1.1
2.3
6.1
“The choreographer and the dancer must remember that they reach the audience through the eye. It’s the illusion created which convinces the audience, much as it is with the work of a magician”
Balanchine
2
3
6
7 The George Balanchine Trust.
George Balanchine.
“Everyone wants to be the favorite child in a family, but not everyone has the luck”
sky-an-innovative-partnership.
11
12
Corps de
American Ballet Theatre (ABT),
Balanchine
14 S. Volkov.(1985).Interviews with George Balanchine, Balanchine’s Tchaikovski, Νέα
: Simon and Schuster, σελ 159.
(abstract),
(disembodiment)19.
16 S. Volkov.(1985).Interviews with George Balanchine, Balanchine’s Tchaikovski, Νέα
17 S. Volkov.(1985).Interviews with George Balanchine, Balanchine’s Tchaikovski, Νέα
: Simon and Schuster, σελ 147.
: Simon and Schuster, σελ 171.
18 S. Volkov.(1985).Interviews with George Balanchine, Balanchine’s Tchaikovski, Νέα Υόρκη : Simon and Schuster, σελ 159. 19Tate. (χ.χ.). Formalism. Tate.
Balanchine
Balanchine.
20 Christensen, J. F., Pollick, F. E., Lambrechts, A., & Gomila, A. (2016). Affective responses to dance. Acta Psychologica,
actpsy.2016.03.008
Tate, «Formalism is the study of art based solely on an analysis of its form – the way it is made and what it looks like»
Pollick, Lambrechts & Gomila (2016)
24Levin, D. M. (1976). Balanchine’s formalism. Salmagundi, σελ 225. Ανακτήθηκε
https://www.jstor.org/stable/40546934
25Levin, D. M. (1976). Balanchine’s formalism. Salmagundi,
27 Levin, D. M. (1976). Balanchine’s formalism. Salmagundi,
Portnova(2022)
(active)
the music, hear the dance» Croce, A. (1993). Going to the dance. New Haven, CT: Yale University Press
28McAuley, G. (2000). Space in performance: Making meaning in the theatre. University of Michigan Press.Σελ 126.
The Four Temperaments
The Four Temperaments
Jewels (1967),
Balanchine,
(Emeralds, Rubies, Diamonds).
31 Homans, J. (2010). Apollo’s angels: A history of ballet. New York, NY: Random House.
32 Ο James Jerome Gibsom (1904–1979)
33 Gavriliou, E. (2003). Inscribing structures of dance
London.
(Sheets-Johnstone, 1980)
34
Maxine Sheets-Johnstone
35 Gavriliou, E. (2003). Inscribing structures of dance
London.
derrière en pointe, arabesque penchée
arabesque en pointe,
Cambre derriere en pointe Arabesque penchee Arabesque en pointe
36 Ghisleni, C. (2025, January 22). Promenade architecturale: How the modernist concept continues to inspire contemporary architecture. ArchDaily. Ανακτήθηκε
https://www.archdaily.com/1025951/promenade-architecturale-how-the-modernist-concept-continues-to-inspire-contemporary-architecture
Analysis (LMA).
LMA —Body, Effort,
Laban,
37 Fraleigh, S. (1987). Dance and the lived body: A descriptive aesthetics. University of Pittsburgh Press.
W., & Clark, R. H., 1970. Kinetic Architecture. New York: Van Nostrand Reinhold.
39 Au, S. (2002). Ballet and modern dance (2η
Thames & Hudson.
40 Jowitt, D. (2004). Time and the dancing image. Μπέρκλεϊ: University of California Press.
41 Ο Rudolf Laban (1879–1958)
42 Bradley, K. (2008). Rudolf Laban.
Routledge.
Forsythe, W. (2009). Choreographic Objects.
Motion Bank
The Forsythe Company.
47
(embodiment)
Juhani Pallasmaa
49 Pallasmaa, J. (2012).
50 Gioia Monda, L. (n.d.). Choreographic architectures: When dancing designs the urban environment.
J. M.
Balanchine,
54 Katz, R. (2004). Light fantastic: The art and design of stage lighting. New York, Routledge. McAuley, G. (2000). Space in performance: Making meaning in the theatre.Ann Arbor, University of Michigan Press. 55 Brandstetter, G. (2015). Poetics of dance: Body, image, and space in the historical avant-gardes. Oxford, Oxford University Press
George Balanchine.
56 McAuley, G. (2000). Space in performance: Making meaning in the theatre. Ann Arbor, University of Michigan Press.
57 Balanchine, G., & Mason, F. (1975). 101 stories of the great ballets. Garden City, NY: Doubleday
58 Garafola, L. (2005). Legacies of twentieth-century dance. Middletown, Wesleyan University
59 Homans, J. (2010). Apollo’s angels: A history of ballet. New York, Random House
62 S. Volkov.(1985).Interviews with George Balanchine, Balanchine’s Tchaikovski, Νέα
63
: Simon and Schuster,
158.
“Apollo I look back on as the turning point of my life. In its discipline and restraint, in its sustained oneness of tone and feeling, the score was a revelation. It seemed to tell me that I could dare not to use everything, that I, too, could eliminate. “
64 Los Angeles Philharmonic. (n.d.). Agon: Igor Stravinsky. Retrieved from https://www.laphil.com
65 Oregon Ballet Theatre. (2015). Agon: A trip into outer space (Part 2). Retrieved from https://www.obt.org.
66 Cambridge University Press. (2000). Agon: A musical/choreographic analysis. Dance Research, 18(1), 45–61.
67 “Agon: A Musical/Choreographic Analysis”, Dance Research (Cambridge), vol. 18, no. 1 (2000). Cambridge University Press & Assessment+1
68 Macaulay, Alastair. “50 Years Ago, Modernism Was Given a Name: ‘Agon’”. The New Yorker. Alastair Macaulay
69 Stilwell, Robynn Jeananne. Stravinsky and Balanchine: A musico-choreographic analysis of Agon. University of Michigan, 1994. deepblue.lib.umich.edu
70Macaulay, A. (2007, December 2). 50 years ago, modernism was given a name: Agon. The New York Times. Retrieved from https://www.alastairmacaulay.com
6.1 Dance House Helsinki:JKMM Architects,ILO Architects
Au, S. (2002). Ballet and modern dance (2nd ed.). Thames & Hudson.
Balanchine, G., & Mason, F. (1975). 101 stories of the great ballets. Doubleday. Bradley, K. (2008). Rudolf Laban. Routledge.
Brandstetter, G. (2015). Poetics of dance: Body, image, and space in the historical avant-gardes. Oxford University Press.
Cambridge University Press. (2000). Agon: A musical/choreographic analysis. Dance Research, 18(1), 45–61.
Christensen, J. F., Pollick, F. E., Lambrechts, A., & Gomila, A. (2016). Affective responses to dance. Acta Psychologica. https://doi. org/10.1016/j.actpsy.2016.03.008
Forsythe, W. (2009). Choreographic objects. Motion Bank / The Forsythe Company.
Fraleigh, S. (1987). Dance and the lived body: A descriptive aesthetics. University of Pittsburgh Press.
Garafola, L. (2005). Legacies of twentieth-century dance. Wesleyan University Press.
Gavriliou, E. (2003). Inscribing structures of dance into architecture. In Proceedings of the 4th International Space Syntax Symposium. University College London.
Ghisleni, C. (2025, January 22). Promenade architecturale: How the modernist concept continues to inspire contemporary architecture. ArchDaily. https://www.archdaily.com/1025951/promenade-architecturale-how-the-modernist-concept-continues-toinspire-contemporary-architecture
Homans, J. (2010). Apollo’s angels: A history of ballet. Random House.
Jowitt, D. (2004). Time and the dancing image. University of California Press.
Katz, R. (2004). Light fantastic: The art and design of stage lighting. Routledge.
Kendall, E. (2013). Balanchine and the lost muse. Oxford University Press.
Levin, D. M. (1976). Balanchine’s formalism. Salmagundi. https://www.jstor.org/stable/40546934
Los Angeles Philharmonic. (n.d.). Agon: Igor Stravinsky. https://www.laphil.com
Macaulay, A. (2007, December 2). 50 years ago, modernism was given a name: Agon. The New York Times. https://www. alastairmacaulay.com
McAuley, G. (2000). Space in performance: Making meaning in the theatre. University of Michigan Press.
Monda, L. G. (n.d.). Choreographic architectures: When dancing designs the urban environment.
Pallasmaa, J. (2012). The eyes of the skin: Architecture and the senses. Melissa.
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Skorletou, G.-A., & Tzevelekou, H.-K. (2014). Sensations and architecture: Mapping syn-aesthetics in the city. National Technical University of Athens.
Stilwell, R. J. (1994). Stravinsky and Balanchine: A musico-choreographic analysis of Agon (Doctoral dissertation, University of Michigan).
Tate. (n.d.). Formalism. https://www.tate.org.uk/
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