Neoclassical Ballet - Significant People and Work

Significant People and Work

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Although much of Balanchine's work epitomized the genre, some choreographers like the British Frederick Ashton and Kenneth MacMillan were also great neoclassical choreographers.

George Balanchine
- Apollo 1928
- Serenade 1934
- Concerto Barocco 1940
- Symphony in C 1947
- Agon 1957
- Jewels 1967
Serge Lifar
- Les Créatures de Prométhée 1929
- Le Spectre de la rose (personal version) 1931
- L'Après-midi d'un faune (personal version) 1935
- Icare 1935
- Istar 1941
- Suite en Blanc 1943
Frederick Ashton
- Symphonic Variations 1946
- Cinderella 1948
- Sylvia 1952
- Romeo and Juliet 1956
- Ondine 1958
- La Fille Mal Gardee 1960
- The Dream 1964
Roland Petit
- Le jeune homme et la mort 1946
- Carmen 1949
- Notre-Dame de Paris 1965
- Proust, ou Les intermittences du coeur 1974
- Clavigo 1999
Kenneth MacMillan
- Romeo and Juliet 1955
- Anastasia 1967
- Manon 1974
Jerome Robbins

Ballet terms

Ballet d'action Barre Ballet blanc Comic ballet Contemporary ballet Ballets de cour Demi-soloist Divertissement Narrative ballet Neoclassical ballet Opéra-ballet Pas de deux Pas de quatre Pas de trois Pièce d'occasion Pointe shoes Romantic ballet Turnout Tutu Variation

Ballet

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Ballet terminology	Ballet d'action Barre Ballet blanc Comic ballet Contemporary ballet Ballets de cour Demi-soloist Divertissement Narrative ballet Neoclassical ballet Opéra-ballet Pas de deux Pas de quatre Pas de trois Pièce d'occasion Pointe shoe Romantic ballet Turnout Tutu Variation

Ballet by genre	character classical contemporary neoclassical

Ballet by region	British French Italian Russian

Dancers	American British French Russian

Technique	Balanchine Bournonville Cecchetti Royal Academy Vaganova

Ballet apparel	dance belt leotard pointe shoes slippers tights tutu unitard

Schools	Canada's National Ballet School (National Ballet of Canada) Cuban National Ballet School Elmhurst School for Dance (Birmingham Royal Ballet) English National Ballet School Moscow State Academy of Choreography (Bolshoi Ballet) School of American Ballet (New York City Ballet) Rambert School of Ballet and Contemporary Dance Royal Ballet School La Scala Theatre Ballet School John Cranko Schule (Stuttgart Ballet) Vaganova Academy of Russian Ballet (Mariinsky Ballet) Royal Winnipeg Ballet School

Companies	American Ballet Theatre Anaheim Ballet Atlanta Ballet Ballet Manila Ballet Philippines Barcelona Ballet Bavarian State Ballet Béjart Ballet Berlin State Ballet Birmingham Royal Ballet Bolshoi Ballet Boston Ballet Cairo Opera Ballet Company Cape Town City Ballet Carolina Ballet Cincinnati Ballet Cuban National Ballet Dayton Ballet Donetsk Ballet Dutch National Ballet English National Ballet Finnish National Ballet Georgian National Ballet Greek National Opera Guangzhou Ballet Hamburg Ballet Hong Kong Ballet Houston Ballet Iranian National Ballet Company Joffrey Ballet K-ballet Kiev Ballet Korea National Ballet Company La Scala Theatre Ballet Les Grands Ballets Canadiens Los Angeles Ballet Mariinsky Ballet Mikhailovsky Theatre Ballet Moldova National Opera Ballet National Ballet of Canada National Ballet of China National Ballet Theater of Puerto Rico National Opera and Ballet New Jersey Ballet New York City Ballet Norwegian National Opera and Ballet Novosibirsk Theatre Ballet Oklahoma City Ballet Oregon Ballet Theatre Pacific Northwest Ballet Paris Opera Ballet Perm Theatre Ballet Philippine Ballet Theatre Polish National Ballet Queensland Ballet Rambert Dance Company Royal Danish Ballet Royal New Zealand Ballet Royal Swedish Ballet Royal Winnipeg Ballet Russian State Ballet of Siberia Saint Petersburg Ballet Theatre Saint Petersburg Eifman Ballet San Francisco Ballet Scottish Ballet Shanghai Ballet Company Spanish National Dance Company Stuttgart Ballet The Australian Ballet The Monte-Carlo Ballet The Royal Ballet Tokyo Ballet Tulsa Ballet Universal Ballet West Australian Ballet

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“All significant truths are private truths. As they become public they cease to become truths; they become facts, or at best, part of the public character; or at worst, catchwords.”
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“Christopher Cross: You shouldn’t be alone in the street so late at night.
Kitty March: I was coming home from work.
Christopher Cross: You work this late?
Kitty March: Mmm, hmmm.
Christopher Cross: What do you do?
Kitty March: Guess.
Christopher Cross: You’re an actress.
Kitty March: Oh, you are clever!”
—Dudley Nichols (1895–1960)

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