally recognized methods to teach or study ballet. These methods are the French School, the Vaganova Method, the Cecchetti Method, the Bournonville method, the Royal Academy of Dance method (English style), and the Balanchine method (American style). Many more schools of technique exist in various countries. Although preschool-age children are a lucrative source of income for a ballet studio, ballet instruction is generally not an age-appropriate for young children.[15] The initial instruction requires standing still and concentrating on posture, rather than dancing. Because of this, many ballet programs have historically not accepted students until approximately age 8. Creative movement and non-demanding pre-ballet classes are recommended as alternatives for children.[16][17] French method Flower Festival 01.jpg The French method is the basis of all ballet training. When Louis XIV created the Académie Royale de Danse in 1661, he helped to create the codified technique still used today by those in the profession, regardless of what method of training they adhere to. The French school was particularly revitalized under Rudolf Nureyev, in the 1980s. His influence revitalized and renewed appreciation for this style, and has drastically shaped ballet as a whole.[18] In fact, the French school is now sometimes referred to as Nureyev school. The French method is often characterized by technical precision, fluidity and gracefulness, and elegant, clean lines. For this style, fast footwork is often utilized in order to give the impression that the performers are drifting lightly across the stage.[19] Two important trademarks of this technique are the specific way in which the port de bras and the épaulement are performed, more rounded than when dancing in a Russian style, but not as rounded as the Danish style.[20] Vaganova method Agrippina Vaganova, "Esmeralda" 1910 The Vaganova method is a style of ballet training that emerged from Russian ballet, created by Agrippina Vaganova. After retiring from dance in 1916, Vaganova turned to teaching at the Leningrad Choreographic School in 1921. Her training method is now internationally recognized and her book, The Fundamentals of Classical Dance (1934), is a classic reference. This method is marked by the fusion of the classical French style, specifically elements from the Romantic era, with the athleticism of the Italian method, and the soulful passion of Russian ballet.[19] She developed an extremely precise method of instruction in her book Basic Principles of Russian Classical dance (1948). This includes outlining when to teach technical components to students in their ballet careers, for how long to focus on it, and the right amount of focus at each stage of the student's career. These textbooks continue to be extremely important to the instruction of ballet today. The method emphasizes development of strength, flexibility, and endurance for the proper performance of ballet. She espoused the belief that equal importance should be placed on the arms and legs while performing ballet, as this will bring harmony and greater expression to the body as a whole.[21] Cecchetti method Enrico Cecchetti with Anna Pavlova Developed by Enrico Cecchetti (1850-1928), this method is one known internationally for its intense reliance of the understanding of anatomy as it relates to classical ballet. The goal of this method is to instill important characteristics for the performance of ballet into students so that they do not need to rely on imitations of teachers. Important components for this method is the emphasis of balance, elevations, ballon, poise, and strength. This method espouses the importance of recognizing that all parts of the body move together to create beautiful, graceful lines, and as such cautions against thinking of ballet in terms of the arms, legs, and neck and torso as separate parts. This method is well known for eight port de bras that are utilized.[19] Bournonville method August Bournonville The Bournonville method is a Danish method first devised by August Bournonville. Bournonville was heavily influenced by the early French ballet method due to his training with his father, Antoine Bournonville and other important French ballet masters. This method has many style differences that differentiate it from other ballet methods taught today.[22] A key component is the use of diagonal épaulements, with the upper body turning towards the working foot typically. This method also incorporates very basic use of arms, pirouettes from a low développé position into seconde, and use of fifth position bras en bas for the beginning and end of movements. The Bournonville method produces dancers who have beautiful ballon ("the illusion of imponderable lightness"[23]). Young girls competing at the Royal Academy of Dancing (London) exams held in Brisbane and Toowoomba, 1938 The Royal Academy of Dance method (RAD) The Royal Academy of Dance method, also referred to as the English style of ballet, was established in 1920 by Genee, Karsavina, Bedells, E Espinosa, and Richardson. The goal of this method is to promote academic training in classical ballet throughout Great Britain. This style also spread to the United States, and is widely utilized still today. There are specific grade levels which a student must move through in order to complete training in this method.[24] The key principle behind this method of instruction is that basic ballet technique must be taught at a slow pace, with difficulty progression often much slower than the rest of the methods. The idea behind this is if a student is to put in a large amount of effort into perfecting the basic steps, the technique learned in these steps allow a student to utilize harder ones at a much easier rate.[19] Balanchine method Suzanne Farrell and George Balanchine dancing in a segment of "Don Quixote" at New York State Theater Developed by George Balanchine at the New York City Ballet. His method draws heavily on his own training as a dancer in Russia. The technique is known for extreme speed throughout routines, emphasis on lines, and deep pliés. Perhaps one of the most well known differences of this style is the unorthodox positioning of the body.[19] Dancers of this style often have flexed hands and even feet, and are placed in off-balance positions. Important ballet studios teaching this method are the Miami City Ballet, Ballet Chicago Studio company, and the School of American Ballet in New York.[25] Costumes Prima Ballerina, Anna Pavlova Anna Pavlova (prima ballerina); Early materials for ballet costumes were heavy, hindering the dancer's movements Ballet costumes play an important role in the ballet community. They are often the only survival of a production, representing a living imaginary picture of the scene.[26] Renaissance and Baroque The roots of ballet go back to the Renaissance in France and Italy when court wear was the beginning of ballet costumes. Ballet costumes have been around since the early fifteenth century. Cotton and silk were mixed with flax, woven into semitransparent gauze[26] to create exquisite ballet costumes. Seventeenth century During the seventeenth century, different types of fabrics and designs were used to make costumes more spectacular and eye catching. Court dress still remained for women during this century. Silks, satins and fabrics embroidered with real gold and precious stones increased the level of spectacular decoration associated with ballet costumes.[26] Women's costumes also consisted of heavy garments and knee-long skirts which made it difficult for them to create much movement and gesture. Eighteenth century During the eighteenth century, stage costumes were still very similar to court wear but progressed over time, mostly due to the French dancer and ballet-master Jean-Georges Noverre (1727–1810) whose proposals to modernize ballet are contained in his revolutionary Lettres sur la danse et les ballets (1760). Noverre's book altered the emphasis in a production away from the costumes towards the physical movements and emotions of the dancers. European ballet was centered in the Paris Opera.[26] During this era, skirts were raised a few inches off the ground. Flowers, flounces, ribbons, and lace emphasized this opulent feminine style, as soft pastel tones in citron, peach, pink and pistachio dominated the color range.[26] Nineteenth century Olga Spessiva; Swan Lake Costume in the twentieth century During the early nineteenth century, close-fitting body costumes, floral crowns, corsages and jewels were used. Ideals of Romanticism were reflected through female movements.[26] Costumes became much tighter as corsets started to come into use, to show off the curves on a ballerina. Jewels and bedazzled costumes became much more popular. Twentieth century During the twentieth century, ballet costumes transitioned back to the influence of Russian ballet. Ballerina skirts became knee-length tutus, later on in order to show off their precise pointe work. Colors used on stage costumes also became much more vibrant. Designers used colors such as red, orange, yellow, etc. to create visual expression when ballet dancers perform on stage. Ballet as a career Professional dancers are generally not well paid. As of 2017, American dancers (including ballet and other dance forms) were paid an average of US$14.25 per hour.[27] The job outlook is not strong, and the competition to get a job is intense, with the number of applicants vastly exceeding the number of job openings.[27] Some dancers earn money by participating in dancing competitions and are awarded with money or high paying contracts.[27]