By Victoria O'Brien
This paintings provides an in depth research of the 5 key ballet organizations that operated in eire among 1927 and 1963: the Abbey Theatre tuition of Ballet, the Abbey institution of Ballet, the Sara Payne tuition and corporate, the Irish Ballet membership and the nationwide Ballet institution and Company.
by way of interpreting a formerly overlooked size of Irish inventive existence, this research goals to supply a better appreciation of some of the roles that ballet has performed within the improvement of Irish cultural job. It documents the wealthy interplay among the several dance artists and hobbies and their collaborators around the whole spectrum of Irish inventive endeavour, together with Cecil ffrench Salkeld, F. R. Higgins, Mainie Jellett, Patrick Kavanagh, J. F. Larchet, Louis le Brocquy, Elizabeth Maconchy, Donagh MacDonagh, Brinsley MacNamara, Micheál Mac Laimmóir, Norah McGuinness, A. J. Potter, Lennox Robinson, Michael Bowles, Mary Devenport O’Neill, Anne Yeats and W. B. Yeats.
This publication breaks major new floor for a space during which little released details exists. the writer items jointly study at the faculties and firms from interviews, ballet programmes, playbills, libretti, rankings, memoirs, modern press stories, literary articles and pictures, to shape a desirable narrative of the under-researched international of Irish ballet.
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Additional info for A History of Irish Ballet from 1927 to 1963
19 Irish Statesman, 29 September 1928. 20 The Irish Times, 23 April 1929. 21 Abbey Theatre Archives: Abbey Theatre programme, 22 April 1929. The Abbey Theatre School of Ballet 23 There were two dance productions in 1930. Perhaps the most fascinating and neglected of all the Abbey Theatre School of Ballet performances took place on 13 January of that year. The programme, which did not share the billing with a play, was made up of twenty-two separate works divided into three parts. De Valois, Sara Patrick and, surprisingly, Leonide Massine created the choreography.
As very little published information exists on the continuation of the Abbey School of Ballet, details have been pieced together from theatre programmes, interviews with students, letters, contemporary press reviews and literary articles where available. 1 Based upon a collection of Abbey School of Ballet programmes, it appeared that while the school under de Valois’ supervision was certainly finished by that date, another incarnation of the dance school remained open. This school, called the Abbey School of Ballet2 and located in the same premises at the Peacock Theatre, was initially directed by two of de Valois’ young students from the Abbey School of Ballet: Muriel Kelly and Cepta Cullen.
It is also of importance to note here that de Valois was cast in the role of ‘Dancing’ in the 1930 performance, as unfortunately she did not perform in the later production. With regard to Massine’s work Dance of the Snow Maiden, it is the only reference to a work of a choreographer other than de Valois or one of the teachers being staged by the Abbey Theatre School of Ballet. The first three years of the school were important and as evidenced from newspaper reports, the performances were not only well received by the audiences and critics, but also were ambitious in their choice of repertoire and their scale.
A History of Irish Ballet from 1927 to 1963 by Victoria O'Brien