Instruct: Given a question, retrieve relevant documents that answer the question.
Query: Where did ballet begin?
Ballet originated in the Renaissance court as an outgrowth of court pageantry in Italy, where aristocratic weddings were lavish celebrations. Tutus, ballet slippers and pointe work were not yet used. The choreography was adapted from court dance steps. Performers dressed in fashions of the times. For women that meant formal gowns that covered their legs to the ankle. Early ballet was participatory, with the audience joining the dance towards the end.
When Les Ballets opened, it found itself in the midst of mixed reviews. Some thought the company youthful, on account of Balanchine; others thought it extravagant. Even Kirstein was skeptical, as he decided that Balanchine was "no Fokine."
Overall, most of the reviews were bad, and the ballet ended its season with no profit. Tensions between performers heightened, and the ballet needed to close. However, the ballet's end did bring about the start of the American Ballet, as Kirstein met Balanchine, and brought the choreographer to the United States.
NYCB still has the largest repertoire by far of any American ballet company. It often stages 60 ballets or more in its winter and spring seasons at Lincoln Center each year, and 20 or more in its summer season in Saratoga Springs. City Ballet has performed "The Nutcracker", "Romeo and Juliet", "A Midsummer Night's Dream", and many more. City Ballet has trained and developed many great dancers since its formation. Many dancers with already developed reputations have also joined the ballet as principal dancers.
Bowlby was born in Vallejo, California. She moved to Manteca, California, as a child, and attended East Union High School. She studied ballet, French, and marine biology at Moorpark College, and began a modelling career before deciding to pursue acting. She studied drama with Ivana Chubbuck.
On opening night at the Ballet, Jerry shifts around nervously outside Lise's dressing room, a scroll in his hand. Milo, seeing his indecision, offers to deliver it for him. Lise opens the scroll to find it is his drawing of her, finally complete. Milo advises her although Jerry was never serious about her, he did teach her one thing: money could not buy love, which is one of a kind. Lise thanks her, but confesses she knows the Ballet will fail; she is so upset that she does not feel any passion onstage. Milo advises her to think of someone who made her feel that passion as she dances. Lise clutches Jerry's drawing tight as places are called. The Ballet begins, and as it progresses, Lise imagines her partner has become Jerry, and they perform a magnificent pas de deux. The Ballet ends with Lise triumphant, having become a bona fide star (An American in Paris).
After the death of Joseph Stalin, the company toured internationally and became an important source of cultural prestige, as well as foreign currency earnings. As a result, the "Bolshoi Ballet" became a well-known name in the West. However, the Bolshoi suffered from losses through a series of defections of its dancers. The first occurrence was on 23 August 1979, with Alexander Godunov; followed by Leonid Kozlov and Valentina Kozlova on 16 September 1979; and other cases in the following years. Bolshoi continues to tour regularly with opera and ballet productions in the post-Soviet era. 
The opera company specializes in the classics of Russian opera such as Mussorgsky's "Boris Godunov", Glinka's "A Life for the Tsar", and Rimsky-Korsakov's "The Tsar's Bride", as well as the operas of Tchaikovsky. Many operas by western composers are also performed, especially works of Italian composers such as Rossini, Verdi, and Puccini. Until the mid-1990s, most foreign operas were sung in Russian, but Italian and other languages have been heard more frequently on the Bolshoi stage in recent years.
New York City Ballet dances Winter, Spring and — since 2010 — Fall seasons each year at the New York State Theater, Lincoln Center and tours. Their repertory exceeds 400 ballets, approximately 40 of which are danced each in the winter and spring seasons. This is a list of the dances in the City Ballet repertory:
During her twelve years as a member of the New York City Ballet, she danced in the company's regular seasons at the City Center of Music & Drama, in New York, and traveled with NYCB on five extended European tours and three national American tours. She rose from corps de ballet to soloist, performed principal roles in Balanchine's one-act "Swan Lake" and in Frederick Ashton's "Illuminations" (as "Profane Love", an erotic role originally choreographed for Melissa Hayden), and danced in the premières of Balanchine ballets still in repertory today. She also danced in ballets by Balanchine that are only occasionally performed now, including his 1948 "Orpheus" (where she was first a Fury then promoted to Bacchante) and, when not dancing, was a page-turner for Balanchine's rehearsal pianist Nicholas Kopeikine. She performed in the 1954 Arnold Schönberg ballet "Opus 34" and, as a soloist, in the 1955 Georges Bizet ballet "Roma". She was one of the principal dancers in the 1956 "Divertimento No. 15", one of Balanchine's rare Mozart works, and in the 1957 Stravinsky-Balanchine collaboration "Agon", she danced the "Gailliard" duet with Barbara Walczak. This was the last new ballet Milberg performed with the company. With NYCB she played the role of Leto in the 1951 revival production of Balanchine's 1928 "Apollo" and one of the three Ladies of the Night in his choreography for "NBC Opera Theatre"'s production of "The Magic Flute", televised in 1956. With Balanchine and NYCB principal Francisco Moncion, Milberg was at Balanchine's invitation a co-choreographer of NYCB's 1955 production of Bizet's "Jeux d'Enfants".
Between 1878 and 1881, Degas drew, painted and sculpted Marie in artworks including "Dancer with Fan", "Dancing Lesson", "Dancer Resting", numerous preparatory sketches, and most famously in "Little Dancer of Fourteen Years". He frequently attended ballet performances at the Paris Opera and often observed classes at the dance school. By posing for Degas, Marie likely earned five to six francs per four-hour sitting.
During the summer of 1937, the students from the University of South Carolina started dancing the Big Apple at the Pavilion in Myrtle Beach. Betty Wood (née Henderson), a dancer who helped revive the Big Apple in the 1990s, first saw the dance there, and six months later she won a dance contest and become nicknamed "Big Apple Betty." The news of the new dance craze spread to New York, and a New York talent agent, Gae Foster, traveled to the Carolinas to audition dancers for a show at the Roxy Theater, the world's second-largest theater at that time. Eight couples were chosen for the show, including Wood, Spivey, and Davis, to perform the Big Apple during a three-week engagement that began on September 3, 1937. They performed six shows a day to sold-out audiences and greatly contributed to the dance's popularity. After the engagement at the Roxy, the group became known as "Billy Spivey's Big Apple Dancers" and toured the country for six months.
The Bolshoi premiered "Carmen Suite" in 1967 but the fact Bizet's music was so well known actually worked against its favor at first. Soviet Minister of Culture Yekaterina Furtseva, was repelled by the modernist flavor given to the music and the sexual overtones of both the story and the title character. She banned the work immediately following its premiere as "insulting" to Bizet's masterpiece. Explaining this, Furtseva commented to Soviet media, "We cannot allow them to make a whore out of Carmen, the heroine of the Spanish people." (Unfortunately for Furtseva, her words were taken as a joke among the Moscow public following the controversy.) When she met privately at the Bolshoi with Plisetskaya and other members, Furtseva called "Carmen Suite" "a great failure," the production "raw. Nothing but eroticism. The opera's music has been mutilated. The concept has to be rethought. I have grave doubts as to whether the ballet can be redone."
The history of biochemistry can be said to have started with the ancient Greeks who were interested in the composition and processes of life, although biochemistry as a specific scientific discipline has its beginning around the early 19th century. Some argued that the beginning of biochemistry may have been the discovery of the first enzyme, diastase (today called amylase), in 1833 by Anselme Payen, while others considered Eduard Buchner's first demonstration of a complex biochemical process alcoholic fermentation in cell-free extracts to be the birth of biochemistry. Some might also point to the influential work of Justus von Liebig from 1842, "Animal chemistry, or, Organic chemistry in its applications to physiology and pathology", which presented a chemical theory of metabolism, or even earlier to the 18th century studies on fermentation and respiration by Antoine Lavoisier.
The Little Fourteen-Year-Old Dancer (French: "La Petite Danseuse de Quatorze Ans") is a sculpture begun c. 1880 by Edgar Degas of a young student of the Paris Opera Ballet dance school, a Belgian named Marie van Goethem.
The early Byzantine church developed a system of eight musical modes (the octoechos), which served as a model for medieval European chant theorists when they developed their own modal classification system starting in the 9th century. The success of the Western synthesis of this system with elements from the fourth book of "De institutione musica" of Boethius, created the false impression that the Byzantine octoechos was inherited directly from ancient Greece.
Miami City Ballet features an international ensemble of over 50 dancers. The company has an active repertoire of 88 ballets and performs over 75 times annually. Miami City Ballet serves as the resident ballet company in theaters in the Fort Lauderdale, Miami, and West Palm Beach areas. In addition, the company regularly tours both domestically and internationally. Its North American appearances include the Kennedy Center, the 1996 Olympic Arts Festival, Jacob's Pillow Dance Festival, the Los Angeles Music Center, Spoleto Festival USA, Harris Theater (Chicago) and the New York City Center; while theaters and festivals in Europe, Central America, and South America have hosted the company.
The Bolshoi Ballet is a 1957 American musical film directed by Paul Czinner and starring Galina Ulanova, Raisa Struchkova and Nikolai Fadeyechev. The film's composers, Yuri Fayer and Gennady Rozhdestvensky, were nominated for Best Original Score in the 31st Academy Awards (1958).
In 1925, Ball, then only 14, started dating Johnny DeVita, a 21-year-old local hoodlum. DeDe was unhappy with the relationship, but unable to influence her daughter to end it. She expected the romance to burn out after a few weeks, but that did not happen. After about a year, DeDe tried to separate them by exploiting Lucille's desire to be in show business. Despite the family's meager finances, she arranged for Lucille to attend the John Murray Anderson School for the Dramatic Arts, in New York City, where Bette Davis was a fellow student. Ball later said about that time in her life, "All I learned in drama school was how to be frightened." Ball's instructors felt she would not be successful in the entertainment business, and were not afraid to say this to her face.
Chanel had begun designing hats while living with Balsan, initially as a diversion that evolved into a commercial enterprise. She became a licensed milliner in 1910 and opened a boutique at 21 rue Cambon, Paris, named "Chanel Modes". As this location already housed an established clothing business, Chanel sold only her millinery creations at this address. Chanel's millinery career bloomed once theatre actress Gabrielle Dorziat wore her hats in Fernand Nozière's play "Bel Ami" in 1912. Subsequently, Dorziat modelled Chanel's hats again in photographs published in "Les Modes".
The Pesaro Manuscript, from the mid-16th century, an important document in the history of the Lira, records a Passemezzo Moderno, (contemporary dance measure) written in lira tablature. Discovered in the town of Pesaro, on the Adriatic coast, this strange, mutilated script is the sole surviving example of written music for the Lira. It suggests at least the possibility that the instrument was being used as a dance instrument by this time. Its harmonic character, and useful range of home keys would have been ideally suited to render the fashionable dance music of the day.
Bizet's first opera, the one-act ', was written in 1856 when the 18-year-old composer was a student at the Conservatoire de Paris. It was Bizet's winning entry in a competition organised by the celebrated composer Jacques Offenbach, and gained him a cash award, a gold medal, and a performance of the prize work at the . In 1857 Bizet was awarded the prestigious Prix de Rome, and as a result spent most of the following three years in Italy, where he wrote "Don Procopio", a short opera buffa in the style of Donizetti. By this time Bizet had written several non-stage works, including his Symphony in C, but the poor reception accorded to his 1858 ', a religious work he composed in Rome, helped convince him that his future lay primarily with the musical theatre. He planned and possibly began several operatic works before his return to Paris in 1860, but none of these projects came to fruition.
In 1881, the FIG was founded, and it remains the governing body of international gymnastics. It initially included only three countries and was called the European Gymnastics Federation until 1921, when the first non-European countries joined the federation and it was reorganized into its present form. Gymnastics was included in the program of the 1896 Summer Olympics, but women have been allowed to participate in the Olympics only since 1928. The World Championships, held since 1903, were open only to men until 1934. Since that time, two branches of artistic gymnastics have developed: women's artistic gymnastics (WAG) and men's artistic gymnastics (MAG). Unlike men's and women's branches of many other sports, WAG and MAG differ significantly in apparatus used at major competitions and in techniques.
The ballet was first shown in the United States on 11 April 1930, when Massine's 1920 version was performed by the Philadelphia Orchestra in Philadelphia under Leopold Stokowski, with Martha Graham dancing the role of the Chosen One. The production moved to New York, where Massine was relieved to find the audiences receptive, a sign, he thought, that New Yorkers were finally beginning to take ballet seriously. The first American-designed production, in 1937, was that of the Modern Dance exponent Lester Horton, whose version replaced the original pagan Russian setting with a Wild West background and the use of Native American dances.
In 1944 Massine began a new collaboration with Roerich, who before his death in 1947 completed a number of sketches for a new production which Massine brought to fruition at La Scala, Milan in 1948. This heralded a number of significant postwar European productions. Mary Wigman in Berlin (1957) followed Horton in highlighting the erotic aspects of virgin sacrifice, as did Maurice Béjart in Brussels (1959). Béjart' s representation replaced the culminating sacrifice with a depiction of what the critic Robert Johnson describes as "ceremonial coitus". The Royal Ballet's 1962 production, choreographed by Kenneth MacMillan and designed by Sidney Nolan, was first performed on 3 May and was a critical triumph. It has remained in the company's repertoire for more than 50 years; after its revival in May 2011 "The Daily Telegraph"s critic Mark Monahan called it one of the Royal Ballet's greatest achievements. Moscow first saw "The Rite" in 1965, in a version choreographed for the Bolshoi Ballet by Natalia Kasatkina and Vladimir Vasiliev. This production was shown in Leningrad four years later, at the Maly Opera Theatre, and introduced a storyline that provided the Chosen One with a lover who wreaks vengeance on the elders after the sacrifice. Johnson describes the production as "a product of state atheism ... Soviet propaganda at its best".
The Cleveland Ballet was founded in 1972 by Dennis Nahat and Ian Horvath as a dance school, the School of Cleveland Ballet. They subsequently recruited professional dancers who by 1975 were previewing performances around Cleveland. The company first performed at the Hanna Theatre November 16, 1976. A year later the Ohio Chamber Orchestra began providing live music and in 1978 the company presented its first original full-length ballet, “The Gift” in 1976 "The Nutcracker" in 1979, "Coppelia", "Romeo and Juliet" and "Swan Lake" were next added to the repertory. In 1984 Horvath resigned, leaving Nahat solely responsible for the company and school. That year the ballet moved to the newly renovated State Theater in Playhouse Square where Nahat created another full evening ballet Celebrations and Ode music from Ludwig van Beethoven full 7th and 9th symphonies.
A notable feature of grand opera as it developed in Paris through the 1830s was the presence of a lavish ballet, to appear at or near the beginning of its second act. This was required, not for aesthetic reasons, but to satisfy the demands of the Opera's wealthy and aristocratic patrons, many of whom were more interested in the dancers themselves than in the opera, and did not want their regular meal-times disturbed. The ballet therefore became an important element in the social prestige of the Opéra. Composers who did not comply with this tradition might suffer as a consequence, as did Richard Wagner with his attempt to stage a revised "Tannhäuser" as a grand opera in Paris in 1861, which had to be withdrawn after three performances, partly because the ballet was in act 1.
From May 1973 to September 1974, Abdelghani Bousta lived in hiding. During this time, he realised the mistakes made when the March 1973 events were organised. In 1975, he wrote a critical analysis of UNFP on behalf of the Option Révolutionnaire (Revolutionary option) movement, harshly criticising the events and the leaders: “[…] the March 1973 events helped shed light on the internal contradictions of the Party and show the true nature of its leaders: putschist and adventurous leaders who did not see any problem in sacrificing dozens of activists in a hazardous battle.”