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Leotards > Balanchine Leotards

 

 

The "LEOTARD BALLETS" George Balanchine dared to present ballet without plot, scenery or elaborate costume, ballet pared down to the essentials of music and movement. His revolutionary "leotard ballets" - sculptural, forceful, athletic, and profoundly musical - with dancers simply clad in modified studio attire, created a radically new aesthetic that is still exercising its powerful influence on dancers and dancemakers everywhere. In honor of Balanchine's Centennial, Gaynor Minden, in collaboration with The George Balanchine Foundation, has produced a series of leotards inspired by these masterpieces of neoclassical choreography.A portion of the proceeds from the sale of these leotards goes to The George Balanchine Foundation whose mission is to utilize the Balanchine legacy to advance the development of dance.
   
   

 

Agon

Balanchine devised the structure of the ballet in collaboration with Stravinsky who had been commissioned to write the score. The outline for the music specifies in detail, with exact timings, the basic movements for twelve dancers. The movements are named for French court dances; “agon” is the Greek word for contest.

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Apollo

With this work, Balanchine, at age 24, achieved international recognition and began his lifelong partnership with Stravinsky. The ballet depicts Apollo, the young god of music, who is visited and instructed by three muses: Terpsichore, Calliope, and Polyhymnia, the muses of dance and song, poetry and mime.

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The Four Temperaments

This ballet, with a commissioned score by Hindemith, is one of Balanchine's earliest experimental works, fusing classical steps with a lean and angular style. The three main themes are stated in the opening section by three successive couples. The variations are named for the four “humors,” or temperaments, of medieval physiology: melancholic, sanguinic, phlegmatic, and choleric.

Cotton/Lycra. Shelf-bra.
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$34.00

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Stravinsky Violin Concerto

Balanchine choreographed this ballet for the 1972 Stravinsky Festival, to the same music he had used for Balustrade in 1941. The second and third movements, “Aria I” and “Aria II,” are pas de deux showing contrasting relationships between the partners; the finale, “Capriccio,” includes references to Russian motifs found in the score.

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$34.00

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