National Character
Character Dance is a specific subdivision of Classical Dance. It is the stylised representation
of a traditional folk or national dance, normally from a European country, and uses
movements and music which have been adapted for the theatre.
Character dance is integral to much of the classical ballet repertoire. A good example of
character dance within ballet is the series of national dances which take place at the start of
Act III of Swan Lake. The ballet Don Quixote also features many character variations based
on flamenco, a traditional Spanish dance. Popular character dance adaptations for ballet also
include the national dances of Hungary, Russia, Poland, Italy and Spain: csárdás, mazurka,
tarantella, flamenco, etc.
Outside of Russia, there is little training in the art of character dance. However, it is still
widely taught in the United Kingdom and Australia, where it is integral to the training of
students at the Royal Ballet School and the Australian Ballet School. It is also taught as a
separate skill within the graded examinations syllabus of the Royal Academy of Dance. Most
performing companies or schools elsewhere are not familiar with the history or technique of
this style. Therefore, the term "Character Dance" is often used in misleading ways that have
no bearing to the original definition in ballet terminology.
Folk traditions have been incorporated into what is known as ballet for centuries but it was
not until Aleksandr Shirayev, Assistant to Marius Petipa, that Character Dance became a
unique and codified art-form that takes its rightful place as an integral part of Classical Ballet.
Character dances are usually performed in shoes or boots, with a suede sole and a small heel.
Russian Dance – History
[www.russian-language-for-lovers.com/russian-dance]
Traditional Russian dances have a long history. Historians
think that the elements of these famous dances were originally
invented by workers in order to stretch their body and keep
warm. Obviously it became more than simply stretching, but it
was the physical benefits that developed many of the dance
moves.
There is a story, dating back to the 10th Century, about a man
in Kiev. He was a shoe-maker, and spent all of his days sitting
down to work. The story goes that one day while he was out
stretching his legs with his "dance" moves, the Grand Duke
Vladimir Monomah was passing by. The Duke so liked what
he saw, that he invited the man to his palace to perform these
dances for him every morning, noon and night over dinner.
It was customary that each Russian Duke (and later the Tsars) had many special entertainers,
such as dancers, and actors, to perform for them, and perhaps this is one reason why the
traditional dances have remained such an important aspect of Russian culture.
The Dances:
The traditional dances listed below have all developed from olden times. After a long day at
work, the people would come together for dancing, playing and fighting.
Khorovod – All dancers are dancing together in a circle.
Skhodbishcha – All dancers gather together, talking and making fun.
Koza – The goat dance
Chort – The devil dance
Prisyadki – Dancers are jumping on the floor as if trying to stretch their legs after sitting for a
long time.
Tanets s Medvedem – Dance with a bear. (The bear is a symbol of Russian games where
young boys try to show their strength.)
National Character Exercises/Technique (ATOD)
Hands on waist with a closed hand – hands are closed in a fist, thumbs behind the waist.
Elbows are to the side of the body in a straight line with the shoulder. Shoulder line is open
and broad. Wrists should not relax but be held firm in their placement.
When holding skirts to the side the arms should be rounded with the elbows higher than the
wrists.
Heel digs – An incline of the body towards the working foot may occur. Do not shorten the
length of the torso (body) at the side when tilting. The body should remain well lifted.
Inverted toe and heel – the supporting leg is on fondu, the heel of the working leg is towards
the ceiling and the knee of the working leg is bent. When placing the working foot on the
heel, the knee of the working leg is straight and the supporting leg remains in a fondu. Body
inclines towards the working leg.
Feet stamps together – Knees remain relaxed. Try to keep the working foot in the line with
the cou de pied (ankle) but the working foot may lift slightly behind the body prior to the
stamp. Stamps are heavy and shaded, with upper body remaing well lifted.
Side gallops – legs are parallel or neutral when stretching together in the air.
Character tendus – battement tendu en croix (front, side, back, side) showing turnout toe,
heel (fondu on heel), toe
Retires – Ensure that both legs maintain turnout. The retire position comes to the top of the
shin devant, passing derriere to close back. The working foot should be well stretched
throughout.
Character retires (also known as Verevoshka – the chain step) – Retire passé derriere with
hop, ball change. Lift the working leg in front of the supporting leg and then pass behind,
digging on the ball of the foot down into the ground. Remain low in fondu throughout.
Russian Sailor Step
a) 4 sailor rocks transferring weight front, back, front, back. The feet roll fron one
pointed foot devant to a pointed foot derriere. Thee feet and toes do not leave the
floor. Ensure that the feet do not sickle when placed on the toe. Press the heel forward
so that the ankle placement remains firm and in correct alignment.
b) 3 coupe sautés – extend right leg to second en l’air (20 degrees off ground); maintain
fondu on the supporting leg. Coupe sautés (spring changing weight) extending left
leg, right, left.
Slow Russian Promenade – 3 promenades (walks) on fondu (right, left, right) then swish left
leg through first position to 45 degrees en l’air, showing shoulder epaulement (opposite
shoulder). Knees remain on fondu throughout and the height of the head remains the same
level throughout. Ensure the torso travels forward with you, remaining tall and controlled.
Cabrioles (parallel) – use pressure on the floor when extending the working leg to second.
Try to maintain the height of the working leg, using elevation to propel the supporting leg up
to meet the working leg in the air.
Pas de basque – executed in many European countries and historically has many variations.
In our Russian dance, we perform large pas de basques (picking both knees up parallel)
travelling forward.
* The height of legs should not be raised too high in character work. Historically, peasants
would not kick their legs high as this would result in exposing their under garments.
Exam Dress Requirements:
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Full circular character skirt – length 5 cm below knee (top of shin).
Black character shoes – note feet should always be stretched in character shoes unless
a flexed foot or stamp is choreographed.