Ashton, Sir Frederick, 1904–88, British choreographer and dancer, b. Guayaquil, Ecuador. He grew up in Peru and was drawn to dance after seeing (1917) a performance by Anna Pavlova Pavlova, Anna Matveyevna , 1881–1931, Russian ballerina. In 1892 she entered the Imperial Ballet School, St. Petersburg. She made her debut in 1899 at the Maryinsky Theatre, but it was only after tours to Scandinavia (1907) and to Berlin and Vienna (1908) that
..... Click the link for more information. there. Traveling to London in the early 1920s, he studied dance with Léonide Massine Massine, Léonide , 1896–1979, American choreographer and ballet dancer, b. Russia. Massine attended the Imperial Ballet School, St. Petersburg, and became principal dancer and choreographer for Diaghilev's Ballet Russe (1914–20) and for the Ballet
..... Click the link for more information. and Marie Rambert, Rambert, Dame Marie, 1888–1982, a founder of the English ballet, b. Warsaw as Miriam Rambam. Trained by Jacques Dalcroze in eurythmics, Rambert joined the Diaghilev Ballet Russe as an instructor in 1913.
..... Click the link for more information. staged his first work there in 1926, and danced (1928) with Ida Rubinstein's experimental troupe in Paris. Ashton joined the Vic-Wells Ballet, later the Sadler's Wells Ballet (now the Royal Ballet Royal Ballet, the principal British ballet company, based at the Royal Opera House, Covent Garden, London. It is noted for lavish dramatic productions, a superbly disciplined corps de ballet, and brilliant performances from its principals.
..... Click the link for more information. ), in 1935 as chief choreographer, and later became associate director and then director of the company. Many of his ballets were created for its prima ballerina, Margot Fonteyn. Fonteyn, Dame Margot , 1919–91, English ballerina. Fonteyn was for many years prima ballerina assoluta of the Royal Ballet. Her original name was Margaret Hookham.
..... Click the link for more information. Ashton is largely responsible for the elegantly reserved style of English classical dance, and his mature works are noted for their lyricism, quiet charm, wit, and precision. They include abstract ballets, such as Symphonic Variations (1946), Scènes de Ballet (1948), and Monotones (1965–66); short dramatic works, such as Daphnis and Chloë and Tiresias (both 1951); and full-length traditional story ballets, such as Cinderella (1948), Sylvia (1952), Ondine (1958), and The Dream (1964). His last major works as a choreographer were La Chatte Metamorphosée en Femme (1985) and Fanfare for Elizabeth (1986). He also appeared as a dancer in comedy and character roles. He was knighted in 1962.
(born Sept. 17, 1904, Guayaquil, Ecua.—died Aug. 18, 1988, Sussex, Eng.) Principal choreographer and director of England's Royal Ballet. After creating ballets from 1925 for the Ballet Club (later Ballet Rambert), he joined the Vic-Wells Ballet (later Royal Ballet) in 1933, becoming principal choreographer, assistant director (1953–63), and director (1963–70). At least 30 of his works remain in its repertoire, including Façade (1931), Symphonic Variations (1946), and Birthday Offering (1956). He also choreographed for companies such as the Royal Danish Ballet (Romeo and Juliet, 1955) and the New York City Ballet (Illuminations, 1950).
..... Click the link for more information. there. Traveling to London in the early 1920s, he studied dance with Léonide Massine Massine, Léonide , 1896–1979, American choreographer and ballet dancer, b. Russia. Massine attended the Imperial Ballet School, St. Petersburg, and became principal dancer and choreographer for Diaghilev's Ballet Russe (1914–20) and for the Ballet
..... Click the link for more information. and Marie Rambert, Rambert, Dame Marie, 1888–1982, a founder of the English ballet, b. Warsaw as Miriam Rambam. Trained by Jacques Dalcroze in eurythmics, Rambert joined the Diaghilev Ballet Russe as an instructor in 1913.
..... Click the link for more information. staged his first work there in 1926, and danced (1928) with Ida Rubinstein's experimental troupe in Paris. Ashton joined the Vic-Wells Ballet, later the Sadler's Wells Ballet (now the Royal Ballet Royal Ballet, the principal British ballet company, based at the Royal Opera House, Covent Garden, London. It is noted for lavish dramatic productions, a superbly disciplined corps de ballet, and brilliant performances from its principals.
..... Click the link for more information. ), in 1935 as chief choreographer, and later became associate director and then director of the company. Many of his ballets were created for its prima ballerina, Margot Fonteyn. Fonteyn, Dame Margot , 1919–91, English ballerina. Fonteyn was for many years prima ballerina assoluta of the Royal Ballet. Her original name was Margaret Hookham.
..... Click the link for more information. Ashton is largely responsible for the elegantly reserved style of English classical dance, and his mature works are noted for their lyricism, quiet charm, wit, and precision. They include abstract ballets, such as Symphonic Variations (1946), Scènes de Ballet (1948), and Monotones (1965–66); short dramatic works, such as Daphnis and Chloë and Tiresias (both 1951); and full-length traditional story ballets, such as Cinderella (1948), Sylvia (1952), Ondine (1958), and The Dream (1964). His last major works as a choreographer were La Chatte Metamorphosée en Femme (1985) and Fanfare for Elizabeth (1986). He also appeared as a dancer in comedy and character roles. He was knighted in 1962.
Bibliography
See biographies by D. Vaughan (1977) and J. Kavanagh (1997).
Ashton, Sir Frederick (William Mallandaine)
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Frederick Ashton (left) and Robert Helpmann rehearsing their roles as the Ugly Sisters in …
(credit: Central Press—Pictorial Parade)
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