Painting of ballet dancers by Edgar Degas, 1872.

Edgar Degas, Classical Bell Tutus in "The Dance Class" by Degas, 1874.)

Anna Pavlova in Giselle, wearing a Romantic Tutu

Ballet is a type of performance dance, that originated in the Italian Renaissance courts of the 15th century, and which was further developed in France and Russia as a concert dance form. The early portions preceded the invention of the proscenium stage and were presented in large chambers with most of the audience seated on tiers or galleries on three sides of the dance floor. It has since become a highly technical form of dance with its own vocabulary. It is primarily performed with the accompaniment of classical music and has been influential as a form of dance globally. Ballet has been taught in ballet schools around the world, which use their own cultures and societies to inform the art. Ballet dance works (ballets) are choreographed and performed by trained artists, include mime and acting, and are set to music (usually orchestral but occasionally vocal). It is a poised style of dance that incorporates the foundational techniques for many other dance forms. This genre of dance is very hard to master and requires much practice. It is best known in the form of late Romantic ballet or Ballet Blanc, which preoccupies itself with the female dancer to the exclusion of almost all else, focusing on pointe work, flowing, precise acrobatic movements, and often presenting the dancers in the conventional short white French tutu. Later developments include expressionist ballet, neoclassical ballet, and elements of modern dance.

Etymology[link]

The word ballet comes from the French and was borrowed into English around 1630. The French word in turn has its origin in Italian balletto, a diminutive of ballo (dance) which comes from Latin ballo, ballare, meaning "to dance",^[1][2] which in turn comes from the Greek "βαλλίζω" (ballizo), "to dance, to jump about".^[3][4]

History[link]

Harlequin and Columbina from the mime theater at Tivoli Gardens, Copenhagen, Denmark.

The history of ballet began in the Italian Renaissance courts of the fifteenth and sixteenth centuries as a dance interpretation of fencing. It quickly spread to the French court of Catherine de' Medici where it was developed even further. The creation of classical ballet as we know it today occurred under Louis XIV, who in his youth was himself an avid dancer and performed in ballets by Pierre Beauchamp and Jean-Baptiste Lully. In 1661 Louis founded the Académie Royale de Danse (Royal Dance Academy) which was charged with establishing standards for the art of dance and the certification of dance instructors. In 1672, following his retirement from the stage, Louis XIV made Lully the director of the Académie Royale de Musique (Paris Opera) in which the first professional ballet company, the Paris Opera Ballet, arose.^[5] This origin is reflected in the predominance of French in the vocabulary of ballet. Despite the great reforms of Jean-Georges Noverre in the eighteenth century, ballet went into decline in France after 1830, though it was continued in Denmark, Italy, and Russia. It was reintroduced to western Europe on the eve of the First World War by a Russian company: the Ballets Russes of Sergei Diaghilev, who came to be influential around the world. Diaghilev's company came to be a destination for many of the Russian trained dancers fleeing the famine and unrest that followed the Bolshevik revolution. These dancers brought many of the choreographic and stylistic innovations that had been flourishing under the czars back to their place of origin.

In the 20th century, ballet had a strong influence on broader concert dance. For example, in the United States, choreographer George Balanchine developed what is now known as neoclassical ballet. Subsequent developments now include contemporary ballet and post-structural ballet, seen in the work of William Forsythe in Germany.

Classical ballet[link]

Classical ballet is the most methodical of the ballet styles; it adheres to traditional ballet technique. There are variations relating to area of origin, such as French ballet, Danish Bournonville ballet, Italian ballet and Russian ballet, although most ballet of the last two centuries is ultimately founded on the teachings of Carlo Blasis. The most well-known styles of ballet are the Paris Opera Ballet School Method, the Russian Method, the Italian Method, the Danish Method, the Balanchine Method or New York City Ballet Method, and the Royal Academy of Dance and Royal Ballet School Methods, derived from the Cecchetti method, created in England. The first pointe shoes were actually regular ballet slippers that were heavily darned at the tip. It would allow the girl to briefly stand on her toes to appear weightless. It was later converted to the hard box that is used today.

Classical ballet adheres to these rules:

• A step called 'plié' is often used and is where both legs are bent at the same time.
• Everything is turned out except when playing more unusual characters e.g. The Beatrix Potter Ballet's frog for which the legs may be turned in
• When the feet are not on the floor, they're pointed except when playing unusual characters (as above) for which the feet may be flexed.
• When the leg is not bent, it's stretched completely or put behind in a semi-classical position where the leg is slightly bent, but not completely.
• Posture, alignment, strength, balance, feeling and flexibility are vital for becoming a classical ballet dancer.

Neoclassical ballet[link]

Neoclassical ballet is a ballet style that uses traditional ballet vocabulary but is less rigid than the classical ballet. For example, dancers often dance at more extreme tempos and perform more technical feats. Spacing in neoclassical ballet is usually more modern or complex than in classical ballet. Although organization in neoclassical ballet is more varied, the focus on structure is a defining characteristic of neoclassical ballet.

Scene from Act 4 of Swan Lake, Vienna State Opera, 2004

Balanchine brought modern dancers in to dance with his company, the New York City Ballet. One such dancer was Paul Taylor, who, in 1959, performed in Balanchine's Episodes. Balanchine worked with modern dance choreographer Martha Graham, expanding his exposure to modern techniques and ideas. During this time period, Tetley began to consciously combine ballet and modern techniques in experimentation.

Tim Scholl, author of From Petipa to Balanchine, considers George Balanchine's Apollo in 1928 to be the first neoclassical ballet. Apollo represented a return to form in response to Serge Diaghilev's abstract ballets.

Contemporary ballet[link]

A ballet dancer

Contemporary ballet is a form of dance influenced by both classical ballet and modern dance. It takes its technique and body control using abdominal strength from classical ballet, although it permits a greater range of movement that may not adhere to the strict body lines or turnout set forth by schools of ballet technique. Many of its concepts come from the ideas and innovations of 20th century modern dance, including floor work and turn-in of the legs. This style is generally danced barefoot.

Arms in Cecchetti's "Spanish fourth" position.

George Balanchine is often considered to have been the first pioneer of contemporary ballet through the development of neoclassical ballet. One dancer who danced briefly for Balanchine was Mikhail Baryshnikov, an exemplar of Kirov Ballet training. Following Baryshnikov's appointment as artistic director of American Ballet Theatre in 1980, he worked with various modern choreographers, most notably Twyla Tharp. Tharp choreographed Push Comes To Shove for ABT and Baryshnikov in 1976; in 1986 she created In The Upper Room for her own company. Both these pieces were considered innovative for their use of distinctly modern movements melded with the use of pointe shoes and classically trained dancers—for their use of "contemporary ballet".

Twyla Tharp also worked with the Joffrey Ballet company, founded in 1957 by Robert Joffrey. She choreographed Deuce Coupe for them in 1973, using pop music and a blend of modern and ballet techniques. The Joffrey Ballet continued to perform numerous contemporary pieces, many choreographed by co-founder Gerald Arpino.

Today there are many contemporary ballet companies and choreographers. These include Alonzo King and his company, Alonzo King's Lines Ballet; Complexions Contemporary Ballet, under the direction of Dwight Rhoden; Nacho Duato's Compañia Nacional de Danza; William Forsythe, who has worked extensively with the Frankfurt Ballet and today runs The Forsythe Company; and Jiří Kylián, currently the artistic director of the Nederlands Dans Theatre. Traditionally "classical" companies, such as the Kirov Ballet and the Paris Opera Ballet, also regularly perform contemporary works.

Gallery[link]

See also[link]

Pas de deux

	Ballet portal
	Dance portal

• Glossary of ballet terms

• Ballet styles
  • Ballet d'action
  • Classical ballet
  • Contemporary ballet
  • Neoclassical ballet
  • Romantic ballet

• Ballet techniques
  • French ballet
  • Russian Vaganova method
  • Italian Cecchetti method
  • English Royal Academy of Dance
  • American Balanchine Technique
• Ballet company
• Ballet music
• Ballet costume (French)
• Ballet tutu
• Barre
• En pointe
• Pointe shoes
• Health risks of professional dancers
• Orchestral enhancement
• The Sergeyev Collection
• Western stereotype of the male ballet dancer
  • Dance belt

References[link]

Notes

Sources

• Anderson, Jack (1992). Ballet & Modern Dance: A Concise History (2nd ed. ed.). Princeton, NJ: Princeton Book Company, Publishers. ISBN 0-87127-172-9. 
• Au, Susan (2002). Ballet & Modern Dance (2nd ed. ed.). London: Thames & Hudson world of art. ISBN 0-500-20352-0. 
• Bland, Alexander (1976). A History of Ballet and Dance in the Western World. New York: Praeger Publishers. ISBN 0-275-53740-4. 
• Chantrell, Glynnis, ed. (2002). The Oxford Essential Dictionary of Word Histories. New York: Berkley Books. ISBN 0-425-19098-6. 
• Craine, Deborah; MacKrell, Judith (2000). The Oxford Dictionary of Dance. Oxford University Press. ISBN 978-0-19-860106-7.
• Darius, Adam (2007). Arabesques Through Time. Harlequinade Books, Helsinki. ISBN 951-98232-4-7
• Gordon, Suzanne (1984). Off Balance: The Real World of Ballet. McGraw-Hill. ISBN 0-07-023770-0. 
• Kirstein, Lincoln; Stuart, Muriel (1952). The Classic Ballet. New York: Alfred A Knopf. 
• Lee, Carol (2002). Ballet In Western Culture: A History of its Origins and Evolution. New York: Routledge. ISBN 0-415-94256-X. 

External links[link]

Wikimedia Commons has media related to: Ballet

• American Ballet Theatre: Ballet Terms Dictionary

•  Chisholm, Hugh, ed. (1911). "Ballet". Encyclopædia Britannica (11th ed.). Cambridge University Press. 

v t e Ballet General information ballets companies glossary history music timeline Ballet terminology Ballet d'action Barre Ballet blanc Comic ballet Contemporary ballet Ballets de cour Demi-soloist Divertissement Narrative ballet Neoclassical ballet Opéra-ballet Pas de deux Pas de quatre Pas de trois Pièce d'occasion Pointe shoes Romantic ballet Turnout Tutu Variation Ballet by genre character classical contemporary neoclassical Ballet by region British French Italian Russian Dancers American British French Russian Technique Balanchine Bournonville Cecchetti Royal Academy Vaganova Ballet apparel dance belt leotard pointe shoes slippers tights tutu unitard Schools The National Ballet School of Canada Stuttgart Ballet Cuban National Ballet School Elmhurst School for Dance English National Ballet School Moscow State Academy of Choreography Royal Ballet School School of American Ballet La Scala Theatre Ballet School Vaganova Academy of Russian Ballet Royal Winnipeg Ballet Companies American Ballet Theatre Anaheim Ballet Atlanta Ballet Ballet Manila Ballet Philippines Barcelona Ballet Berlin State Ballet Birmingham Royal Ballet Bolshoi Ballet Boston Ballet Cairo Opera Ballet Company Cape Town City Ballet Carolina Ballet Cincinnati Ballet Cuban National Ballet Dayton Ballet Donetsk Ballet Dutch National Ballet English National Ballet Finnish National Ballet Georgian National Ballet Greek National Opera Guangzhou Ballet Hamburg Ballet Hong Kong Ballet Houston Ballet Iaşi Romanian National Opera Iranian National Ballet Company Joffrey Ballet K-ballet Kiev Ballet Korea National Ballet Company La Scala Theatre Ballet Les Ballets de Monte Carlo Les Grands Ballets Canadiens Los Angeles Ballet Mariinsky Ballet Moldova National Opera Ballet National Ballet of Canada National Ballet of China National Ballet Theater of Puerto Rico National Opera and Ballet National Theatre Munich New Jersey Ballet New York City Ballet Norwegian National Opera and Ballet Oklahoma City Ballet Oregon Ballet Theatre Pacific Northwest Ballet Paris Opera Ballet Philippine Ballet Theatre Polish National Ballet Queensland Ballet Royal Danish Ballet Royal New Zealand Ballet Royal Swedish Ballet Royal Winnipeg Ballet San Francisco Ballet Scottish Ballet Shanghai Ballet Company Spanish National Dance Company Stuttgart Ballet The Australian Ballet The Royal Ballet Tokyo Ballet Tulsa Ballet Universal Ballet West Australian Ballet Ballet portal Did you know? today's news today's article today's biography today's picture recent news 2009 2008

Alexei Osipovich Ratmansky (Russian: Алексей Осипович Ратманский, b. August 27, 1968, Leningrad) is a choreographer and former ballet dancer. He is artist in residence at the American Ballet Theatre^[1] and the former director of the Bolshoi Ballet. Ratmansky trained under Pyotr Pestov and Anna Markeyeva at the Bolshoi Ballet School. Prior to his appointment as artistic director he was a principal dancer with the Ukrainian National Ballet, Royal Winnipeg Ballet and Royal Danish Ballet.

Alexei Ratmansky & Yuri Khanon, «The Middle Duo», Mariinsky theatre, 24 nov 1998

Ratmansky staged ballets for the Dutch National Ballet, Kirov Ballet, Royal Danish Ballet, Royal Swedish Ballet, New York City Ballet, San Francisco Ballet, and the State Ballet of Georgia, where his Dreams of Japan, choreographed for Nina Ananiashvili, earned the Golden Mask Award from the Theatre Union of Russia, in 1998. Ratmansky's 2003 staging of The Bright Stream (also translated as "The Limpid Stream") for the Bolshoi Ballet led to his appointment as artistic director of that company the following year. While there he also made a full-length production of The Bolt, in 2005, and re-staged Le Corsaire and the Flames of Paris, in 2007 and 2008. In 2011, his choreograpgy of Prokofiev's Romeo and Juliet was premiered by the National Ballet of Canada in Toronto. The Critics' Circle in London has named the Bolshoi "Best Foreign Company" under Ratmansky's direction, in 2005 and 2007, and he received its National Dance Award for The Bright Stream.

Ratmansky received the 2005 Prix Benois de la Danse for choreography for Anna Karenina, put on for the Royal Danish Ballet, and the 2007 Golden Mask Award for Best Choreographer for Jeu de Cartes choreographed for the Bolshoi Ballet. His ballets for the New York City Ballet include Russian Seasons and Concerto DSCH , and for the American Ballet Theatre, On the Dnieper and Seven Sonatas.

Selected Choreographed Works[link]

• 1994 : A Fairy's Kiss
• 1997 : The Charms of Mannerism, Capriccio
• 1998 : Dreams of Japan, A Poem of Ecstasy, The Middle Duo
• 2000 : Dream to music
• 2001 : The Nutcracker, Flight to Budapest, Lea to music
• 2003 : The Bright Stream
• 2004 : Anna Karenina
• 2005 : The Bolt, Jeu de Cartes

References[link]

External links[link]

• ABT website
• "Dance of Death" by Judith Mackrell, an article in The Guardian
• Archive film of Alexei Ratmansky's Charms of Mannerism in 1999 at Jacob's Pillow

v t e Ballet General information ballets companies glossary history music timeline Ballet terminology Ballet d'action Barre Ballet blanc Comic ballet Contemporary ballet Ballets de cour Demi-soloist Divertissement Narrative ballet Neoclassical ballet Opéra-ballet Pas de deux Pas de quatre Pas de trois Pièce d'occasion Pointe shoes Romantic ballet Turnout Tutu Variation Ballet by genre character classical contemporary neoclassical Ballet by region British French Italian Russian Dancers American British French Russian Technique Balanchine Bournonville Cecchetti Royal Academy Vaganova Ballet apparel dance belt leotard pointe shoes slippers tights tutu unitard Schools The National Ballet School of Canada Stuttgart Ballet Cuban National Ballet School Elmhurst School for Dance English National Ballet School Moscow State Academy of Choreography Royal Ballet School School of American Ballet La Scala Theatre Ballet School Vaganova Academy of Russian Ballet Royal Winnipeg Ballet Companies American Ballet Theatre Anaheim Ballet Atlanta Ballet Ballet Manila Ballet Philippines Barcelona Ballet Berlin State Ballet Birmingham Royal Ballet Bolshoi Ballet Boston Ballet Cairo Opera Ballet Company Cape Town City Ballet Carolina Ballet Cincinnati Ballet Cuban National Ballet Dayton Ballet Donetsk Ballet Dutch National Ballet English National Ballet Finnish National Ballet Georgian National Ballet Greek National Opera Guangzhou Ballet Hamburg Ballet Hong Kong Ballet Houston Ballet Iaşi Romanian National Opera Iranian National Ballet Company Joffrey Ballet K-ballet Kiev Ballet Korea National Ballet Company La Scala Theatre Ballet Les Ballets de Monte Carlo Les Grands Ballets Canadiens Los Angeles Ballet Mariinsky Ballet Moldova National Opera Ballet National Ballet of Canada National Ballet of China National Ballet Theater of Puerto Rico National Opera and Ballet National Theatre Munich New Jersey Ballet New York City Ballet Norwegian National Opera and Ballet Oklahoma City Ballet Oregon Ballet Theatre Pacific Northwest Ballet Paris Opera Ballet Philippine Ballet Theatre Polish National Ballet Queensland Ballet Royal Danish Ballet Royal New Zealand Ballet Royal Swedish Ballet Royal Winnipeg Ballet San Francisco Ballet Scottish Ballet Shanghai Ballet Company Spanish National Dance Company Stuttgart Ballet The Australian Ballet The Royal Ballet Tokyo Ballet Tulsa Ballet Universal Ballet West Australian Ballet Ballet portal Did you know? today's news today's article today's biography today's picture recent news 2009 2008

Polina Semionova, born in Moscow in 1984, is a classical ballet dancer and Principal with the Berlin State Opera.^[1] She is de facto prima ballerina and is one of the youngest dancers to achieve this particular kind of recognition.

Studying at the Bolshoi Ballet School in Moscow, Russia, she won awards in the top ballet competitions; including a gold medal at the Moscow International Ballet Competition 2001, First Prize at the Vaganova-Prix Ballet Competition in St Petersburg 2002, and Junior Prize at the Nagoya (Japan) International Ballet Competition 2002.

Graduating in 2002, Semionova joined the Ballet Staatsoper Berlin as a principal upon the invitation of Vladimir Malakhov,^[2] becoming the youngest principal in the company's history at the age of 18. She toured Japan as Malakhov's partner, the reason he had invited her to be a principal in the company. He gave her the lead roles in The Nutcracker and La Bayadère during her first season, following with the role of Tatiana in Onegin, which became her favourite role.

In 2003, at the age of 19, Semionova performed with the English National Ballet in Swan Lake, receiving approving reviews from English critics. The following year she joined the California Ballet in their production of The Sleeping Beauty, again impressing critics despite what they termed a disappointing overall ballet.^[3]

Appearing in Herbert Grönemeyer's music video "Demo (Letzter Tag)", which was later uploaded to the popular video site YouTube, brought her into the public eye both in the dance community and to the general public.

Semionova is one of the featured artists on EuroArts DVD "Divine Dancers Live from Prague", in which she dances a pas-de-deux from the ballet "Manon".

Partners[link]

• Roberto Bolle, La Scala di Milano
• Vladimir Malakhov, Staatsoper Berlin, American Ballet Theatre, Vienna State Opera, Stuttgart Ballet, National Ballet of Canada
• Jose Manuel Carreno, American Ballet Theatre
• Evan McKie, Stuttgart Ballet
• Mathieu Ganio, Paris Opera Ballet
• Igor Zelensky, Mariinsky Ballet
• Jiri Jelinek, National Ballet of Canada

See also[link]

• List of Russian ballet dancers

References[link]

1. ^ Wilhelmsson, Jörgen. "Polina Semionova", The Ballerina Gallery. Accessed April 13, 2007.
2. ^ Alovert, Nina. On the rise: Polina Semionova: destiny's Ball-a young ballerina's journey from student to Cinderella, Dance Magazine, October 2004. Accessed April 13, 2007.
3. ^ Steinberg, Janice. California Ballet Company, Dance Magazine, March 5–6, 2005. Accessed April 13, 2007.

Roberto Bolle
Born	(1975-03-26) March 26, 1975 (age 37) Casale Monferrato, Italy
Occupation	ballet dancer
Years active	1994–present
Current group	American Ballet Theatre La Scala
Website
www.robertobolle.com

Roberto Bolle (born March 3, 1975) is an Italian ballet dancer. He is currently a principal dancer with American Ballet Theatre and also holds guest artist status with The Royal Ballet and La Scala Theatre Ballet, making regular appearances with both companies.

Early life[link]

Bolle was born in Casale Monferrato in the Piemont Region of Italy. He began ballet studies at age seven at a local school, and was accepted at the La Scala theatre ballet school in Milan at the age of eleven. Rudolf Nureyev chose Roberto to interpret Tadzio in the ballet Death in Venice.

Career[link]

In 1996, following an appearance in Romeo and Juliet, twenty year old Bolle was promoted to Principal Dancer at La Scala. He left that position when he was 21 to pursue a freelance career. Since then he has starred in many ballets including Sleeping Beauty, Swan Lake, Cinderella, The Nutcracker, Giselle, Notre-Dame de Paris, and In the middle somewhat elevated.

Bolle has danced for the Royal Ballet, the Tokyo Ballet, the National Ballet of Canada, the Stuttgart Ballet, the Finnish National Ballet, the Staatsoper in Berlin, the Vienna State Opera, the Staatsoper in Dresden, the Bavarian State Opera, the Internationale Maifestspiele Wiesbaden, the 8th and 9th International Ballet Festivals in Tokyo, the Teatro dell'Opera di Roma, the Teatro di San Carlo in Naples, and the City Theatre in Florence.

Derek Deane, the English National Ballet director, created two productions for him: Swan Lake and Romeo and Juliet, both of them performed at the Royal Albert Hall in London. On the 10th anniversary of the Opera Theatre in Cairo, he performed in Aida at the pyramids of Giza and afterwards at the Arena in Verona for a new version of the opera live worldwide.

In October 2000 he opened the season at Covent Garden Opera House in London performing Swan Lake, choreographed by Anthony Dowell, and in November he was invited by the Bolshoi Ballet to celebrate Maya Plisetskaya's 75th anniversary in the presence of President Vladimir Putin.

In June 2002, on the occasion of Queen Elizabeth's Golden Jubilee, he danced at Buckingham Palace in the presence of the Queen. The event was broadcast live by BBC and transmitted to all the Commonwealth countries.

During the 2003-2004 season, he was promoted to Etoile of La Scala Theatre. On 1 April 2004 he danced in front of Pope John Paul II in St. Peter's Square to celebrate young people's day. On 7 December, to celebrate the re-opening of La Scala Theatre after its restoration, he danced Europa riconosciuta with Alessandra Ferri and three weeks later in the New Year’s Eve Star Gala.

In December 2005 at Covent Garden Opera House in London he performed Frederick Ashton’s production of Sylvia, broadcast by the BBC on Christmas Day.

Bolle danced at the opening ceremony of the 2006 Winter Olympic Games in Turin where he performed a solo created for him by Enzo Cosimi. The ceremony was broadcast worldwide and seen by 2.5 billion people.

In 2007 he performed for the first time with ABT^[1] as a guest artist, on the occasion of Alessandra Ferri’s farewell performance.

For the 2009 Spring Season at the Metropolitan Opera House in New York, Bolle performed as a Principal Dancer with the American Ballet Theatre: the first time that a male Italian dancer joined the Company as a Principal. The "Dance Listings" in the New York Times on June 26, 2009 described Bolle as "utterly gorgeous (in both looks and dance)".^[2] Bolle’s Spring 2010 American Ballet Theater performances include The Lady of the Camellias, Swan Lake, La Bayadère, and Romeo and Juliet.

Other work[link]

Bolle has appeared in numerous fashion and style magazines, and has been featured in advertising campaigns; Ferragamo featured Bolle in a 2008 promotion. Bolle also has an agreement with Giorgio Armani, who supplies him with clothes. He also was featured in Vogue US 2009 alongside supermodel Coco Rocha in an editorial spread.

Since 1999 he has been a Goodwill Ambassador for UNICEF.^[1] In 2006 he visited Sudan, spending time at schools and hospitals. As of June 2007, he had raised over $655,000 for education and health projects in Sudan.

References[link]

External links[link]

• Official website (English)
• Teatro alla Scala (La Scala) Official Website (Italian) (English)
• Roberto Bolle as Romeo on YouTube

v t e Ballet General information ballets companies glossary history music timeline Ballet terminology Ballet d'action Barre Ballet blanc Comic ballet Contemporary ballet Ballets de cour Demi-soloist Divertissement Narrative ballet Neoclassical ballet Opéra-ballet Pas de deux Pas de quatre Pas de trois Pièce d'occasion Pointe shoes Romantic ballet Turnout Tutu Variation Ballet by genre character classical contemporary neoclassical Ballet by region British French Italian Russian Dancers American British French Russian Technique Balanchine Bournonville Cecchetti Royal Academy Vaganova Ballet apparel dance belt leotard pointe shoes slippers tights tutu unitard Schools The National Ballet School of Canada Stuttgart Ballet Cuban National Ballet School Elmhurst School for Dance English National Ballet School Moscow State Academy of Choreography Royal Ballet School School of American Ballet La Scala Theatre Ballet School Vaganova Academy of Russian Ballet Royal Winnipeg Ballet Companies American Ballet Theatre Anaheim Ballet Atlanta Ballet Ballet Manila Ballet Philippines Barcelona Ballet Berlin State Ballet Birmingham Royal Ballet Bolshoi Ballet Boston Ballet Cairo Opera Ballet Company Cape Town City Ballet Carolina Ballet Cincinnati Ballet Cuban National Ballet Dayton Ballet Donetsk Ballet Dutch National Ballet English National Ballet Finnish National Ballet Georgian National Ballet Greek National Opera Guangzhou Ballet Hamburg Ballet Hong Kong Ballet Houston Ballet Iaşi Romanian National Opera Iranian National Ballet Company Joffrey Ballet K-ballet Kiev Ballet Korea National Ballet Company La Scala Theatre Ballet Les Ballets de Monte Carlo Les Grands Ballets Canadiens Los Angeles Ballet Mariinsky Ballet Moldova National Opera Ballet National Ballet of Canada National Ballet of China National Ballet Theater of Puerto Rico National Opera and Ballet National Theatre Munich New Jersey Ballet New York City Ballet Norwegian National Opera and Ballet Oklahoma City Ballet Oregon Ballet Theatre Pacific Northwest Ballet Paris Opera Ballet Philippine Ballet Theatre Polish National Ballet Queensland Ballet Royal Danish Ballet Royal New Zealand Ballet Royal Swedish Ballet Royal Winnipeg Ballet San Francisco Ballet Scottish Ballet Shanghai Ballet Company Spanish National Dance Company Stuttgart Ballet The Australian Ballet The Royal Ballet Tokyo Ballet Tulsa Ballet Universal Ballet West Australian Ballet Ballet portal Did you know? today's news today's article today's biography today's picture recent news 2009 2008

Amy Frances Walker (born September 1, 1982) is an American actress, singer, and co-founder of the ConnectedFilm project.^[1]

Early life[link]

Walker was born in Seattle, Washington.^[2] Growing up, she performed in a wide variety of plays and musicals, including Audrey in Little Shop of Horrors, Hero in Shakespeare's Much Ado About Nothing and Helen Keller in The Miracle Worker.