Answer:
Michel Fokine (1880 – 1942)
Explanation:
He entered in 1889 at the Marinsky Imperial Theater Ballet School in St. Petersburg, where he graduated in 1898, and, almost immediately, became part of the company. He soon stood out for his magnificent technique and expressiveness, which allowed him to ascend to a solo dancer in 1904 and to a school teacher the following year. Almost simultaneously, Fokine began his career as a teacher and choreographer, with the Ballet Dream of a Summer Night (Mendelssohn, 1902), Acis and Galatea (Kadletz, 1905) and La Viña (Rubinstein, 1906), staged by Your own students.
In 1905, the dancer Anna Pavlova commissioned a ballet for a concert in the Hall of Nobles in St. Petersburg. Fokine created for her The Death of the Swan (Saint-Saëns, 1905), a two-minute solo that became the symbol of the new reform of Russian ballet, tending to abandon the classical formulas of Marius Petipa.
He was the main protagonist of the success in the West of Russian ballet, possibly greatly influenced by the antithechnic of Isadora Duncan, although his revolutionary style did not cause any dent in the Russian public conservative.
According to him, the only reason for the technique was to serve expression, and music must be entrusted to true composers and not to simple compositional professionals; Only then would ballet achieve a complete unit of expression of all its elements. Thus, when in 1909 Diaghilev invited him to join the Ballets Russes as the main choreographer, Fokine accepted willingly, because he could finally put his ideas into practice, which rejected conventional mimicry and advocated the integration of dance, music, plot, scenery and costumes in one unit.
I'm sure it would be a. chaotic layouts and c. detailed pattern backgrounds
The Taotie! It's a motif that was commonly found on ritual vessels from the Shang and Zhou dynasty.
There are many themes for example:
Family
There are two kinds of families in The Westing Game<span>: the family you choose and the family you're born into. Westing doesn't just leave his estate to a relative; he creates a game of strategy that will help him find the best heir possible. If his estate ends up with a relative, that's great, but it's not a requirement. Similarly, Turtle forges a strong relationship with Flora when she realizes she won't get the kind of maternal care she needs from her own mother. In contrast, though, the sibling relationships we see in the book are really tight. Theo takes great care of Chris, and Turtle looks out for Angela. What we see there is a lot of love and support.
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Wealth
Money always makes people act funny. That's especially true in The Westing Game<span>, though, where the money in question is $200 million, and both an inheritance and people's lives are hanging in the balance. For some of the characters, money represents freedom; for others, education. Some think they won't be anything without money, and some are almost too eager to give it away. The characters are nearly all willing to lie, gamble, or steal to get it. The novel provides cautionary warnings about the damage having or wanting money can do, and it also raises the question of who deserves wealth.
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Appearance
One big idea of The Westing Game<span> is that people aren't who they appear to be. People are both literally and figuratively in disguise. Significantly, appearances have the power to limit people whether they seem to be, objectively, positive or negative. Angela's just as metaphorically restricted by her beauty as Chris is literally hampered by his disease. Many of the characters make judgments about the others based on how they appear – your outside determines whether other people see you as pretty, ugly, ordinary, or weird. But there's also power in letting people think you're something you're not, and the easiest way to do that is by changing what's on the outside.
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