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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
i