Introdução: As aulas de ballet parecem apresentar intensidades cardiorrespiratórias (CR) mais baixas do que os ensaios e espetáculos. Além disso, o ballet é caracterizado como um exercício intermitente, que envolve uma variedade de ações excêntricas, as quais podem estar relacionadas à lesão muscular (LM) e ao estresse oxidativo (EO). Objetivos: Descrever, comparar e correlacionar as respostas CR, de EO e LM em bailarinas após uma aula e um ensaio de ballet. Variáveis CR: consumo de oxigênio (VO2); frequência cardíaca (FC) e concentração sanguínea de lactato (La). Variáveis EO: estado redox (GSSH/GSH) e concentração sanguínea de lipoperóxidos (LPO). Variável de LM: concentração sanguínea de creatina quinase (CK). Métodos: Doze bailarinas voluntárias, de nível técnico avançado foram avaliadas. Teste de consumo máximo de oxigênio (VO2máx) e avaliação da composição corporal foram realizados. Em duas sessões separadas, as bailarinas realizaram uma aula e um ensaio de ballet, os quais foram previamente filmados na escola de dança e reproduzidos nas sessões de coleta de dados. VO2 e FC foram mensurados continuamente em todas as sessões. La foi verificado antes e depois do teste de VO2máx; e em repouso, aos 15 e 30 minutos da aula e do ensaio. Coletas de sangue foram realizadas em repouso, imediatamente após e 48h após a aula e o ensaio. As variáveis CR da aula (barra, centro e aula toda) e do ensaio (ensaio todo) foram também relacionadas aos dados do primeiro e segundo limiares ventilatorios (LV1 e LV2). La pós teste VO2max, pós aula e pós ensaio foram também comparados entre si. Dados expressos em média e desvio padrão. Estatística: ANOVA Two-way; ANOVA medidas repetidas; Post hoc Bonferroni (p<0,05). Resultados: VO2máx=37,3±4,7; LV1=24,92,7 e LV2=31,9±3,8 ml.kg-1.min-1. VO2 (aula=14,5±2,1 / ensaio=19,11,7 ml.kg-1.min-1); FC (aula=145,7±17,9 / ensaio=174,5±13,8 bpm) e La (aula=4,2±1,1 / ensaio=5,5 ± 2,7 mmol.l-1) foram significativamente diferentes entre si. Resultados Os resultados do VO2 (ml.kg-1.min-1 ) comparando-se aula, ensaio, LV1 e LV2 foram: aula barra (14,4±2,0); aula toda (14,5±2,1); aula centro (16,7±2,5); ensaio todo (19,1±1,7); LV1 (24,9 ± 2,7) e LV2 (31,9 ± 3,8). Aula barra e aula toda foram iguais entre si e diferentes de aula centro e ensaio todo, os quais não foram diferentes entre si. LV1 e LV2 foram diferentes entre si e de todos os demais parâmetros. Para FC, o ensaio todo se localizou entre LV1 e LV2. La (mmol.l-1) da aula (4,2±1,1) foi significativamente menor do que o La máximo (8,1±2,3), sendo o ensaio (5,5±2,7) estatisticamente igual a ambos. CK foi significativamente mais elevada pós aula do que ensaio, sendo os valores pós e 48h iguais entre si e ambos diferentes do pré. A razão GSSG/GSH diminuiu significativamente 48h pós aula e ensaio, mas não foi diferente entre os dois tipos de exercício. Os valores de LPO foram maiores para a aula do que para o ensaio, não apresentando diferenças em relação ao efeito tempo. Conclusão: A aula apresenta intensidade mais baixa do que o ensaio em relação às variáveis CR, entretanto, a aula foi mais intensa no que se refere aos parâmetros de dano celular. Parece que as bailarinas avaliadas estão adaptadas em relação aos parâmetros de dano celular, mas necessitam de treinamento mais específico do ponto de vista CR. / Introduction: Ballet classes (BC) seem to have lower cardiorespiratory (CR) intensities than ballet reharshal (BR) and spectacles. Besides that, the ballet is characterized as an intermittent exercise that involves several eccentric avtions, which could be related to muscle damage (MD) and oxidative stress (OS). Aims: To describe, compare and correlate ballet dancers` CR, MD and OS responses after a BC and a BR. CR variables: oxygen consumption (VO2); heart rate (HR) and lactate blood concentration (La). OS variables: redox state (GSSH/GSH) and lipoperoxides blood concetration (LPO). MD variable: creatine kinase blood concentration (CK). Methods: Twelve female advanced ballet dancers volunteered this study. Maximum oxygen consumption (VO2max) test and body composition assessment were performed. In two separated sessions, the dancers performed a BC and a BR, which were previously recorded in their dance school, and further transmited during the data colecttion sessions. VO2 and HR were continually measured during all sessions. La was verified before and after the VO2max test; and in rest, in 15 and 30 minutes of the BC and BR. Blood colections were performed in rest, immediately after and 48h after the BC and BR. CR responses during BC (barre, center floor and whole BC) and during BR (whole BR) were also compared to the CR responses in the first and second ventilatory threshold (VT1 and VT2). The La was also compered after VO2max test, after the BC and after BR. Data were expressed in average and standart deviation. Statistics: ANOVA Two-way; ANOVA repeated measures and Post hoc Bonferroni (p<0.05). Results: VO2max=37.3±4.7; VT1=24.92.7 and VT2=31.93.8 ml.kg-1.min-1. VO2 (BC=14.5±2.1 / BR=19.1±1.7 ml.kg-1.min-1); HR (BC=145.7±17.9 / BR=175±13.8 bpm) e La (BC=4.2±1.1 / BR=5.5 ± 2.7 mmol.l-1) were significantly different among themselves. VO2 (ml.kg-1.min-1) results comparing BC, BR, VT1 and VT2 were: barre (14.4±2.0); whole BC (14.5±2.1); center floor (16.7±2.5); whole BR (19.11.7); VT1 (24.9 ± 2.7) and VT2 (31.9 ± 3.8). For FC results, the whole BR was located between VT1 and VT2. La (mmol.l-1) in the BC (4.2±1.1) was significantly lower than La in the VO2max test (8.1±2.3), being the BR (5.5±2.7) statistically equal to both. CK was significantly higher after the BC than the BR, being the values post and 48h post equal between themselves and both significantly different from before BC and BR. The ratio GSSG/GSH was significantly lower in 48h after BC and BR, but it was not different in relation to the type of exercise (BC or BR). LPO values were higher in the BC than the BR, however they did not show any differences related to the time. Conclusion: BC showed lower CR responses than BR, nevertheless, BC was more intense concerning the cell damage parameters. It appears that the dancers evaluated are well adapeted in relation to cell damage parameters, but they need more specific training from the CR point of view.

Introdução: As aulas de ballet parecem apresentar intensidades cardiorrespiratórias (CR) mais baixas do que os ensaios e espetáculos. Além disso, o ballet é caracterizado como um exercício intermitente, que envolve uma variedade de ações excêntricas, as quais podem estar relacionadas à lesão muscular (LM) e ao estresse oxidativo (EO). Objetivos: Descrever, comparar e correlacionar as respostas CR, de EO e LM em bailarinas após uma aula e um ensaio de ballet. Variáveis CR: consumo de oxigênio (VO2); frequência cardíaca (FC) e concentração sanguínea de lactato (La). Variáveis EO: estado redox (GSSH/GSH) e concentração sanguínea de lipoperóxidos (LPO). Variável de LM: concentração sanguínea de creatina quinase (CK). Métodos: Doze bailarinas voluntárias, de nível técnico avançado foram avaliadas. Teste de consumo máximo de oxigênio (VO2máx) e avaliação da composição corporal foram realizados. Em duas sessões separadas, as bailarinas realizaram uma aula e um ensaio de ballet, os quais foram previamente filmados na escola de dança e reproduzidos nas sessões de coleta de dados. VO2 e FC foram mensurados continuamente em todas as sessões. La foi verificado antes e depois do teste de VO2máx; e em repouso, aos 15 e 30 minutos da aula e do ensaio. Coletas de sangue foram realizadas em repouso, imediatamente após e 48h após a aula e o ensaio. As variáveis CR da aula (barra, centro e aula toda) e do ensaio (ensaio todo) foram também relacionadas aos dados do primeiro e segundo limiares ventilatorios (LV1 e LV2). La pós teste VO2max, pós aula e pós ensaio foram também comparados entre si. Dados expressos em média e desvio padrão. Estatística: ANOVA Two-way; ANOVA medidas repetidas; Post hoc Bonferroni (p<0,05). Resultados: VO2máx=37,3±4,7; LV1=24,92,7 e LV2=31,9±3,8 ml.kg-1.min-1. VO2 (aula=14,5±2,1 / ensaio=19,11,7 ml.kg-1.min-1); FC (aula=145,7±17,9 / ensaio=174,5±13,8 bpm) e La (aula=4,2±1,1 / ensaio=5,5 ± 2,7 mmol.l-1) foram significativamente diferentes entre si. Resultados Os resultados do VO2 (ml.kg-1.min-1 ) comparando-se aula, ensaio, LV1 e LV2 foram: aula barra (14,4±2,0); aula toda (14,5±2,1); aula centro (16,7±2,5); ensaio todo (19,1±1,7); LV1 (24,9 ± 2,7) e LV2 (31,9 ± 3,8). Aula barra e aula toda foram iguais entre si e diferentes de aula centro e ensaio todo, os quais não foram diferentes entre si. LV1 e LV2 foram diferentes entre si e de todos os demais parâmetros. Para FC, o ensaio todo se localizou entre LV1 e LV2. La (mmol.l-1) da aula (4,2±1,1) foi significativamente menor do que o La máximo (8,1±2,3), sendo o ensaio (5,5±2,7) estatisticamente igual a ambos. CK foi significativamente mais elevada pós aula do que ensaio, sendo os valores pós e 48h iguais entre si e ambos diferentes do pré. A razão GSSG/GSH diminuiu significativamente 48h pós aula e ensaio, mas não foi diferente entre os dois tipos de exercício. Os valores de LPO foram maiores para a aula do que para o ensaio, não apresentando diferenças em relação ao efeito tempo. Conclusão: A aula apresenta intensidade mais baixa do que o ensaio em relação às variáveis CR, entretanto, a aula foi mais intensa no que se refere aos parâmetros de dano celular. Parece que as bailarinas avaliadas estão adaptadas em relação aos parâmetros de dano celular, mas necessitam de treinamento mais específico do ponto de vista CR. / Introduction: Ballet classes (BC) seem to have lower cardiorespiratory (CR) intensities than ballet reharshal (BR) and spectacles. Besides that, the ballet is characterized as an intermittent exercise that involves several eccentric avtions, which could be related to muscle damage (MD) and oxidative stress (OS). Aims: To describe, compare and correlate ballet dancers` CR, MD and OS responses after a BC and a BR. CR variables: oxygen consumption (VO2); heart rate (HR) and lactate blood concentration (La). OS variables: redox state (GSSH/GSH) and lipoperoxides blood concetration (LPO). MD variable: creatine kinase blood concentration (CK). Methods: Twelve female advanced ballet dancers volunteered this study. Maximum oxygen consumption (VO2max) test and body composition assessment were performed. In two separated sessions, the dancers performed a BC and a BR, which were previously recorded in their dance school, and further transmited during the data colecttion sessions. VO2 and HR were continually measured during all sessions. La was verified before and after the VO2max test; and in rest, in 15 and 30 minutes of the BC and BR. Blood colections were performed in rest, immediately after and 48h after the BC and BR. CR responses during BC (barre, center floor and whole BC) and during BR (whole BR) were also compared to the CR responses in the first and second ventilatory threshold (VT1 and VT2). The La was also compered after VO2max test, after the BC and after BR. Data were expressed in average and standart deviation. Statistics: ANOVA Two-way; ANOVA repeated measures and Post hoc Bonferroni (p<0.05). Results: VO2max=37.3±4.7; VT1=24.92.7 and VT2=31.93.8 ml.kg-1.min-1. VO2 (BC=14.5±2.1 / BR=19.1±1.7 ml.kg-1.min-1); HR (BC=145.7±17.9 / BR=175±13.8 bpm) e La (BC=4.2±1.1 / BR=5.5 ± 2.7 mmol.l-1) were significantly different among themselves. VO2 (ml.kg-1.min-1) results comparing BC, BR, VT1 and VT2 were: barre (14.4±2.0); whole BC (14.5±2.1); center floor (16.7±2.5); whole BR (19.11.7); VT1 (24.9 ± 2.7) and VT2 (31.9 ± 3.8). For FC results, the whole BR was located between VT1 and VT2. La (mmol.l-1) in the BC (4.2±1.1) was significantly lower than La in the VO2max test (8.1±2.3), being the BR (5.5±2.7) statistically equal to both. CK was significantly higher after the BC than the BR, being the values post and 48h post equal between themselves and both significantly different from before BC and BR. The ratio GSSG/GSH was significantly lower in 48h after BC and BR, but it was not different in relation to the type of exercise (BC or BR). LPO values were higher in the BC than the BR, however they did not show any differences related to the time. Conclusion: BC showed lower CR responses than BR, nevertheless, BC was more intense concerning the cell damage parameters. It appears that the dancers evaluated are well adapeted in relation to cell damage parameters, but they need more specific training from the CR point of view.

Luvina is a short ballet for chamber orchestra based on well-known Mexican writer Juan Rulfo's short story Luvina, from his book El Llano en Llamas. This three-movement ballet evokes the dark world of Luvina. Each movement depicts three images from the story resulting in nine images. Musically the text is represented by the use of diverse textures and compositional techniques, including tone rows, cryptograms and the use of timbre, color, and contour. The wind - as stated in the text - is used as a leit motif serving as a transition vehicle to move the story along. Unlike other ballets that contain an inherently Mexican quality to them, this twentieth first century ballet fits under the category of a modern work that makes use of uncommon instrumentation, extended techniques and contains an atmospheric quality to it.

No description available.

The ballet, based on the story of Susanna as found in the Apocrypha, is scored for chamber orchestra consisting of flute doubling piccolo, oboe, Bb clarinet, bassoon, horn in F, two Bb trumpets, trombone, piano, harp; two percussionists playing timpani, tambourine, xylophone, glockenspiel, chimes, small triangle, large triangle, small suspended cymbal, large suspended cymbal, two crash cymbals, antique cymbals, snare drum, piccolo snare drum, bass drum, bongos, three tom-toms, sleigh bells, large gong, temple blocks, bell tree, metal wind chimes; and a string quintet of two violins, viola, violoncello, and contrabass. The music consists of an overture lasting approximately three and one-half minutes, and three scenes lasting approximately eight and one-half, nine and one-half, and ten minutes respectively. The entire ballet is approximately thirty-one and one-half minutes in duration.

Objetivo: Determinar la relación entre la flexibilidad de los miembros inferiores y las compensaciones posturales que se producen al sostener la posición de “en dehors” en los estudiantes de ballet de ballet de la Universidad Nacional Mayor de San Marcos, año 2013. Materiales y métodos: Corresponde a un estudio de tipo correlacional, transversal y prospectivo, de Los Estudiantes de Ballet que Pertenecen a la Escuela de Ballet de La Universidad Nacional Mayor de San Marcos, cuyas edades están comprendidas entre 15 y 20 años. Se evaluó mediante una ficha que comprende el test de Flexitest y una evaluación postural, la muestra estuvo compuesta por 70 estudiantes, cumpliendo los criterios de inclusión 64 de ellos. Resultados: en relación a la flexibilidad de los miembros inferiores y las compensaciones posturales que se producen al sostener la posición de “En Dehors”, se encontró que aquellos Estudiantes de Ballet que presentan un nivel de flexibilidad alta y media, presentaron un bajo nivel de compensaciones, que aquellos que tienen un nivel bajo de flexibilidad, donde predominó el nivel de compensación postural alta. Conclusiones: se demostró que, cuanto mayor es el nivel de flexibilidad en los miembros inferiores de los estudiantes de ballet, menor será el número de compensaciones posturales que se producen al sostener la posición de en dehors. Se puede concluir, entonces, que la flexibilidad de los miembros inferiores influye inversamente en las compensaciones posturales. Palabras clave: posición de “en dehors”, flexibilidad, compensación postural.

Ce mémoire porte sur la transposition et l'application de la Théorie des Intelligences Multiples (lM) de Howard Gardner, à la classe technique de Ballet. Plus particulièrement, l'étude avait pour buts de concevoir, décrire et illustrer des stratégies visant à stimuler et développer, chacune des intelligences décrites par Gardner (1983), dans la classe technique de ballet. Ce travail découle d'un désir de renouveler la pratique pédagogique de la classe traditionnelle de ballet. La méthodologie a suivi les étapes suivantes: 1) Un examen de la littérature portant sur chaque intelligence selon les angles de leurs identité et caractéristiques: 2) De cet examen a découlé une grille d'analyse appliquée à quatre sources d'informations: a) observation de classes technique de ballet, b) littérature portant sur l'enseignement de la danse et de l'éducation physique, c) mes expériences professionnelles en tant qu'élève, professeur et interprète et d) littérature portant sur les stratégies susceptibles de stimuler les intelligences en contexte académique: 3) L'ensemble de ces informations a été synthétisé dans une discussion théorique du quand et comment chacune des intelligences sont sollicitées en classe technique de ballet: 4) Soixante-cinq stratégies d'enseignement ont été décrites et illustrées, sur la base de la discussion théorique. Ce mémoire conclut qu'en examinant la classe de ballet à travers la lentille de la théorie des lM, un éventail de possibilités d'innovation pédagogique émerge. En diversifiant leurs stratégies pédagogiques, les enseignants peuvent offrir à leurs élèves un enseignement personnalisé. Les élèves sont susceptibles de découvrir et développer leur plein potentiel dans la classe de ballet. Cette façon d'enseigner peut créer un apprentissage approfondi et de longue durée, développer les compétences intellectuelles autant que transversales, tout en créant des liens entre la classe de ballet avec d'autres domaines. Ces retombées sont aussi celles des modèles d'apprentissage constructiviste et de la "critical pedagogical theory", qui mettent l'accent sur des perspectives variées, des activités authentiques et un environnement d'apprentissage reflétant la vie réelle (Fosnot 1996; Ottey, 1996). ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Intelligences multiples, Stratégies d'enseignement, Classe, Technique de ballet.

Introduction: Ballet dancers’ body weight and BMI have been shown to be below recommended levels, and total energy intake is often sustained at a level below the predicted energy requirement. Less is known about the ability of dancers to manage energy balance (EB) during the day, as energy requirements fluctuate as a result of periods of rest and intense activity. Compromised EB may result in decreased athletic performance, higher body fat percentage, and increased injury risk. Purpose: To assess within-day energy balance (WIDEB) during a typical training day in a group of pre-professional ballet dancers and dancers in the early years of professional careers, and to assess the relationship between inadequate EB and injury rates in these dancers. Methods: A two part assessment tool was developed to measure energy intake and energy expenditure hour by hour within a single 24 hour time period. Body mass index (BMI), resting energy expenditure, total day energy balance, and energy deficits > -400 kcal were also used in analysis. Participants were asked to document number of injuries incurred within the previous dance season, and how many days the injury resulted in one or more complete or partial sessions of time lost beyond the injury itself. Data analysis included descriptive statistics, t-tests, and Spearman’s correlation to evaluate relationships between EB and injury rates. Results: Data were collected from 21 (5 males, 16 females) pre-professional and professional ballet dancers from the Atlanta Ballet. Average BMI was 21.9 ±1.4 for male dancers (MD) and 19.1 ±1.0 for female dancers (FD). Negative energy balance (EB) was found at hour 24 in 90.5% participants. Average energy intake for all dancers was 2,382 kcal (± 921) and the average predicted energy expenditure was 3,317 kcal (± 592). Mean EB at hour 24 for all participants was -781.2 (±689.4). The average day EB for males was -223.6 (±629.7) and -1156.9 (±582.5) for females. The largest energy deficits (>900 kcal) compared to estimated expenditures were found between the hours 17 and 20. Participants spent an average of 660.0 (±192.6) minutes per day in negative EB > - 400 kcal. Total group (TG) injury days and energy deficit data (number of minutes > - 400 kcal) were not significantly correlated. Number of minutes > - 400 kcal and number of injuries reported per dancer were correlated (r = -0.44 P = 0.046). MD (n = 5) injury days were significantly associated with EB at hours 1 through 7 (r = 0.90 P = 0.37). MD total number of times injured was associated with EB at hours 1 through 7 (r = 0.89 P = 0.04). A significant association was found in FD between number of times injured and deficits > - 400 kcal. Conclusions: Ballet dancers have significant energy deficits during a typical training day therefore increasing their risk for injuries. Nutrition education would be a key component of an injury prevention program for dancers.

Diss.--Musikwissenschaft--Essen--Folkwang Hochschule, 2003. / Textes en espagnol et en français. Bibliogr. p. 316-341.

Thesis (doctoral)--University of Surrey, 1993. / BLDSC reference no.: DX180487.