ballet ppt
TRANSCRIPT
Romantic Ballet 18th - 19th
century
highlighted supernatural characters such as sylphs, fairies and mythical creatures.
Pointe shoes
The role of the FEMALE
“She is the priestess of the chaste art: she prays with her legs.”
--Gautier
Giselle 1841
Carlota Grisi
Choreography by Jean Coralli & Jules Perrot Scenario by Gautier
Romantic Ballet
La Sylphide 1832
Romantic Ballet
Choreography by Philippo Taglionifor daughter Marie Taglioni
Sleeping Beauty 1890
Marius Petipa
The Nutcracker 1892
Lev Ivanov
Swan Lake 1895
Ivanov and Petipa
Classical Ballet
Music by:
Peter Tchaikovsky
Classical Ballet
• virtuosity
• Intimate collaboration between choreographer and composer
• technically more challenging
• body is more exposed
Late eighteen hundreds
Hierarchy in Classical Ballet:
• Principal Dancers• Chorus • Soloists
Michel Fokine• First chief choreographer for Ballet Russes
• Choreography:
Chopiniana - 1907
Pavillon D’Armide - 1907
Cleopatre - 1909
Prince Igor - 1909
*Les Sylphides - 1909
*Firebird - 1910
Scherezade - 1910
Le Spectre de la Rose - 1911
*Petrouchka - 1912
1880 - 1942
Ballets Russes1909 - 1929
Schéherezade
Other choreographers of Ballet Russes are:
Vaslav Nijinski -Rite of Spring, The Afternoon of the Faun.
Bronislava Nijinska – Les Noces, Les Biches
Leonide Massine: Parade, Midnight Sun
George Balanchine: The Prodigal Son, Apollo
f a Faun
Nijinsky
Igor Stravinsky
composed the music for:
The Fire Bird (M. Fokine) Rites of Spring (V. Nijinsky) Les Noces (B. Nijinska)of a Faun
Russia
Fokine’s five point choreographic/aesthetic rules:
1. Each Ballet should have a style of movement created especially for it according to the demands of the subject matter and the musical scores. The classical steps should be modified or restyled according to the dictates of the thematic material.
2. The dance movement itself should convey the unfolding of the dramatic action, thus eliminating the inclusion of mime.
3. The formalized pantomimic gesture of the previous ages should be replaced by an expressiveness created from total
body movement, which would, in turn, meaningfully communicate ideas and feelings.
• All dancers in a work, including the corps de ballet, should be an intricate part of the whole and not serve to decorate the stage at various interludes.
5. All aspects of the ballet should be on equal footing. Namely, the dancing, the music, sets, and costumes should reflect the collaborative effort toward a cohesive creative product.