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Club or the fledgling Vic-Wells. The society intended to put on several Sunday evening and Monday afternoon performances each season at a West End theatre, commissioning the choreography and decor for each ballet and hiring an orchestra for each performance. The necessary funds would be provided by a subscription audience. The committee included the young composer
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who first shortened her skirts and wore dancing slippers without heels. Its aim was "to perpetuate the principles on which
Diaghilev had run the Ballets Russes, as a fusion of dance, music and decor", encouraging British talent to create ballet on a scale that could not be attempted by the Ballet
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died in 1929 the company collapsed, heavily in debt. Its successor company had not yet been formed. Pavlova's company had given its last London season ever, as it was to die with
Pavlova herself in January 1931. Marie Rambert only started the small scale
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were able to take on their roles. The Vic-Wells would perhaps have grown to the stature of the Royal Ballet without the
Camargo Society, but there is no doubt that the Camargo Society helped the Vic Wells considerably in its formative phase.
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This however was the society's last venture. Ninette de Valois' company was now firmly established and tackling larger productions than the Ballet Club could, and to the Vic-Wells the society bequeathed all its sets and productions except
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had been in
England since the collapse of Ballets Russes but had no large scale company to dance for. In 1930 serious professional ballet in London was at a low point and in the rest of the country was non-existent.
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at the Royal Opera House in June 1933 when the major stars
Markova, Dolin and Lopokova danced to full houses, including the then Queen, members of the government and a visiting international conference of economists.
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was a London society which created and produced ballet between 1930 and 1933, giving opportunity to
British musicians, choreographers, designers and dancers. Its influence was disproportionate to its short life.
158:'s existing score of the same name, is the one that lived longest and is still remembered today. It later went into the repertoires of both the Ballet Club and the Vic-Wells, but the Vic-Wells lost their
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138:, in which Anton Dolin partnered the American ballerina Anna Ludmila in the lead roles. Ashton also created pieces for the December performance at the Arts Theatre Club;
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The society's first performance, at the
Cambridge Theatre in October 1930, was a mixed programme of one-act ballets. The one received best was
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credits it with "keeping ballet alive in
England during the early 1930s". The society was named after the eighteenth-century French dancer
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went as resident choreographer and stayed to become
Director when de Valois retired, as well as a choreographer of world repute.
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After several more modest ventures the society hired the Savoy
Theatre in 1932 for an ambitious four week summer season, in which
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265:(Constant Lambert). This enterprise put the society seriously in debt. Its debts were cleared with two gala performances of
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81:
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Montagu-Nathan, M. "The Camargo Society: Its Probable Influence on British Music." The Musical Times (1930): 798-799.
142:, of which the critics did not know what to make, and a series of tableaux illustrating Shakespeare's narrative poem
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went there as principal dancers. They only stayed 2 years, but by the time they moved on to form their own company
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Haskell, Arnold L. "The Birth of the English Ballet." Journal of the Royal Society of Arts (1939): 784-806.
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in which Lopokova herself took a part. In total the Camargo Society produced 16 new one-act ballets.
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Kane, Angela, and Jane Pritchard. "The Camargo Society Part I." Dance Research 12.2 (1994): 21-65.
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285:. Constant Lambert went to the Vic-Wells as musical director and stayed until he died in 1951.
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sets and costumes when they fled Holland in May 1940 hours ahead of the German occupation.
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as treasurer. Haskell himself described the society as “a management without a company”.
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60:(later Ballet Rambert) in the autumn of 1930 with its first performance in 1931, and
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Walker, Kathrine Sorley. "The Camargo Society." Dance Chronicle 18.1 (1995): 1-114.
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29:, saw it as "having done much for the cause of English ballet", and
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97:(ballet critic and prolific author), Philip Richardson (editor of
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as choreographic advisor and her husband the eminent economist
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Social Dance and the Modernist Imagination in Interwar Britain
68:(later the Royal Ballet) in 1931 with 6 salaried dancers.
105:(music critic), and named after the 18th century ballerina
114:as resident conductor, the semi-retired ballerina
169:danced the lead parts in shortened versions of
76:were years away. Britain's best known dancers
51:had held a London season most years but when
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489:Secret Muses: the life of Frederick Ashton
568:1930 establishments in the United Kingdom
563:Dance organisations in the United Kingdom
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93:The Camargo Society was conceived by
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395:. Ashgate Publishing. p. 125.
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553:Organizations established in 1930
140:Job, A Masque of Poetry and Music
443:Sixteen Years of Ballet Rambert
38:Marie Anne de Cupis de Camargo
1:
181:. The other productions were
558:Ballet in the United Kingdom
515:Vic-Wells: a Ballet Progress
134:by the rising choreographer
469:The Royal Ballet - 75 years
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348:Ninette de Valois (1937).
445:, Hinrichsen Edition Ltd
387:Zimring, Rishona (2013).
350:Invitation to the ballet
513:P.W.Manchester (1947).
487:Julie Kavanagh (1996).
441:Lionel Bradley (1946).
415:Arnold Haskell (1935).
389:"How Bloomsbury Danced"
32:Encyclopædia Britannica
276:The end of the society
23:Dame Ninette de Valois
502:Beyond the Rio Grande
467:Zoe Anderson (2006).
335:Janet Leeper (1945).
428:Serge Lifar (1940).
305:and the 16-year-old
247:The Origin of Design
223:The Lord of Burleigh
154:, also by Ashton to
70:International Ballet
191:The Enchanted Grove
144:A Lover's Complaint
120:John Maynard Keynes
471:, Faber and Faber
491:. Faber and Faber
402:978-1-4094-5576-9
363:"Camargo Society"
352:, The Bodley Head
167:Olga Spessivtseva
64:was to found the
62:Ninette de Valois
44:The scene in 1930
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112:Constant Lambert
53:Sergei Diaghilev
27:The Royal Ballet
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307:Margot Fonteyn
291:Alicia Markova
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263:The Rio Grande
231:Mars and Venus
203:Mikhail Glinka
199:Fete polonaise
156:William Walton
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116:Lydia Lopokova
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295:Anton Dolin
227:Mendelssohn
207:High Yellow
126:Productions
103:Edwin Evans
82:Anton Dolin
58:Ballet Club
547:Categories
517:, Gollancz
419:, Gollancz
417:Diaghileff
373:2019-08-23
314:References
430:Diaghilev
235:Scarlatti
178:Swan Lake
89:Formation
66:Vic-Wells
432:, Putnam
268:Coppélia
72:and the
255:Regatta
239:Mercure
183:Ballade
172:Giselle
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369:. 2015
283:Façade
261:) and
251:Handel
187:Chopin
160:Façade
151:Façade
132:Pomona
101:) and
34:Online
243:Satie
195:Ravel
397:ISBN
301:and
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