Character Dance

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Character Dance

 

one of the expressive means of the ballet; a type of stage dance. Originally, the term “character dance” denoted a dance representative of a certain character, such as the dances performed in intermezzi or the dances inspired by artisans, peasants, or robbers. Later, the choreographer C. Blasis applied the term to all folk dances included in ballet performances, and it is this meaning that has survived to the present day. Choreographers and dancers of the classical school of dance created character dances in the classical style, using professional technique. Character-dance exercises for the bar and center were developed in the late 19th century and were later included as a pedagogical discipline in choreographic schools.

In contemporary ballet, the character dance may be an episode, or it may serve as a means of revealing a character in a ballet or creating a unified, integrated performance.

REFERENCES

Lopukhov, A. V., A. V. Shiriaev, and A. I. Bocharov. Osnovy kharakternogo tantsa. Leningrad-Moscow, 1939.
Dobrovol’skaia, G. N. Tanets; Pantomima; Balet. Leningrad, 1975.

G. N. DOBROVOL’SKAIA

References in periodicals archive ?
Having trained at the Royal Ballet School, he went on to join the Sadler's Wells Royal Ballet (now Birmingham Royal Ballet) in the 1970s, where his reputation as a character dancer flourished through roles like the Widow Simone in La Fille mal gardee and Bottom in The Dream.
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David Drew, a company member since 1955 and now a principal character dancer and teacher, wrote a caustic criticism of the ex-director in the British paper, Mail on Sunday.
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However, the character dancers, Chinese, Arab and Russian certainly fell short of perfection.