Ballet in the context of Pas de Quatre (Perrot)

Drama is the specific mode of fiction represented in performance: a play, opera, mime, ballet, etc., performed in a theatre, or on radio or television. Considered as a genre of poetry in general, the dramatic mode has been contrasted with the epic and the lyrical modes ever since Aristotle's Poetics (c. 335 BC)—the earliest work of dramatic theory.

The term "drama" comes from a Greek word meaning "deed" or "act" (δρᾶμα, drâma), which is derived from "I do" (δράω, dráō). The two masks associated with drama represent the traditional generic division between comedy and tragedy.

Opera is a form of Western theatre in which music is a fundamental component and dramatic roles are taken by singers. Such a "work" (the literal translation of the Italian word "opera") is typically a collaboration between a composer and a librettist and incorporates a number of the performing arts, such as acting, scenery, costume, and sometimes dance or ballet. The performance is typically given in an opera house, accompanied by an orchestra or smaller musical ensemble, which since the early 19th century has been led by a conductor. Although musical theatre is closely related to opera, the two are considered to be distinct from one another.

Opera is a key part of Western classical music, and Italian tradition in particular. Originally understood as an entirely sung piece, in contrast to a play with songs, opera has come to include numerous genres, including some that include spoken dialogue such as Singspiel and Opéra comique. In traditional number opera, singers employ two styles of singing: recitative, a speech-inflected style, and self-contained arias. The 19th century saw the rise of the continuous music drama.

Swan Lake (Russian: Лебеди́ное о́зеро, romanized: Lebedínoje ózero, Russian pronunciation: [lʲɪbʲɪˈdʲinəjə ˈozʲɪrə]), Opus 20, is a ballet composed by Pyotr Ilyich Tchaikovsky between 1875 and 1876. The original production premiered at the Bolshoi Theatre in Moscow on 4 March 1877 (20 February Old Style), with choreography by Julius Reisinger. The ballet, initially conceived in two acts, is based on Russian and German folk tales and tells the story of Princess Odette, who is transformed into a swan by the sorcerer Von Rothbart.

The initial reception was lukewarm, with criticism directed at various elements of the production. Despite this, Swan Lake has become one of the most frequently performed ballets worldwide.

Competitive dance is a popular, widespread sport in which competitors perform dances in any of several permitted dance styles—such as acro, ballet, contemporary, jazz, hip-hop, lyrical, modern, musical theatre, tap, and improv—before a common group of judges. This is in contrast with other activities that involve competition among dancers based on purpose, or specific dance styles or genres, such as pom squad and dancesport (competitive ballroom dance).

The competitive dance industry largely consists of competition production companies—also sometimes called dance competition companies and dance competition lines—that conduct regional competitions at stops along their annual, nationwide tours. Dancers who compete at these regional competitions are students ranging in age from approximately five to eighteen years old. After competing regionally, qualifying routines and studios go on to compete nationally towards the end of their season. Dance schools (often referred to as dance studios) arrange for their classes to compete in a range of disciplines as solos, duets, trios, or in a small group dance in addition to or in place of large group routines. Competitions typically begin in January and end in July or August.

Don Quixote is a ballet in three acts, based on episodes taken from the famous novel Don Quixote de la Mancha by Miguel de Cervantes. It was originally choreographed by Marius Petipa to the music of Ludwig Minkus and first presented by Moscow's Bolshoi Ballet on 26 December [O.S. 14 December] 1869. Petipa and Minkus revised the ballet into a more elaborate and expansive version in five acts and eleven scenes for the Mariinsky Ballet, first presented on 21 November [O.S. 9 November] 1871 at the Imperial Bolshoi Kamenny Theatre of St. Petersburg.

All modern productions of the Petipa/Minkus ballet are derived from the version staged by Alexander Gorsky for the Bolshoi Theatre of Moscow in 1900, a production the ballet master staged for the Imperial Ballet of St. Petersburg in 1902.

A libretto (from the Italian word libretto, lit. 'booklet') is the text used in, or intended for, an extended musical work such as an opera, operetta, masque, oratorio, cantata or musical. The term libretto is also sometimes used to refer to the story line of a ballet or the texts of major liturgical works, such as the Mass, requiem, or sacred cantata.

The Italian word libretto (pronounced [liˈbretto], plural libretti [liˈbretti]) is the diminutive of the word libro ("book"). Sometimes other-language equivalents are used for libretti in that language, livret for French works, Textbuch for German and libreto for Spanish. A libretto is distinct from a synopsis or scenario of the plot, in that the libretto contains all the words and stage directions, while a synopsis summarizes the plot. Some ballet historians also use the word libretto to refer to the 15- to 40-page books which were on sale to 19th century ballet audiences in Paris and contained a very detailed description of the ballet's story, scene by scene.

The Palais Garnier (French: [palɛ ɡaʁnje] , Garnier Palace), also known as Opéra Garnier (French: [ɔpeʁa ɡaʁnje] , Garnier Opera), is a historic 1,979-seat opera house at the Place de l'Opéra in the 9th arrondissement of Paris, France. It was built for the Paris Opera from 1861 to 1875 at the behest of Emperor Napoleon III. Initially referred to as le nouvel Opéra de Paris (the new Paris Opera), it soon became known as the Palais Garnier, "in acknowledgment of its extraordinary opulence" and the architect Charles Garnier's plans and designs, which are representative of the Napoleon III style. It was the primary theatre of the Paris Opera and its associated Paris Opera Ballet until 1989, when a new opera house, the Opéra Bastille, opened at the Place de la Bastille. The company now uses the Palais Garnier mainly for ballet. The theatre has been a monument historique of France since 1923.

The Palais Garnier has been called "probably the most famous opera house in the world, a symbol of Paris like Notre Dame Cathedral, the Louvre, or the Sacré Coeur Basilica". This is at least partly due to its use as the setting for Gaston Leroux's 1910 novel The Phantom of the Opera and, especially, the novel's subsequent adaptations in films and the popular 1986 musical. Another contributing factor is that among the buildings constructed in Paris during the Second Empire, besides being the most expensive, it has been described as the only one that is "unquestionably a masterpiece of the first rank".

A dance costume is the clothing worn by a dancer when performing before an audience. A dance costume may be custom designed for use in a specific dance work, or it may have a traditional design, such as those used in some ceremonial and folk dances. Typically, dance costumes are designed to harmonize with the dance and not hinder the movements of the dancer.

When created for a specific work, a costume may be designed to expose or enhance the lines formed by the dancer's body, or to express the choreographer's artistic vision, or to engage the audience, or combinations of these. A costume may portray or relate to some characteristic, mood, or theme of the dance. It may fit loosely or it may be form-fitting to emphasize the form of the dancer's body. Costumes are designed in accordance with aesthetic requirements, the anticipated movements of the dancer, and budget. Various people may collaborate in designing a costume, including the choreographer, costume designer, costume maker (seamstress), and dancer.

A number opera (Italian: opera a numeri; German: Nummeroper; French: opéra à numéros) is an opera consisting of individual pieces of music ('numbers') which can be easily extracted from the larger work. They may be numbered consecutively in the score, and may be interspersed with recitative or spoken dialogue. Opera numbers may be arias, but also ensemble pieces, such as duets, trios, quartets, quintets, sextets or choruses. They may also be ballets and instrumental pieces, such as marches, sinfonias, or intermezzi. The number opera format was standard until the mid-19th century and most opera genres, including opera seria, opera buffa, opéra comique, ballad opera, Singspiel, and grand opera, were constructed in this fashion.

The replacement of numbers with more continuous music began in operas by Jommelli, Traetta, Gluck, and especially Mozart, whose late operas Le Nozze di Figaro and Don Giovanni contain several segments in which different numbers are unified by bridge passages to form a musical whole. This trend became even more striking in the operas of the German composers Beethoven, Weber, and Meyerbeer, while their Italian and French contemporaries Rossini, Donizetti, Bellini, and Auber retained the number opera style.

Because ballet became formalized in France, a significant part of ballet terminology is in the French language.

Ballet technique is the foundational principles of body movement and form used in ballet. It is an important aspect of ballet performance because ballet (especially classical ballet) puts great emphasis on the method and execution of movement. The techniques found in classical ballet are a framework for many other styles of dance, including jazz and contemporary ballet.

Aspects of ballet technique include alignment, which refers to keeping the head, shoulders, and hips vertically aligned. Turnout refers to completing movements with legs rotated outward; this promotes clean footwork, graceful port de bras (movement of the arms), and correct body positions, lines and angles. Other aspects of ballet technique include posture, toe pointing, keeping shoulders down, and pulling up, which combines proper posture and lifting of the muscles to increase turnout and enhance alignment and thus improve the quality of turns. Ballet technique is also used to exhibit ballon, the appearance of gravity-defying lightness, during leaps. Pointe technique is the part of ballet technique concerned with dancing on the tips of fully extended feet.

Classical ballet is any of the traditional, formal styles of ballet that exclusively employ classical ballet technique. It is known for its aesthetics and rigorous technique (such as pointe work, turnout of the legs, and high extensions), its flowing, precise movements, and its ethereal qualities.

There are stylistic variations related to an area or origin, which are denoted by classifications such as Russian ballet, French ballet, British ballet and Italian ballet. For example, Russian ballet features high extensions and dynamic turns, whereas Italian ballet tends to be more grounded, with a focus on fast, intricate footwork. Many of the stylistic variations are associated with specific training methods that have been named after their originators. Despite these variations, the performance and vocabulary of classical ballet are largely consistent throughout the world.

Julius Wentsel Reisinger (1828 – 1893) was a Czech ballet choreographer. He created more than twenty works on various European stages and directed the Moscow company of the Bolshoi Theatre. Reisinger choreographed the first stage production of Swan Lake as well as the production of the first ballet performance for the opening of the Prague National Theatre in 1884. His work on Swan Lake was considered unsuccessful by contemporary critics, although the ballet was popular enough among the general public that it was kept in the active repertoire of the Bolshoi Theatre for seven years and was performed over thirty times.

Reisinger was born in February 1828 in Prague. He was also known by translations of his name as Vaclav or Jules.

This is the main list of dances. It is a non-categorized, index list of specific dances. It may also include dances which could either be considered specific dances or a family of related dances. For example, ballet, ballroom dance and folk dance can be single dance styles or families of related dances.

Acro dance is a style of dance that combines classical dance technique with acrobatic elements. It is defined by its athletic character, its unique choreography, which blends dance and acrobatics, and its use of acrobatics in a dance context. It is a popular dance style in amateur competitive dance as well as in professional dance theater and in contemporary circus productions such as those by Cirque du Soleil. This is in contrast to acrobatic, artistic and rhythmic gymnastics, which are sports that employ dance elements in a gymnastics context under the auspices of a governing gymnastics organization (such as FIG) and subject to a Code of Points. Acro dance is known by various other names including acrobatic dance and gymnastic dance, though it is most commonly referred to simply as acro by dancers and dance professionals.

Acro is an especially challenging dance style for dancers as it requires them to be trained in both dance and acrobatic skills.

Contemporary dance is a genre of dance performance that developed during the mid-twentieth century and has since grown to become one of the dominant genres for formally trained dancers throughout the world, with particularly strong popularity in the U.S. and Europe. Although originally informed by and borrowing from classical, modern, and jazz styles, it has come to incorporate elements from many styles of dance. According to the New Grove Musical Dictionary, contemporary dance evolved from the foundations of modern and postmodern dance, emphasizing innovation and a break from traditional forms. Due to its technical similarities, it is often perceived to be closely related to modern dance, ballet, and other classical concert dance styles. It is characterized by a blend of styles that often integrate elements of ballet, modern dance, and cultural or social dance forms.

In terms of technique, contemporary dance tends to combine the strong but controlled legwork of ballet with modern dance that stresses on torso. It also employs contract-release, floor work, fall and recovery, and improvisation characteristics of modern dance. Unpredictable changes in rhythm, speed, and direction are often used as well. In the 1980s, the approach to contemporary dance became more intentional and academically focused, often described as “interdisciplinary” and “collaborative.” This period marked a shift from spontaneous and experimental methods to choreographies grounded in intellectual concepts, such as mathematical structures and repetitive patterns. Contemporary dance sometimes incorporates elements of non-western dance cultures, such as elements from African dance including bent knees, or movements from the Japanese contemporary dance, Butoh. Contemporary dance continues to explore natural movement while embracing diverse influences and unconventional staging.