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· Division between hope and reality that does not always match up
· 19th C
· In dance there was a yearn for the unattainable female, magic and madness on stage
· Gas lighting, use of curtains
· Colorful and erotic
· Aspiration vs actuality |
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French philosopher of late 18th Century-19th C
writes a book called The Confessions where he makes a revolutionary statement that he is an individual who is unique |
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occurs in the 19th C
· machines replaced human working and people were needed to run the machines.
· Mass migration away form farms into cities
· nuclear family starts to take an even stronger hold because the need to a mobile work force rose
· Railroads became more popular, providing possible connections to faraway places |
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Social upheaval in France
· rise of Middle class who can buy and purchase inexpensive seats in the theater
· There are professional dancers
· commerce and business make middle class more prominent |
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· allows dimming of light on stage
· Audience could be in the dark while there was light on the stage
· Lower the curtain- the curtain can be down, the house can be in darkness and the curtain can come up and the lighting can be controlled throughout. |
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Head of Paris Opera 1831-1835
· slashed salaries of ballerinas
· Emphasis on Star system- one star performing
· makes use of backstage scrim (the screen in the back of the stage that is opaque)- light can shine through so gas lighting was able to shine through and they could make shadows.
· encouraged the ballerinas to be mistresses
· Dancers no longer had to be noble |
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· Men into horses, fencing and women. (Ballerinas would be mistresses) |
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· Place backstage where wealthy men from the Jockey Club could meet ballerinas after the show so they could become their mistresses |
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· “Robert the devil”
· Choreographed by Phillip Taglioni
· Marie Taglioni stars in it
· Romanticism in Ballet begins
· Ballet scene lapsed nuns- they are dead, takes place at night to make it spooky and they dead nuns rise out of their graves and dance on pointe |
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• first romantic ballet
• 2 hours long
• starring Taglioni’s daughter Marie Taglioni
• 1st Act Light, 2nd Act dark, Happy peasants dancing- typical of romantic ballet.
• James, Lord of Manor of exotic faraway place called Scotland and is engaged to the earthly Effie who is loved by a peasant- Gurn
• There is an evil witch- Madge [Man], Only James sees the Sylph. |
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• Choreographed Le Diable and La Sylphide
• Marie Taglion’s father |
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• before box pointe shoe- she was incredibly strong and good at dancing on point.
• Wore the romantic tutu.
• She looked like she was floating on pointe.
• Russia when they wanted to be westernized. |
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• Characters in La Sylphide
James is supposed to marry Effie and Madge tells James he will never marry, but Effi will, to Gurn so he throws Madge out.
• Madge comes back and says that if he puts the scarf on the Sylph, he can possess her so he does and her wings all of (making her of the earth) and she dies.
• Madge shows James, Effie marrying Gurn. James has a heart attack and dies. |
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• Danish man goes back to Denmark- in his version of La Sylphide- james doesn’t die
• spent his whole life in the dance scene
• created dances that reflected human nature
• steps were often light, fast footwork with intricate steps
• Elevation in steps for men and sweetness and charm in steps for women |
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• Australian dancer, Referred to by Gautier as a Pagan dancer because she was sensual and exotic
• Felt that she captured a type of fiery display that he associated with the notion of Paganism |
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1836
• Spanish, sensual, solo dance,
• Danced by Fanny- said that the first time she danced it, men fainted in the audience and she had to repeat the dance 7 times. |
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• Dance Critic and member of Jockey Club
• Wrote against male dancer- wrote that the male dancer was ugly and by 1860, men basically disappear from the Paris Opera on stage
• 1860’s- Female dancers Dominate Paris, Male dancers continued to develop side by side with female dancers in Russia and Denmark
• Describes Marie Taglioni as an angel, Christian Dancer |
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• height of Romanticism in ballet
• Stars Carlotta Grisi, choreographed by her lover, Jules Perrot- Dancing master at the Paris Opera at the time and Jean Coralli.
• Written buy Gautier who was in love with Grisi.
• Act I: sunlit, Hilarion- gamekeeper in love with Giselle, Albrecht- noble, Bathlide- engaged to Albrecht, Giselle- mad scene, dies. Giselle has a heart condition and she loves to dance, which her mother does not want her to do. If this happens, she will become a wilis- vampire. (what happens to women who die before they get married or have been wronged by a man) Giselle- mad scene, dies.
• Act II: moonlit- Myrtha- Queen of the Wilis. Hilarion danced to death and Giselle saves Abrecht |
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• stars in Giselle
• Gautier is in love with her and create Giselle to show her off |
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• Choreographer of Giselle and lover of Grisi, so he received no credit
• In Russia 1848-1859 and brings with him an emphasis of Ballet d’action
• choreography bring attention to each dancer
• When he was a dancer, he was advised to dance quickly because he was ugly. |
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| • dance master of the time (first one) in Paris Opera who helped choreograph Giselle and received most of the credit because Gautier did not like Perrot |
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• Albrecht is a noble but disguises himself as a peasant and hides his noble sword so he can court Giselle- a peasant. Bathilde is engaged to Albrecht
• Marius Petipa’s brother who played Albrecht in Giselle |
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| Coppelia, Girl with the Enamel Eyes, 1870 |
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• Last great romantic Ballet
• Choreographed by Arthur Saint-Leon
• Comic ballet
• Frantz and Swanilda are engaged and in the window upstairs of Dr. Coppellias’ house you can see Coppellia reading and Frantz is trying to flirt with her, but she is a doll. Swanilda and her friends sneak into Coppelias house and realize Coppellia is a doll and there are all sorts of big dolls. Frantz is also trying to get in the house to meet Coppelia and Coppelias comes back, knows out Frantz so transfer his life force into the doll so he can have a daughter. Swanilda comes in to rescue him, she forgives Frantz and they marry. |
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| • engaged couple in Coppelia (both played by a woman) in 1870, after 1860 when the box pointe shoe was invented. |
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• choreographed Coppelia
• before he was choreographer in Russia under the Russian czar, comes back and choreographs this and during Pranco-Prussian war, dies from exhaustion a year later Russia from 1859-1870- known for brilliant divertissements (things put in a ballet just to entertain, not for plot movement).
• His use of national dances in the choreographies |
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| • Stars Coppellia and dies of a fever |
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| • Killed Leon and Bozzachhi |
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• we have come to call it classical ballet
• Russia wants to Westernize Late 17th C, early 18th C
• Peter the Great has them import fashions and dance from the West.
• shows good and evil and reinforces traditional values, and often puts forth maintaining a sense of traditional aesthetics sleeping beauty, swan lake, Nutcracker
• Started at St. Petersburg Ballet School in 1738
• Catherine II gets official patronage and is the director of imperial theater |
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• monarchy in Russia
• Everyone who works for the ballet is considered a servant of the Tsar. This was a respectful career for women and men.
• Respect shown always to Tsar and family. All the men in the house stood until Tsar and their family showed up and sat in their box. Once seated, all the men would then sit down. At the end, everyone sat till Tsar and family left and performers FIRST bowed to Tsar and family
• Not like France where there was a tainted reputation. |
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• French dancing master: establishes in St. Petersburg (capitol) a school in 1738- really good thing for art form.
• Catherine II gives official patronage (Russian government was going to officially financially sponsor the ballet company) in 1766 and Moscow in 1806 and establishes the position or director of Imperial Theater |
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| St Petersburg [to Leningrad, to St. Ptersburg] |
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• capitol of Russia where Lande established Ballet School.
• St. Petersburd renamed Leningrad then renamed St. Petersburg after the fall of the tsar. |
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| Maryinsky Theater to Kirov Theater |
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• Main theater in St Petersburg.
• Changed to the Kirov. The company is the Kirov Ballet. Known for being very technical and academic and pure. |
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• Their style is known to be flamboyant and expressive.
• Giselle, Swan Lake, Sleeping Beauty were all performed there
• Parent company to Bolshoi Ballet Academy |
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• Resided in Russia from 1801-1837
• he choreographed 20 ballets
• raised the standards of ballet and technique
• Introduced flying wires and brought pointe work to a new level. |
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• Arrives in Russia in 1847 as an assistant and is an assistant until he becomes chief ballet master in 1870 (almost no men performing in the Paris Opera, but not in Russia or Denmark), which he stays for 30 years.
• He choreographed 40 ballets.
• He is the choreographer of “classical ballet”.
• He pleases the Tsar, himself, the public, Good at choreographing Aerial & Pointe work.
• Plot structures were intricate
• Lots of divertissement
• Had children dancing on stage to expose them to the dance world
• Choreographed: La Bayadere, Don Quixote, Pharaoh’s Daughter, Sleeping Beauty |
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• Chroeographed by Marius Peptipa 1861- Aspica daughter, English Lord takes shelter from a storm where someone gives him Opium and he has a dream that becomes Ta-hor. Ta-hor saves Aspica from a lion so she falls in love with him and the king she was engaged to gets mad and chases them. Aspica dives into the Nile to get away and the spirit of the Nile invites all of the great spirits of the great rivers of the world to entertain her. Afterwards, the spirit returns her to the earth and she goes to her father and he says she can marry whoever she wants. Then, the English lord wakes up and realizes it is just a dream.
First performed at Imperial Ballet Theater, very successful
Processions, dramatic scenes, divertissements, solos, ensemble dance |
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| • Entertaining technical dance that does not move the plot along |
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• 5 parts
• “big dance for two”
• does not move the plot along, designed to show of the stars |
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| Part 1 of Grand pas de Deux- entrance |
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| Part 2 of Grand pas de Deux- slower paced, male shows off ballerina through lifts |
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| Part 3 of Grand pas de Deux- chance for man to show off |
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| Part 5 of Grand pas de Deux- ending with a big flashy finale |
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Classical- hero
Character- folk
Demi-character
Mime- codified |
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• Maruis Petitpa invited children to dance on stage during his ballets because he thought it would make them grow to love performing and being on stage
The Sleeping Beauty, 1890 |
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• Choreographed by Mauris Petipa
• Composed by Tchaikovsky
• 3 acts
• End of Act I: Rose Adagio
• Act II→Prince and Aurora find each other
• Act III→wedding, divertissement (Grand pas de deux)
• Classical tutu (shorter)
• Very successful
pink fairy= generosity, yellow= light heartedness, one fairy not brouincited to the christening of aurora so she curses the baby, Lilac fairy is princess aurora’s protector. |
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| • For sleeping beauty, Petipa gave all the details of the choreography to Tchaikovsky so he could compose the music accordingly |
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great composer who was given strict restrictions and was able to create beautiful music.
• Composed Sleeping Beauty
• Composed Nutcracker |
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| End of Act I of Sleeping Beauty- Rosa Adagio: Aurora- 4 suitors who want to marry her and in the adagio, she is being partnered by one of them on pointe, on one leg, with her hand on his hand to help her balance. While on pointe, he lets go and the next prince comes and puts his hand there, etc. until all princes have done it. Act II- Prince and Aurora find each other.Act III- The wedding. |
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• Choreographed by Petipa and composed by Tchaikovsky
• Once again, Petipa gave Tchaikovsky a very detailed outline for music
• Ivanov took over the Nutcracker and choreographed snowflakes in Act I
• Nutcracker was a failure at first |
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• 2nd ballet master
• Understudy to Petipa
• Choreographed snowflakes in Act I of Nutcracker |
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• Cause of death is not certain, maybe bad water
• Petipa choreographs Acts 1 and 3 in honor of Tchaikovsky
• In the middle of composing Swan Lake |
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• Chroeographed by Petipa and Ivanov
• She is destined to be the queen of the swans except for a brief period every day and she convinces she prince not to kill the swans. She has to have someone commit their undying love to her to break the spell. Prince Siegfried invites her to a ball. The evil sorcerer is tricky and Odette warns him not to get tricked. |
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• Petipa choreographed Acts I and III in honor of Tchaikovsky
• Real world of the court acts |
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• choreographed Acts II and IV
• Romantic lake-side scenes |
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• Odette is a Princess who is under the spell of evil witch and has been turned into a swan
• Meets Prince Siegfried and they combat a plan to save Odette at Royal Ball
• Odile (evil witch’s mother) dresses up as Odette and tricks Prince Siegfried |
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• Hunting for swans at the like and meets Odette in her human form
• Odette tells Prince Siegfried that she is under an evil spell and the only way to get rid of it is to fall in love
• He invites her to a royal ball but gets tricked by evil witch/Odile
• Prince and Odette end up throwing themselves into the lake together |
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• Destroyed the Tsar aristocracy
• Takeover of the Bolshevik/Communist government |
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• Famous ballerina
• Toured own company in 1910
• Portrayed birds, insects, and plants
• Brought ballet to the common person
• Famous in America |
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• Performed by Anna Pavlova
• Quick feet movement
• Upper body and torso are more expressive |
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• Ballet company
• Serge Diaghilev was director from 1909-1929
• Became a permanent company in 1911
• Rise of men in ballet
• Methodology was a collaboration of music, dance, costume, set, etc
did not perform in Russia. Imperial Russian Ballet, Classical ballet, choreographed by Petipa, Composer Tchaikovsky |
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• Impresario/director of Ballet Russe
• Collaborated with many artists
• Composers: Stravinsky, Debussy, Satie, Milhaud
• Artists: Bask, Benois, Picasso, Matisse, Cocteau
• Coco Chanel
• Launched careers of Fokine, Vaslav Nijinksy, Massine, Bronislava Nijinska, Balanchine
• Told an elaborate story with choreography
• America liked his work |
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• Russian painter
• Scene and costume designer
• Collaboration with Diaghilev |
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• Spanish painter, draughtsman, and sculptor
• Collaboration with Diaghilev, designed sets |
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• Choreographed Les Sylphide, Cleopatre, and Firebird
• Ballet d’action by unifying dance, music, and painting
• Expression was important
• Had 5 principles
• I act ballets
• Adult narrative themes
• Choreographed Dying Swan for Anna Pavlova
before Ballet Russes |
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| Fokine's 5 Major Principles |
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1. New movement for each dance→no paud de deux
2. No mime
3. Use entire body
4. No divertissement
5. Unity amongst the arts |
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• 1909
• Choreographed by Fokine
• Abstract
• No storyline
• Music composed by Chopin |
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• Slave man has an orgy in a harem and gets killed
• Nijinksy plays slave |
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• Choreographed by Fokine
• Ida Rubenstien, a famous Russian ballerina, starred in Cleopatre
• Adult theme: The man dies to have one night with cleopatra when the woman who loves him has to live without him |
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• 1911
• Choreographed by Fokine
• Music composed by Stravinksy
• About puppets, Nijinsky played a puppet |
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• 1911
• Choreographed by Fokine
• Nijinksy plays spirit of a rose
• Asleep throughout piece, not dead
• Joyful at the end |
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• One of the greatest male dancers of all time
• Premier danseur until 1913
• Choreographed: Afternoon of a Faune, Jeaux, and Rite of Spring
• Pushed towards modern dance |
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• Mental disorder that makes it difficult for people to tell the difference between real and unreal experiences
• Nijinsky was mentally ill and had to end his career |
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• 1912
• Choreographed by Nijinksy
• Music composed by Debussy
• Forest nymphs
• Metaphor for youthful adolescent sexuality
• Some of Freud’s philosophy
• Baskt made costumes |
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• French composer
• Composed music for Afternoon of a Faune, Jeux |
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• 1913
• Choreographed by Nijinsky
• Piece about sexual tension
• 2 girls and 1 man playing tennis
• Music composed by Debussy |
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• 1913
• Music composed by Stravinsky
• Choreographed by Nijinsky
• Sacrifice of a virgin by making her dance to death |
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• Russian composer
• Composed for Fokine, Nijinsky
• Composed Petrouchka and Rite of Spring |
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• Russian ballet dancer
• Part of Imperial School of Dance
• Sought political asylum
Russian Ballet in 1961- the KBG traveled with the dancers and when traveling the west, he asked for political asylum and died in 1993 of AIDS |
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| Nureyev defected westward because the KBG was after him |
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| • right to seek shelter somewhere if one has reasonable fear of persecution |
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• American dancer and choreographer
• Studied ballet and modern dance in New York City
• Known for modern and imaginative ballets including rock music and lighting effects |
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• Ballet company founded by Robert Joffrey
• 1956 |
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Definition
• Dancer and choreographer
• Danced at Imperial Ballet School
• Two ballet styles: symphonic and story
• Symphonic: abstract dance
• Story: high degree of comedy, satire, and character dancing |
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