By Victoria O'Brien

This paintings provides an in depth learn of the 5 key ballet organizations that operated in eire among 1927 and 1963: the Abbey Theatre institution of Ballet, the Abbey university of Ballet, the Sara Payne university and corporate, the Irish Ballet membership and the nationwide Ballet college and Company.
by way of studying a formerly missed size of Irish creative existence, this research goals to supply a better appreciation of some of the roles that ballet has performed within the improvement of Irish cultural task. It files the wealthy interplay among the several dance artists and routine and their collaborators around the whole spectrum of Irish creative endeavour, together with Cecil ffrench Salkeld, F. R. Higgins, Mainie Jellett, Patrick Kavanagh, J. F. Larchet, Louis le Brocquy, Elizabeth Maconchy, Donagh MacDonagh, Brinsley MacNamara, Micheál Mac Laimmóir, Norah McGuinness, A. J. Potter, Lennox Robinson, Michael Bowles, Mary Devenport O’Neill, Anne Yeats and W. B. Yeats.
This publication breaks major new floor for a space during which little released details exists. the writer items jointly study at the faculties and corporations from interviews, ballet programmes, playbills, libretti, rankings, memoirs, modern press studies, literary articles and pictures, to shape a desirable narrative of the under-researched global of Irish ballet.

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Additional resources for A History of Irish Ballet from 1927 to 1963

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These touring companies performed on the stages of the Gaiety, the Olympia, the Queen’s and the Theatre Royal. While Anna Pavlova and her company performed at the Gaiety Theatre in January 1912, it was not until the mid-1930s that ballet companies made Dublin a regular touring venue. Despite the fact that Dublin had little prior exposure to ballet during the first quarter of the century, there were several important factors which were to have a positive inf luence on the success of the Abbey School of Ballet.

These activities trailed of f in the early 1930s. By 1931, it seems that de Valois’ work in England began to overshadow the Abbey Theatre School of Ballet. As well as her choreography in the plays, operas and ballets given at the Old Vic, de Valois had also founded a dance school at the newly opened Sadler’s Wells Theatre. Like the Old Vic, this theatre was under the direction of Lilian Baylis. In 1931 the Abbey Theatre began to experience severe financial dif ficulties. The Abbey’s first company was sent on a tour of America, and a series of Sunday performances called ‘Mainly Ballet: The Abbey Directors’ Sunday Entertainments’ was organised to keep the theatre active.

The six years also saw an important succession of collaborations with musicians, designers, actors, directors and writers, involving the dance school’s productions at the Abbey Theatre and at other companies and venues in Dublin and the Opera House in Cork. The compositions for Yeats’s dance dramas and the scores for The Faun, When Philida Flouts Him, Bluebeard and The Drinking Horn were all composed or arranged specifically for the dance productions. De Valois’ work with the Abbey (and in particular with Yeats’s Plays for Dancers, where she had to work with players unused to movement in the dancing sense) developed her understanding of the interdependence of the arts and was the catalyst that seemed to crystallise her attitude to dance and the theatre.

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