ballet report

8/11/2019 Ballet Report

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BALLE


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What is

ballet


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Ballet is a form of dance performed for

theatre audiences. Like other danceforms, ballet may tell a story, express a

mood, or simply reflect the music.


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But a ballet dancer's technique and

special skills differ greatly from those of

other dancers. Ballet dancers perform

many movements that are unnatural for

the body. But when these movementsare well executed, they look natural.


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The History of

Ballet


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Ballets Early

Development


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The word ballet is French in origin, yet

in the early 1400's Domenico di

Piacenza, an Italian, described

theatrical dances called balletto.


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The earliest precursors to ballets werelavish entertainments given in the

courts of Renaissance Italy where in the

men were fully garbed in wigs, blouses,

jackets and bloomers. The women wore

ornate gowns of many layers, theweight of which was encumbering to

stand in, let alone perform in.


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The troupes, composed of hundreds,

included not only hired performers, butmembers of the duke's court whose

purpose it was to impress the nobility of

neighboring states..


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The performances accompanied

elaborate banquets, each course of the

meal was prefaced by a dance called

an "entre". For the aristocracy, these

extravaganzas took on a magnitude ofcompetitiveness.


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The performances accompanied

elaborate banquets, each course of the

meal was prefaced by a dance called

an "entre". For the aristocracy, these

extravaganzas took on a magnitude ofcompetitiveness.


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Catherine de Medicis, a member of the

ruling family of Florence, left Italy, she

did not leave her love for the artsbehind. When she married the King of

France, Henri II in 1553, she introduced

the same kind of culture to France asshe had known in Italy.


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The Ballet Comique de la Reine was

first staged in October 1581 for the

court of Catherine de' Medici in the

Great Hall of the Petit-Bourbon in

Paris.

It was produced andchoreographed by Balthasar de

Beaujoyeulx


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The gifted Beaujoyeulx, violinist and

dance master, orchestrated a five hourdrama depicting the ancient Greek myth

of Circe, who had the magical power to

turn men into beasts.


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Song and poetry, spectacular stage

effects, meticulously prepared costumes

designed to impress the aristocratic

audience peering down from their

perches above proved to be a successworthy of imitation in other European

courts.


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Early

professional

Ballet


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To further define Paris as the capital ofthe ballet world, King Louis XIV, who

ruled France during the late 1600s, and

his nobles, took part in the ballets given

at his court. In 1661, the Sun King, a

name he acquired from a role hedanced in high-heeled shoes with large

guilt buckles complete with shining sun

rays


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He later on founded the Royal Academy

of Dance, which later became the Paris

Opera Ballet, the first professional

instruction for ballet


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He himself stopped dancing in 1670,

and his courtiers followed his example.

By then the court ballet was already

giving way to professional dancing. At

first all the dancers were men, and menin masks danced women's roles.


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It was not until the performance of Le

Triomphe de l'Amour in 1681 that the

first female dancers performed

professionally.


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By 1700 many of the words we

recognize to display movements werealready in use, including jete, sissone,

chasse, entrechat, pirouette, and

cabriole.


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The French ballet master, Raoul Feuillet

included steps and positions in his book

Choregraphie much like the technique

of today.


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Jete


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Sisson


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Chasse


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Entrech


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Pirouett


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Cabriol


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A new theatrical form developed: the

opra-ballet, which placed equal

emphasis on singing and dancing andgenerally consisted of a series of

dances linked by a common theme. A

famous opra-ballet, by the Frenchcomposer Jean Philippe Rameau,

was Les Indes galantes


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Eighteenth-century dancers were

encumbered by masks, wigs or large

headdresses, and heeled shoes.Women wore panniers, hoopskirts

draped at the sides for fullness. Menoften wore the tonnelet,a knee-length

hoopskirt.


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The French dancer Marie Camargo,

however, shortened her skirts andadopted heelless slippers to display her

sparkling jumps and beats.


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Her rival, Marie Salle also broke with

custom when she discarded her corsetand put on Greek robes to dance in her

own ballet, Pygmalion(1734).


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Despite the brilliance of the French

dancers, choreographers working

outside Paris achieved more dramaticexpression in ballet. In London the

English choreographer John Weaver

eliminated words and tried to conveydramatic action through dance and

pantomime.


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In Vienna the Austrian choreographer

Franz Hilverding and his Italian pupilGasparo Angiolini experimented with

dramatic themes and gestures.


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The most famous 18th-century

advocate of the dramatic ballet was the

Frenchman Jean Georges Noverre,whose Letters on Dancing and

Ballets(1760) influenced many

choreographers both during and afterhis lifetime.


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He advised using movement that was

natural and easily understood andemphasized that all the elements of a

ballet should work in harmony to

express the ballet'stheme.


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Noverre found an outlet for his ideas in

Stuttgart, Germany, where he firstproduced his most famous

ballet, Medea and Jason(1763).


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Charles Didelot, a French student of

both Noverre, worked mainly in London

and Saint Petersburg. In Didelot'sballet Flore et Zphire(1796), invisible

wires helped the dancers appear to fly.


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Toe dancing began to develop at about

this time, although the dancers

balanced on their toes only for amoment or two. Blocked toe shoes had

not yet been invented, and dancersstrengthened their light slippers with

darning.


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RomanticBallet


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The ballet La Sylphide,first performed

in Paris in 1832, introduced the period

of the romantic ballet. Marie Taglionidanced the part of the Sylphide, a

supernatural creature who is loved andinadvertently destroyed by a mortal

man.


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Her father, Filippo Taglioni, exploited

the use of toe dancing to emphasize hisdaughter's otherworldly lightness and

insubstantiality.


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Women dominated the romantic ballet.

Although good male dancers such as

the Frenchmen Jules Perrot and ArthurSaint-Lonwere performing, they were

eclipsed by ballerinas such as Taglioni,

Elssler, the Italians Carlotta Grisi andFanny Cerrito, and others.


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In Paris itself, however, ballet began to

decline. Poetic qualities gave way to

virtuosic displays and spectacle. Maledancing was neglected. Few ballets of

note were produced at the Opra during

the second half of the 19th century.


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The ballerina became the main focal

point of French ballet during the 19

century. This created a completereversal of the roles the men and

women played. It was during this time

that women started wearing mensattire in their performances or en

transvti


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On the stage, if there was anything of

interest, we may be sure that it wasntFrench

-Lincoln Kristine


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We could also say that the fall of ballet

was because of how it grew as acommercialized spectacle


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The ballets became a stage where in

pretty pleasant looking girls performed

for wealthy businessmen. Often it wasballets that had a beautiful star that

became popular instead of those withgreat choreography


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The Composers of that time such as

Brahmses, Schumann, and Liszt

werent about to let their masterpieces

be identified with ballet. They would

much rather have the, played inconcerts or as operas


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Creating music for ballets didnt shine

much interest to composers of the time

this caused the music performed ballets

to be second-rate. Those that did

create music for ballets such as asAdams, Pugni, Munkis, and Drigo did

not rise in popularity.


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The commercialization of ballet

contributed to the decline of the

acceptance of ballet as a form of art on

par with music, art, and literature


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Denmark, however, maintained the

standards of the romantic ballet. The

Danish choreographer Bournonville,who had studied in Paris, not only

established a system of training but

also created a large body of works,including his own version of La

Sylphide.


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Russia also preserved the integrity of

the ballet during the late 19th century. AFrenchman, Marius Petipa, became the

chief choreographer of the Imperial

Russian Ballet.


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He perfected the full-length, evening-long story ballet that combined set

dances with mimed scenes. His best-

known works are The SleepingBeauty (1890) and Swan Lake(co-

choreographed with the Russian LevIvanov), both set to commissioned

scores by Tchaikovsky


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20thCenturyBallet


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The 20thcentury was clearly marked as

the time when ballet renewed itself as a

form of art along side modern dance


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Serge Diagheliv, an impresario, created

a western sensation in 1909 called the

Ballet Russes which one the crowds

instantly


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The Ballet Russes brought back the

male ballet dancers such as Vaslav

Nijinsky, who was admired becausemale dancers had almost vansihed in

french ballets


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The of shoots of the Ballet Russes

revitalized ballet all over the world and

strengthened its position in society as a

form of art


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The Ballet Russes had such a big

impact in the western society because.First there was greater vitality in the

performances than those in france


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Second the choreography was

innovative and the simple fact thatRussian ballet was different hence

exotic


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Third Diaghilev had a good eye for

talent and didnt follow the Frenchtradition of en transveti and allowed

men to dance in his ballets.


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Many of the Ballet Russes dancers

made their own groups after thecompany was disbanded. One such

dancer is Anna Pavlov who formed her

own troupe and performedinternationally


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Michel Fokine who was one of the

choreographers of Ballet Russes wentto the united states and founded the

American ballet theater


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Two former members of the Ballets

Russes, the Polish-born British dancerDame Marie Rambert and the British

dancer Dame Ninette de Valois,

became the founders of British ballet aswell as found the British Royal Ballet.


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During The 1920s and the 1930sBallet started to develop in America and

Germany


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The American dancers Martha Graham

and Doris Humphrey, the German

dancer Mary Wigman, and others brokeaway from traditional ballet to create

their own expressive movement styles


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The choreography of their dances were

more closely related to human life andthe Ballets reflected more towards

realism


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In 1932 the German choreographerKurt Jooss created The Green Table,

an antiwar ballet.


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Antony Tudor developed the

psychological ballet, which revealed theinner being of the characters.


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Modern dance also eventually

extended the movement vocabulary ofballet, particularly in the use of the

torso and in movements done lying or

sitting on the floor.


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Popular dance forms also enriched the

ballet. In 1944 the American

choreographer Jerome Robbinscreated Fancy Free, a ballet based on

the jazz-dance style that had developedin musical comedy.


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In Germany The idea of Pure dancestarted to develop


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Massine invented the symphonic ballet,

which aimed to express the musicalcontent of symphonies by the German

composers Ludwig Van Beethoven and

Johannes Brahms.


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Balanchine also began to create

plotless ballets in which the primarymotivation was movement to music. His

ballet Jewels (1967) is considered the

first evening-length ballet of this type.


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Two great American ballet companies

were founded in New York City in the1940s, American Ballet Theatre and the

New York City Ballet


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The latter drew many of its dancers

from the School of American Balletestablished by Balanchine and Kirstein

in 1934


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Since the mid-20th century, ballet

companies have been founded in manycities throughout the United States and

in Canada


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Beginning in 1956, Russian ballet

companies such as the Bolshoi and

Kirov performed in the West for the firsttime. The intense dramatic feeling and

technical virtuosity of the Russiansmade a great impact.


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Dance in general underwent an

enormous upsurge in popularity

beginning in the mid-1960s. Balletbegan to show the influence of a

younger audience, in both themes andstyle.


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The athleticism of dancing was enjoyedin much the same way as sports, and

virtuosic steps were admired for their

challenge and daring.


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Today's ballet repertoire offers greatvariety. New ballets and reconstructions

and restagings of older ballets coexist

with new works created by modern-dance choreographers for ballet

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