Synonyms for cechetti or Related words with cechetti

cecchetti              feldenkrais              vaganova              stanislavski              gyrokinesis              daescher              stanislavsky              pochinko              dalcroze              morellian              delsarte              eurhythmics              decroux              suggestopedia              nagete              hakomi              indivisibles              regietheater              froissage              denishawn              choreographic              pegnesischer              organology              kongsberger              lecoq              baconian              rommett              divisionist              ponseti              tadoma              adequality              ensatt              meisner              labanotation              buteyko              serialist              gyrotonic              noverre              gonstead              bartenieff              bergsonism              pedagogues              salamunovich              scabbardless              ethnopoetic              bredemus              hiwaza              mentalism              cormon              copeau             



Examples of "cechetti"
Celli and Margaret Craske, who taught at the Metropolitan Opera Ballet School, were both exponents of the Cechetti method. He acknowledged her training, but he always considered himself the leading American authority on the Cechetti system. He was often referred to as "the son of Cecchetti," as he was the last of his favored private pupils. In 1946, he contributed a lengthy biographical essay on Cecchetti to an issue of "Dance Index" honoring the maestro.
Wildish studied Vaganova, Cecchetti, Balanchine, and many other styles. "She was schooled in all of ballet’s great pedagogical traditions: Vaganova technique at Milan’s La Scala under the direction of Rudolf Nureyev, and studies with her personal coach, former Kirov ballerina Kaleria Fedicheva; Cechetti tutelage from her mentor and friend Dick Andros; and Balanchine style from her time at SAB."
A few years later, Cuyjet began sending Jamison to other teachers to advance her dance education. She learned the Cechetti method from Antony Tudor, founder of the Philadelphia Ballet Guild, and studied with Delores Brown Abelson, a graduate of Judimar who pursued a performance career in New York City before returning to Philadelphia to teach. Throughout high school, Jamison was also member of numerous sports organizations, the Glee Club, and the Philadelphia String Ensemble. She studied Dalcroze Eurhythmics, a system that teaches rhythm through movement.
Anita Louise Combe is an Australian actress, singer, dancer who has worked extensively in the entertainment industry all around the world. Combe attended the Gwen Mackay School of Dancing and trained in the Cechetti method of ballet with Jennifer Pollard in Adelaide, South Australia before making her first professional appearance on stage as Sillabub in the Australian Premiere Production of Cats at the Theatre Royal in Sydney. She is one of the few people in the world to date who has played both roles of Roxie Hart and Velma Kelly in the production of Chicago in the West End. Anita created the role of Stephanie Mangano in the World Premiere Production of Saturday Night Fever opposite fellow Australian, Adam Garcia and produced by Adelaide born, Robert Stigwood.
Romola did not give up. She persuaded Diaghilev that her amorous interests lay with Bolm, that she was rich and interested in supporting ballet. He allowed her to take ballet lessons with Enrico Cecchetti, who accompanied the troupe coaching the dancers. Nijinsky objected to her taking class with the professionals. Cechetti warned her against becoming involved with Nijinsky (describing him as "like a sun that pours forth light but never warms"), but Diaghilev's endorsement meant that Nijinsky paid her some attention. Romola took every opportunity to be near Nijinsky, booking train compartments or cabins close to his. She was likely warned that he was homosexual by Marie Rambert, whom Romola befriended and who was also in love with Nijinsky. As a devout Catholic, she prayed for his conversion to heterosexuality. She referred to him as "Le Petit", and wanted to have his child.
The other key influences on the Cecchetti method came from his own professional career as a dancer, which exposed him to many different techniques and styles of ballet. When he began to gain a reputation as a teacher, he experimented with these various styles, fusing the best elements of each to create his own ballet technique and training system, the eponymous Cechetti method. Such was the success of Cecchetti's teaching, he is recognised as one of the key contributors to modern classical ballet, his method credited with significantly improving the teaching of classical ballet throughout Europe. Where previously ballet teaching had been haphazard and reliant on the preferences and style of the individual teacher, the Cecchetti method established the model of standardised teaching which is the basis of all professional ballet teaching today.
Greenberg began dancing at age 4, studying tap at the Nancy Raddatz Dance School, where his older siblings took lessons. At age 11 he began studying ballet and Graham-based modern at the Minnesota Dance Theatre. During this time, Greenberg first saw the Twyla Tharp company, which piqued his interest in post-modern dance. At 17, he left Minnesota to study at Juilliard. He auditioned for the Twyla Tharp company after moving to New York City and was asked to study at the school the company was starting. After his first year at Juilliard, Greenberg danced with the Eliot Feld Company (now known as Ballet Tech) for a summer (where he danced with Mark Morris). After leaving Eliot Feld, he began studying Cechetti Technique with Janet Panetta, whom he studied with, and later assisted, for 13 years. Greenberg danced with multiple choreographers at this time; Patrice M. Regnier and Rush Dance, Rachel Lampert & Dancers, and Manuel Alum. At this time, Greenberg took his first Cunningham class with June Finch. He was drawn to the straightforward, anti-narrative approach of the movement and choreography. At age 20, in 1978, he began studying at the Cunningham studio, and in 1979 he was asked to join the company.