The Wonderful World of Dance - Act II (Preview - order your full copy)

The

WONDERFUL World of Dance

Lauren Cuthbertson ACT II

THE ROYAL BALLET

H OT DA N C E W E A R 74-93

FA S H I O N 94-111 W H AT ’ S O N L I N E 8-9

D A N C E T R AV E L G U I D E S 120-145

DA N C E B E AU T Y 112-119 PODCASTS 146-147

DA N C E H I STO RY 68-73

002 LAUREN CUTHBERTSON 10-17

OLIVIA COWLEY 28-39

LAUREN LOVETTE 46-53

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CELINE GITTENS 40-45

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D A R I A K L I M E N T O VA 18-27

CIRA ROBINSON 54-61 TA L A L E E -T U R T O N 62-67

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LAUREN CUTHBERTSON PRINCIPAL, THE ROYAL BALLET

PHOTOGRAPHED BY THE BEAUTIFULLY TALENTED K A R O L I N A

K U R A S

DRESSED BY KATYA KATYA 11

Daria

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Daria Klimentova 19

Daria Prima Ballerina - Dance Teacher - Dance Photographer Photography by Karolina Kuras at LIBRARY London Dressed by Teatum Jones Makeup by Paulina Kozdra Daria Klimentová, prima ballerina, dance teacher and dance photographer, is one of the most acclaimed dancers of our time.

After a glittering career as senior principal dancer with the English National Ballet (ENB), Daria is now focussed on moulding the future dance stars at the Royal Ballet Upper School and capturing dancers’ beauty and strength from behind the camera.

Daria’s career with ENB has been well documented, both on TV and in her autobiography, ‘Agony and Ecstasy: My Life In Dance’ (by Daria Klimentová and Graham Watts).

But it’s her time after leaving the company and the transition 20

to life off stage, that we discuss between her ballet classes at the Royal Ballet School.

So how does a prima ballerina know it’s time to leave the stage, to take the final bow, give it all up and step off the stage?

For Daria, her body told her it was time, with a troubling knee injury that kept flaring up, making performing painful.

“I felt it was hurting more than I was enjoying myself.

Although it was the best time in my career, dancing with Vadim Muntagirov. We had the same sense of humour, we wanted to achieve the same things and somehow when we were dancing, we were like one person. The whole atmosphere was amazing. We had so

much fun - I miss that a lot.”

“When I decided to stop, I thought it was enough and also that Vadim should move on as well. I couldn’t hold him back. It was hard. I didn't enjoy it before, because I was with someone who I didn't really get on with, and suddenly he came, and I didn't want to let it go.”

But after eighteen years with the company, Daria took her final bow at the Royal Albert Hall, performing with Vadim right to the very end, as flowers lined the stage and the theatre was filled with tears and endless applause.

Unfortunately, even for the brightest stars time doesn’t stand still, and it has already been more than three years

since Daria hung up her pointe shoes. With time passed, does she look back with nostalgia?

“It sounds crazy, but I think, how could I possibly have done that for so long! It’s so much pressure; you have to be so dedicated. For hours and hours it’s just ballet; you’re not really open to anything else.

You come home exhausted or you want to do extra hours because you have a show the next day. I see that now that I’m on the outside of the company.”

After leaving ENB, Daria and Vadim continued dancing together for a further two years and remain close friends.

They often guest around the world, or Daria will stand in as Vadim’s rehearsal partner, where they can have fun

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Olivia cowley

Ballet.

Style 28

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“My rest is sitting in front of my iPad or phone and preparing the next blog for Ballet.Style�

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old Hollywood glamour of ballet

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Celine Gittens PRINCIPAL Birmingham Royal Ballet

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Dress by Satyuka Shrestha

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LaurenLovette shyness, anxiety, stage fright, injured, courageous, determined, she succeeded.

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LaurenLovette

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Cira Robinson Senior Artist, Ballet Black

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Young Dancer Profile

Tala Lee-Turton

DANCER MODEL COACH CHOREOGRAPHER Astrakhan State Opera and Ballet Theatre Bolshoi Ballet Academy

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Photo by Nicola Selby

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Alicia Markova in Le Cygne for BBC TV, 1956.

Courtesy of The Royal Academy of Dance Alicia Markova in Le Cygne for BBC TV, 1956.

Courtesy of The Royal Academy of Dance

Lauren Lovette, Principal, New York City Ballet in Peter Martins’ The Sleeping Beauty. Photo by Paul Kolnik

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T he history of T heNutcracker T heSleepingBeauty and SwanLake

by Caroline Hamilton If you ask someone to name a classical ballet, the odds are high that they will reply with either The Nutcracker, The Sleeping Beauty or Swan Lake.

These three ballets are synonymous with classical ballet as an artform, and annually grace the stages and repertoires of companies big and small across the globe.

Interestingly, these works were created at the end of the 19th Century, just as ballet was in decline in Western Europe, but reaching a peak in Russia.

The Nutcracker, The Sleeping Beauty and Swan Lake were created by French-born dancer and choreographer Marius Petipa (b. 1818 – d. 1910).

Petipa came from a well-known dance family – both his father and

brother were dancers. He had a very successful career as a dancer performing in Belgium, France, Spain and even the United States, appearing in New York City in 1839.

Petipa first appeared at the Mariinsky Theatre in St Petersburg in 1847, where he stayed and began to experiment further with choreography.

In 1862 he was made choreographer to the Imperial Ballet, and in 1869 chief choreographer. Petipa choreographed over 60 works, many of which we still know and perform today, including his Raymonda, Giselle, Don Quixote, La Bayadère and Le Corsaire.

Ballet had its origins as a form of court dance in the Italian Renaissance, before being adopted by the French Court where it evolved into works known as Ballets

de Cour, or Ballets of the Court.

The nobility loved this new form of entertainment. King Louis XIV in particular loved ballet, performing in many Ballets de Cour himself, and hugely popularising the artform.

It was during this period that ballet was defined and codified, leading to the creation of the five positions of the feet, by ballet master Pierre Beauchamp (b. 1636 – d. 1705).

These turned-out positions – first, second, third, fourth and fifth – are now considered the fundamental underpinnings of ballet technique. Interestingly, they did not then have the corresponding arm positions as they do today.

In 1661 Beauchamp was appointed director of the Académie Royale de Danse – the forerunner of

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