Ballet

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Classical bell tutus in The Dance Class by Degas, 1874 Edgar Degas - The Ballet Class - Google Art Project.jpg
Classical bell tutus in The Dance Class by Degas, 1874

Ballet (French:  [balɛ] ) is a type of performance dance that originated during the Italian Renaissance in the fifteenth century and later developed into a concert dance form in France and Russia. It has since become a widespread, highly technical form of dance with its own vocabulary based on French terminology. It has been globally influential and has defined the foundational techniques used in many other dance genres and cultures. Ballet has been taught in various schools around the world, which have historically incorporated their own cultures and as a result, the art has evolved in a number of distinct ways. See glossary of ballet.

Italian Renaissance cultural movement

The Italian Renaissance was a period of Italian history that began in the 14th century (Trecento) and lasted until the 17th century (Seicento). It peaked during the 15th (Quattrocento) and 16th (Cinquecento) centuries, spreading across Europe and marking the transition from the Middle Ages to Modernity. The French word renaissance means "Rebirth" and defines the period as one of cultural revival and renewed interest in classical antiquity after the centuries labeled the Dark Ages by Renaissance humanists. The Renaissance author Giorgio Vasari used the term "Rebirth" in his Lives of the Most Excellent Painters, Sculptors, and Architects but the concept became widespread only in the 19th century, after the works of scholars such as Jules Michelet and Jacob Burckhardt.

Concert dance type of dance (performing arts genre)

Concert dance is dance performed for an audience. It is frequently performed in a theatre setting, though this is not a requirement, and it is usually choreographed and performed to set music.

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

Contents

A ballet, a work, consists of the choreography and music for a ballet production. Ballets are choreographed and performed by trained ballet dancers. Traditional classical ballets are usually performed with classical music accompaniment and use elaborate costumes and staging, whereas modern ballets, such as the neoclassical works of American choreographer George Balanchine, often are performed in simple costumes (e.g., leotards and tights) and without the use of elaborate sets or scenery.

Work of art aesthetic physical item or artistic creation

A work of art, artwork, art piece, piece of art or art object is an aesthetic physical item or artistic creation. Apart from "work of art", which may be used of any work regarded as art in its widest sense, including works from literature and music, these terms apply principally to tangible, portable forms of visual art:

In dance, choreography is the act of designing dance. Choreography may also refer to the design itself, which is sometimes expressed by means of dance notation. A choreographer is one who creates dances. Dance choreography is sometimes called dance composition.

Music form of art using sound

Music is an art form and cultural activity whose medium is sound organized in time. General definitions of music include common elements such as pitch, rhythm, dynamics, and the sonic qualities of timbre and texture. Different styles or types of music may emphasize, de-emphasize or omit some of these elements. Music is performed with a vast range of instruments and vocal techniques ranging from singing to rapping; there are solely instrumental pieces, solely vocal pieces and pieces that combine singing and instruments. The word derives from Greek μουσική . See glossary of musical terminology.

Etymology

Ballet is a French word which had its origin in Italian balletto, a diminutive of ballo (dance) which comes from Latin ballo, ballare, meaning "to dance", [1] [2] which in turn comes from the Greek "βαλλίζω" (ballizo), "to dance, to jump about". [2] [3] The word came into English usage from the French around 1630.

A diminutive is a word that has been modified to convey a slighter degree of its root meaning, to convey the smallness of the object or quality named, or to convey a sense of intimacy or endearment. A diminutive form is a word-formation device used to express such meanings; in many languages, such forms can be translated as "little" and diminutives can also be formed as multi-word constructions such as "Tiny Tim". Diminutives are often employed as nicknames and pet names, when speaking to small children, and when expressing extreme tenderness and intimacy to an adult. The opposite of the diminutive form is the augmentative. Beyond the diminutive form of a single word, a diminutive can be a multi-word name, such as "Tiny Tim" or "Little Dorrit".

Latin Indo-European language of the Italic family

Latin is a classical language belonging to the Italic branch of the Indo-European languages. The Latin alphabet is derived from the Etruscan and Greek alphabets and ultimately from the Phoenician alphabet.

Greek language Language spoken in Greece, Cyprus and Southern Albania

Greek is an independent branch of the Indo-European family of languages, native to Greece, Cyprus and other parts of the Eastern Mediterranean and the Black Sea. It has the longest documented history of any living Indo-European language, spanning more than 3000 years of written records. Its writing system has been the Greek alphabet for the major part of its history; other systems, such as Linear B and the Cypriot syllabary, were used previously. The alphabet arose from the Phoenician script and was in turn the basis of the Latin, Cyrillic, Armenian, Coptic, Gothic, and many other writing systems.

History

Louis XIV as Apollo in the Ballet Royal de la Nuit (1653) Ballet de la nuit 1653.jpg
Louis XIV as Apollo in the Ballet Royal de la Nuit (1653)

Ballet originated in the Italian Renaissance courts of the fifteenth and sixteenth centuries. Under Catherine de' Medici's influence as Queen, it spread to France, where it developed even further. [4] The dancers in these early court ballets were mostly noble amateurs. Ornamented costumes were meant to impress viewers, but they restricted performers' freedom of movement. [5]

Catherine de Medici 16th-century Italian noblewoman and queen consort of France

Catherine de' Medici, daughter of Lorenzo II de' Medici and Madeleine de La Tour d'Auvergne, was an Italian noblewoman who was queen of France from 1547 until 1559, by marriage to King Henry II. As the mother of kings Francis II, Charles IX and Henry III, she had extensive, if at times varying, influence in the political life of France. From 1560 to 1563, she ruled France as regent for her son Charles IX, King of France.

Ballet de cour is the name given to ballets performed in the 16th and 17th centuries at courts.

The ballets were performed in large chambers with viewers on three sides. The implementation of the proscenium arch from 1618 on distanced performers from audience members, who could then better view and appreciate the technical feats of the professional dancers in the productions.[ citation needed ]

Proscenium

A proscenium is the metaphorical vertical plane of space in a theatre, usually surrounded on the top and sides by a physical proscenium arch and on the bottom by the stage floor itself, which serves as the frame into which the audience observes from a more or less unified angle the events taking place upon the stage during a theatrical performance. The concept of the fourth wall of the theatre stage space that faces the audience is essentially the same.

French court ballet reached its height under the reign of King Louis XIV. Louis founded the Académie Royale de Danse (Royal Dance Academy) in 1661 to establish standards and certify dance instructors. [6] In 1672, Louis XIV made Jean-Baptiste Lully the director of the Académie Royale de Musique (Paris Opera) from which the first professional ballet company, the Paris Opera Ballet, arose. [7] Pierre Beauchamp served as Lully's ballet-master. Together their partnership would drastically influence the development of ballet, as evidenced by the credit given to them for the creation of the five major positions of the feet. By 1681, the first "ballerinas" took the stage following years of training at the Académie. [5]

Académie Royale de Danse

The Académie Royale de Danse, founded by Letters Patent on the initiative of King Louis XIV of France in March 1661, was the first dance institution established in the Western world. As one of King Louis’ first official edicts after the death of royal adviser Jules Mazarin, the “Letters Patent of the King to Establish a Royal Academy of Dance in the City of Paris” represented a critical step towards the young King's wielding of consolidated personal power. Structurally, the Académie consisted of thirteen dancing masters selected by King Louis XIV for being the “most experienced in the Art [of dance].” This "experience" was determined by each dancer's history of success in previous royal productions of ballets de cour. Most famously, eight of the selected dancing masters performed with King Louis XIV during his portrayal of Apollo, the Sun King, in LeBallet de la nuit (1653). Although the object of the Académie was to reflect, analyze and normalize matters of dance, no document relating to its activity or to this theorization has survived. The Académie Royale de Musique, founded in 1669 as the Académie d'Opéra, was a closely related opera and ballet company, and although the two institutions never merged, members of the dance academy were also associated with the opera. Little by little, recruitment of dancers into the royal entourage gave way to recruitment into the ballet-corps of the Opéra. This slowly altered the Académie's profile, making it and its members more dedicated to dance training alone. By 1775, the Académie was nearing the end of its life. On joining the Académie, Jean-Georges Noverre, one of ballet d’action’s most influential choreographers, commented on its ineffectiveness in making meaningful contributions to the dance world. Along with many other royal institutions, the dance academy ceased to exist at the time of the overthrow of the monarchy in 1789, but the opera and ballet company survived and today is known as the Opéra National de Paris.

Jean-Baptiste Lully Italian-born French composer

Jean-Baptiste Lully was an Italian-born French composer, instrumentalist, and dancer who spent most of his life working in the court of Louis XIV of France. He is considered a master of the French Baroque style. Lully disavowed any Italian influence in French music of the period. He became a French subject in 1661.

Paris Opera the primary opera company of France

The Paris Opera is the primary opera and ballet company of France. It was founded in 1669 by Louis XIV as the Académie d'Opéra, and shortly thereafter was placed under the leadership of Jean-Baptiste Lully and officially renamed the Académie Royale de Musique, but continued to be known more simply as the Opéra. Classical ballet as it is known today arose within the Paris Opera as the Paris Opera Ballet and has remained an integral and important part of the company. Currently called the Opéra National de Paris, it mainly produces operas at its modern 2700-seat theatre Opéra Bastille which opened in 1989, and ballets and some classical operas at the older 1970-seat Palais Garnier which opened in 1875. Small scale and contemporary works are also staged in the 500-seat Amphitheatre under the Opéra Bastille.

Ballet started to decline in France after 1830, but it continued to develop in Denmark, Italy, and Russia. The arrival in Europe of the Ballets Russes led by Sergei Diaghilev on the eve of the First World War revived interest in the ballet and started the modern era. [8]

In the twentieth century, ballet had a wide influence on other dance genres, [9] Also in the twentieth century, ballet took a turn dividing it from classical ballet to the introduction of modern dance, leading to modernist movements in several countries. [10]

Famous dancers of the twentieth century include Anna Pavlova, Galina Ulanova, Rudolf Nureyev, Maya Plisetskaya, Margot Fonteyn, Rosella Hightower, Maria Tall Chief, Erik Bruhn, Mikhail Baryshnikov, Suzanne Farrell, Gelsey Kirkland, Natalia Makarova, and Arthur Mitchell. [11]

Styles

Marie Salle, classical ballet dancer MarieSalle.jpg
Marie Sallé, classical ballet dancer

Stylistic variations and subgenres have evolved over time. Early, classical variations are primarily associated with geographic origin. Examples of this are Russian ballet, French ballet, and Italian ballet. Later variations, such as contemporary ballet and neoclassical ballet, incorporate both classical ballet and non-traditional technique and movement. Perhaps the most widely known and performed ballet style is late Romantic ballet (or Ballet blanc).

Classical ballet

The Valse des cygnes from Act II of the Ivanov/Petipa edition of Swan Lake Swanlake015.jpg
The Valse des cygnes from Act II of the Ivanov/Petipa edition of Swan Lake

Classical ballet is based on traditional ballet technique and vocabulary. [12] Different styles have emerged in different countries, such as French ballet, Italian ballet, English ballet, and Russian ballet. Several of the classical ballet styles are associated with specific training methods, typically named after their creators (see below). The Royal Academy of Dance method is a ballet technique and training system that was founded by a diverse group of ballet dancers. They merged their respective dance methods (Italian, French, Danish and Russian) to create a new style of ballet that is unique to the organization and is recognized internationally as the English style of ballet. [8] Some examples of classical ballet productions are: Swan Lake and the Nutcracker.

Romantic ballet

Carlotta Grisi, the original Giselle, 1841, wearing the romantic tutu Giselle -Carlotta Grisi -1841 -2.jpg
Carlotta Grisi, the original Giselle, 1841, wearing the romantic tutu

Romantic ballet was an artistic movement of classical ballet and several productions remain in the classical repertoire today. The Romantic era was marked by the emergence of pointe work, the dominance of female dancers, and longer, flowy tutus that attempt to exemplify softness and a delicate aura. [5] This movement occurred during the early to mid-nineteenth century (the Romantic era) and featured themes that emphasized intense emotion as a source of aesthetic experience. The plots of many romantic ballets revolved around spirit women (sylphs, wilis, and ghosts) who enslaved the hearts and senses of mortal men. The 1827 ballet La Sylphide is widely considered to be the first, and the 1870 ballet Coppélia is considered to be the last. [4] Famous ballet dancers of the Romantic era include Marie Taglioni, Fanny Elssler, and Jules Perrot. Jules Perrot is also known for his choreography, especially that of Giselle, often considered to be the most widely celebrated romantic ballet. [5]

Neoclassical ballet

Neoclassical ballet is usually abstract, with no clear plot, costumes or scenery. Music choice can be diverse and will often include music that is also neoclassical (e.g. Stravinsky, Roussel). Tim Scholl, author of From Petipa to Balanchine, considers George Balanchine's Apollo in 1928 to be the first neoclassical ballet. Apollo represented a return to form in response to Sergei Diaghilev's abstract ballets. Balanchine worked with modern dance choreographer Martha Graham, and brought modern dancers into his company such as Paul Taylor, who in 1959 performed in Balanchine's Episodes . [13]

While Balanchine is widely considered the face of neoclassical ballet, there were others who made significant contributions. Frederick Ashton’s Symphonic Variations (1946) is a seminal work for the choreographer. Set to César Franck’s score of the same title, it is a pure-dance interpretation of the score. [5]

Another form, Modern Ballet, also emerged as an offshoot of neoclassicism. Among the innovators in this form were Glen Tetley, Robert Joffrey and Gerald Arpino. While difficult to parse modern ballet from neoclassicism, the work of these choreographers favored a greater athleticism that departed from the delicacy of ballet. The physicality was more daring, with mood, subject matter and music more intense. An example of this would be Joffrey's Astarte (1967), which featured a rock score and sexual overtones in the choreography. [8]

Contemporary ballet

A ballet leap performed with modern, non-classical form in a contemporary ballet Grace in winter, contemporary ballet.jpg
A ballet leap performed with modern, non-classical form in a contemporary ballet

This ballet style is often performed barefoot. Contemporary ballets may include mime and acting, and are usually set to music (typically orchestral but occasionally vocal). It can be difficult to differentiate this form from neoclassical or modern ballet. Contemporary ballet is also close to contemporary dance because many contemporary ballet concepts come from the ideas and innovations of twentieth-century modern dance, including floor work and turn-in of the legs. The main distinction is that ballet technique is essential to perform a contemporary ballet.

George Balanchine is considered to have been a pioneer of contemporary ballet. Another early contemporary ballet choreographer, Twyla Tharp, choreographed Push Comes To Shove for the American Ballet Theatre in 1976, and in 1986 created In The Upper Room for her own company. Both of these pieces were considered innovative for their melding of distinctly modern movements with the use of pointe shoes and classically trained dancers.

Today there are many contemporary ballet companies and choreographers. These include Alonzo King and his company LINES Ballet; Matthew Bourne and his company New Adventures; Complexions Contemporary Ballet; Nacho Duato and his Compañia Nacional de Danza; William Forsythe and The Forsythe Company; and Jiří Kylián of the Nederlands Dans Theater. Traditionally "classical" companies, such as the Mariinsky (Kirov) Ballet and the Paris Opera Ballet, also regularly perform contemporary works.

The term ballet has evolved to include all forms associated with it. Someone training as a ballet dancer will now be expected to perform neoclassical, modern and contemporary work. A ballet dancer is expected to be able to be stately and regal for classical work, free and lyrical in neoclassical work, and unassuming, harsh or pedestrian for modern and contemporary work. In addition, there are several modern varieties of dance that fuse classical ballet technique with contemporary dance, such as Hiplet, that require dancers to be practised in non-Western dance styles. [14]

Technical methods of ballet instruction

There are six widely used, internationally recognized methods to teach or study ballet. These methods are the French School, the Vaganova Method, the Cecchetti Method, the Bournonville method, the Royal Academy of Dance method (English style), and the Balanchine method (American style). Many more schools of technique exist in various countries.

French method

Flower Festival 01.jpg

The French method is the basis of all ballet training. When Louis XIV created the Académie Royale de Danse in 1661, he helped to create the codified technique still used today by those in the profession, regardless of what method of training they adhere to. The French school was particularly revitalized under Rudolf Nureyev, in the 1980s. His influence revitalized and renewed appreciation for this style, and has drastically shaped ballet as a whole. [15] In fact, the French school is now sometimes referred to as Nureyev school. The French method is often characterized by technical precision, fluidity and gracefulness, and elegant, clean lines. For this style, fast footwork is often utilized in order to give the impression that the performers are drifting lightly across the stage. [16] Two important trademarks of this technique are the specific way in which the port de bras and the épaulement are performed, more rounded than when dancing in a Russian style, but not as rounded as the Danish style. [17]

Vaganova method

Agrippina Vaganova, "Esmeralda" 1910 Agrippina Vaganova -Esmeralda 1910.jpg
Agrippina Vaganova, "Esmeralda" 1910

The Vaganova method is a style of ballet training that emerged from Russian ballet, created by Agrippina Vaganova. After retiring from dance in 1916, Vaganova turned to teaching at the Leningrad Choreographic School in 1921. Her training method is now internationally recognized and revered and her book, The Fundamentals of Classical Dance (1934), is a classic reference. This method is marked by the fusion of the classical French style, specifically elements from the Romantic era, with the athleticism of the Italian method, and the soulful passion of Russian ballet. [16] She developed an extremely precise method of instruction in her book Basic Principles of Russian Classical dance (1948). This includes outlining when to teach technical components to students in their ballet careers, for how long to focus on it, and the right amount of focus at each stage of the student's career. These textbooks continue to be extremely important to the instruction of ballet today.

The method emphasizes development of strength, flexibility, and endurance for the proper performance of ballet. She espoused the belief that equal importance should be placed on the arms and legs while performing ballet, as this will bring harmony and greater expression to the body as a whole. [18]

Cecchetti method

Enrico Cecchetti with Anna Pavlova Cecchetti jpg.gif
Enrico Cecchetti with Anna Pavlova

Developed by Enrico Cecchetti (1850-1928), this method is one known internationally for its intense reliance of the understanding of anatomy as it relates to classical ballet. The goal of this method is to instill important characteristics for the performance of ballet into students so that they do not need to rely on imitations of teachers. Important components for this method is the emphasis of balance, elevations, ballon, poise, and strength.

This method espouses the importance of recognizing that all parts of the body move together to create beautiful, graceful lines, and as such cautions against thinking of ballet in terms of the arms, legs, and neck and torso as separate parts. This method is well known for eight port de bras that are utilized. [16]

Bournonville method

August Bournonville August Bournonville by E. Lange.jpg
August Bournonville

The Bournonville method is a Danish method first devised by August Bournonville. Bournonville was heavily influenced by the early French ballet method due to his training with his father, Antoine Bournonville and other important French ballet masters. This method has many style differences that differentiate it from other ballet methods taught today. [19] A key component is the use of diagonal épaulements, with the upper body turning towards the working foot typically. This method also incorporates very basic use of arms, pirouettes from a low développé position into seconde, and use of fifth position bras en bas for the beginning and end of movements.

The Bournonville method produces dancers who have beautiful ballon ("the illusion of imponderable lightness" [20] ).

Young girls competing at the Royal Academy of Dancing (London) exams held in Brisbane and Toowoomba, 1938 Young girls competing at the Royal Academy of Dancing (London) exams held in Brisbane and Toowoomba, 1938 (7946600826).jpg
Young girls competing at the Royal Academy of Dancing (London) exams held in Brisbane and Toowoomba, 1938

The Royal Academy of Dance method (RAD)

The Royal Academy of Dance method, also referred to as the English style of ballet, was established in 1920 by Genee, Karsavina, Bedells, E Espinosa, and Richardson. The goal of this method is to promote academic training in classical ballet throughout Great Britain. This style also spread to the United States, and is widely utilized still today. There are specific grade levels which a student must move through in order to complete training in this method. [21] The key principle behind this method of instruction is that basic ballet technique must be taught at a slow pace, with difficulty progression often much slower than the rest of the methods. The idea behind this is if a student is to put in a large amount of effort into perfecting the basic steps, the technique learned in these steps allow a student to utilize harder ones at a much easier rate. [16]

Balanchine method

Suzanne Farrell and George Balanchine dancing in a segment of "Don Quixote" at New York State Theater Suzanne Farrell and George Balanchine NYWTS.jpg
Suzanne Farrell and George Balanchine dancing in a segment of "Don Quixote" at New York State Theater

Developed by George Balanchine at the New York City Ballet. His method draws heavily on his own training as a dancer in Russia. The technique is known for extreme speed throughout routines, emphasis on lines, and deep pliés. Perhaps one of the most well known differences of this style is the unorthodox positioning of the body. [16] Dancers of this style often have flexed hands and even feet, and are placed in off-balance positions. Important ballet studios teaching this method are the Miami City Ballet, Ballet Chicago Studio company, and the School of American Ballet in New York. [22]

Costumes

Anna Pavlova (prima ballerina); Early materials for ballet costumes were heavy, hindering the dancer's movements Anna Pavlova 1912.jpg
Anna Pavlova (prima ballerina); Early materials for ballet costumes were heavy, hindering the dancer's movements

Ballet costumes play an important role in the ballet community. They are often the only survival of a production, representing a living imaginary picture of the scene. [23]

Renaissance and Baroque

The roots of ballet go back to the Renaissance in France and Italy when court wear was the beginning of ballet costumes. Ballet costumes have been around since the early fifteenth century. Cotton and silk were mixed with flax, woven into semitransparent gauze [23] to create exquisite ballet costumes.

Seventeenth century

During the seventeenth century, different types of fabrics and designs were used to make costumes more spectacular and eye catching. Court dress still remained for women during this century. Silks, satins and fabrics embroidered with real gold and precious stones increased the level of spectacular decoration associated with ballet costumes. [23] Women's costumes also consisted of heavy garments and knee-long skirts which made it difficult for them to create much movement and gesture.

Eighteenth century

During the eighteenth century, stage costumes were still very similar to court wear but progressed over time, mostly due to the French dancer and ballet-master Jean-Georges Noverre (1727–1810) whose proposals to modernize ballet are contained in his revolutionary Lettres sur la danse et les ballets (1760). Noverre's book altered the emphasis in a production away from the costumes towards the physical movements and emotions of the dancers.

European ballet was centered in the Paris Opera. [23] During this era, skirts were raised a few inches off the ground. Flowers, flounces, ribbons, and lace emphasized this opulent feminine style, as soft pastel tones in citron, peach, pink and pistachio dominated the color range. [23]

Nineteenth century

Olga Spessiva; Swan Lake Costume in the twentieth century Olga Spessiva in Swan Lake costume, 1934 photographer Sydney Fox Studio, 3rd Floor, 88 King St, Sydney.jpg
Olga Spessiva; Swan Lake Costume in the twentieth century

During the early nineteenth century, close-fitting body costumes, floral crowns, corsages and jewels were used. Ideals of Romanticism were reflected through female movements. [23] Costumes became much tighter as corsets started to come into use, to show off the curves on a ballerina. Jewels and bedazzled costumes became much more popular.

Twentieth century

During the twentieth century, ballet costumes transitioned back to the influence of Russian ballet. Ballerina skirts became knee-length tutus, later on in order to show off their precise pointe work. Colors used on stage costumes also became much more vibrant. Designers used colors such as red, orange, yellow, etc. to create visual expression when ballet dancers perform on stage.

Ballet as a career

Professional dancers are generally not well paid. As of 2017, American dancers (including ballet and other dance forms) were paid an average of US$14.25 per hour. [24] The job outlook is not strong, and the competition to get a job is intense, with the number of applicants vastly exceeding the number of job openings. [24] Some dancers earn money by participating in dancing competitions and are awarded with money or high paying contracts. [24] Choreographers were paid nearly twice the amount of dancers in 2017. [24]

Health effects

Teenage girl ballet dancers are prone to stress fractures in the first rib. [25] Eating disorders are common from ballet. In addition, some researchers have noted that intensive training in ballet results in lower bone mineral density in the arms. [26]

Cultural issues

In the twenty-first century, ballet has been criticized for being anti-woman and ageist. The complaint about ageism is because most choreography is written so that it can only be performed by a relatively young dancer. [27] The structure of ballet – in which a (usually) male choreographer or director uses (mostly) women's bodies to express his artistic vision, while ignoring, objectifying, or silencing the women involved – has been criticized for not respecting women. [27] [28]

See also

Related Research Articles

Vaganova method

The Vaganova method is a ballet technique and training system devised by the Russian dancer and pedagogue Agrippina Vaganova (1879–1951). It was derived from the teachings of the Premier Maitre de Ballet Marius Petipa, throughout the late 19th century. It was Agrippa Vaganova who perfected and cultivated this form of teaching classical ballet and turned it into a viable syllabus. The method fuses elements of traditional French style from the romantic era with the athleticism and virtuosity of Italian Cecchetti technique. The training system is designed to involve the whole body in every movement, with equal attention paid to the upper body, legs and feet. Vaganova believed that this approach increases consciousness of the body, thus creating a harmony of movement and greater expressive range.

George Balanchine Georgian choreographer, dancer and ballet master

George Balanchine was a Russian-born Georgian-American ballet choreographer who was one of the most influential 20th century choreographers. Styled as the father of American ballet, he co-founded the New York City Ballet and remained its Artistic Director for more than 35 years.

Royal Danish Ballet classical ballet company

The Royal Danish Ballet is an internationally renowned classical ballet company, based at the Royal Danish Theatre in Kongens Nytorv, Copenhagen, Denmark. It is one of the oldest ballet companies in the world and originates from 1748, when the Royal Danish Theatre was founded. It was finally organized in 1771 in response to the great popularity of French and Italian styles of dance. The company was founded with the opening of the Royal Danish Theatre, which has served as its home since that time.The Royal Danish Ballet school was founded in 1771 under the French ballet teacher Pierre Laurent (1730-1807), Then Vincenzo Galeotti developed it and August Bournonville founded his methodology for the school.

Contemporary dance form of dance that developed in the mid twentieth century

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 since come to incorporate elements from many styles of dance. Due to its technical similarities, it is often perceived to be closely related to modern dance, ballet, and other classical concert dance styles.

Neoclassical ballet is the style of 20th-century classical ballet exemplified by the works of George Balanchine. The term "neoclassical ballet" appears in the 1920s with Sergei Diaghilev's Ballets Russes, in response to the excesses of romanticism and post-romantic modernism. It draws on the advanced technique of 19th-century Russian Imperial dance, but strips it of its detailed narrative and heavy theatrical setting. What is left is the dance itself, sophisticated but sleekly modern, retaining the pointe shoe aesthetic, but eschewing the well-upholstered drama and mime of the full-length story ballet.

Tutu (clothing) a dress worn in ballet

The tutu is a dress worn as a costume in a classical ballet performance, often with attached bodice. It may be made of tarlatan, muslin, silk, tulle, gauze, or nylon. Modern tutus have two basic types: the Romantic tutu is soft and bell-shaped, reaching the calf or ankle; the Classical tutu is short and stiff, projecting horizontally from the waist and hip.

Classical ballet traditional, formal style of ballet

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, its flowing, precise movements, and its ethereal qualities.

Ballet master profession

A ballet master is an employee of a ballet company who is responsible for the level of competence of the dancers in their company. In modern times, ballet masters are generally charged with teaching the daily company ballet class and rehearsing the dancers for both new and established ballets in the company's repertoire. The artistic director of a ballet company, whether a male or female, may also be called its ballet master. Historic use of gender marking in job titles in ballet is being supplanted by gender-neutral language job titles regardless of an employee's gender.

Contemporary ballet

Contemporary ballet is a genre of dance that incorporates elements of classical ballet and modern dance. It employs classical ballet technique and in many cases classical pointe technique as well, but allows greater range of movement of the upper body and is not constrained to the rigorously defined body lines and forms found in traditional, classical ballet. Many of its attributes come from the ideas and innovations of 20th-century modern dance, including floor work and turn-in of the legs.

Character dance subdivision of classical dance, folk dances stylized for ballet theater

Character dance is a specific subdivision of classical dance. It is the stylized representation of a traditional folk or national dance, mostly from European countries, and uses movements and music which have been adapted for the theater.

Vaganova Academy of Russian Ballet school of classical ballet in Saint Petersburg, Russia

The Vaganova Academy of Russian Ballet is a school of classical ballet in Saint Petersburg, Russia. Established in 1738 during the reign of Empress Anna, the academy was known as the Imperial Ballet School up until Soviet times, when, after a brief hiatus, the school was re-established as the Leningrad State Choreographic Institute. In 1957, the school was renamed in honor of the renowned pedagogue Agrippina Vaganova, who cultivated the method of classical ballet training that has been taught there since the late 1920s. Graduates of the school include some of the most famous ballet dancers, choreographers and teachers in history and many of the world's leading ballet schools have adopted elements of the Vaganova method into their own training.

Ballet blanc

A ballet blanc is a scene in which the ballerina and the female corps de ballet all wear white dresses or tutus. Typical in the Romantic style of ballet from the nineteenth century, ballets blancs are usually populated by ghosts, dryads, naiads, enchanted maidens, fairies, and other supernatural creatures and spirits.

Chicago Festival Ballet is a professional ballet company performing a repertoire of classical, romantic and neoclassical works in venues around the United States. Chicago Festival Ballet is also known as Von Heidecke's Chicago Festival Ballet. Chicago Festival Ballet's sister organization and educational arm is the Von Heidecke School of Ballet.

History of ballet

Ballet is a formalized form of dance with its origins in the Italian Renaissance courts of 15th and 16th centuries. Ballet spread from Italy to France with the help of Catherine de' Medici, where ballet developed even further under her aristocratic influence. An early example of Catherine's development of ballet is through 'Le Paradis d' Amour', a piece of work presented at her daughter's wedding, Marguerite de Valois to Henry of Navarre. Aristocratic money was responsible for the initial stages of development in 'court ballet', as it was royal money that dictated the ideas, literature and music used in ballets that were created to primarily entertain the aristocrats of the time. The first formal 'court ballet' ever recognized was staged in 1573, 'Ballet des Polonais'. In true form of royal entertainment, 'Ballet des Polonais' was commissioned by Catherine de' Medici to honor the Polish ambassadors who were visiting Paris upon the accession of Henry of Anjou to the throne of Poland. In 1581, Catherine de' Medici commissioned another court ballet, Ballet Comique de la Reine, however it was her compatriot, Balthasar de Beaujoyeulx, who organized the ballet. Catherine de' Medici and Balthasar de Beaujoyeulx were responsible for presenting the first court ballet ever to apply the principles of Baif's Academie, by integrating poetry, dance, music and set design to convey a unified dramatic storyline. Moreover, the early organization and development of 'court ballet' was funded by, influenced by and produced by the aristocrats of the time, fulfilling both their personal entertainment and political propaganda needs.

Arabesque (ballet position) important pose of classical dance

Arabesque in dance, particularly ballet, is a body position in which a dancer stands on one leg – the supporting leg – with the other leg – the working leg – turned out and extended behind the body, with both legs held straight. In classical ballet, an arabesque can be executed with the supporting leg en pointe or demi pointe or with foot flat on the floor.

Tschaikovsky Piano Concerto No. 2, originally called Ballet Imperial, is a ballet in three movements made by New York City Ballet's co-founder and founding choreographer George Balanchine for his earlier company, American Ballet Caravan, to the version of Peter Ilyitch Tchaikovsky's Piano Concerto No. 2, originally composed in 1879–80, but later revised by Alexander Siloti. The ballet was given a preview performance on 29 May 1941 at the Little Theater of Hunter College in New York City. The premiere took place on 25 June 1941 at Teatro Municipal, Rio de Janeiro.

The Alexandra Ballet is a pre-professional ballet company in St. Louis, Missouri, founded in 1949, that cultivates top dance talent. The company regularly performs classical ballets including A Midsummer Night’s Dream, Pas de Quatre, Les Sylphides, and an annual performance of The Nutcracker. Many guest choreographers have worked with Alexandra Ballet including Marek Cholewa, Petrus Bosman, and Kennet Oberly.

The Guangzhou Ballet Troupe is a classical ballet company based in Guangzhou, China. In addition to works from the classical European ballet repertoire, the company performs works of classical and contemporary Chinese ballet. The company is one of the top four ballet companies in China. It was founded in 1974, and is currently headed by dancer Zhang Dandan. The company tours internationally.

Balanchine technique or Balanchine method is the ballet performance style invented by dancer, choreographer, and teacher George Balanchine (1904–1983), and a trademark of the George Balanchine Foundation. It is used widely today in many of Balanchine's choreographic works. It is employed by ballet companies and taught in schools throughout North America, including the New York City Ballet and School of American Ballet, where it first emerged.

References

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Further reading