Ballet Became an Independent Art Form During the Nineteenth Century

Formalized form of trip the light fantastic

Ballet is a formalized class of dance with its origins in the Italian Renaissance courts of 15th and 16th centuries. Ballet spread from Italy to France with the assist of Catherine de' Medici, where ballet adult even further under her aristocratic influence. An early on instance of Catherine'southward development of ballet is through 'Le Paradis d' Amour', a slice of work presented at her daughter's wedding, Marguerite de Valois to Henry of Navarre. Aloof money was responsible for the initial stages of development in 'court ballet', as it was imperial coin that dictated the ideas, literature and music used in ballets that were created to primarily entertain the aristocrats of the time. The kickoff formal 'court ballet' ever recognized was staged in 1573, 'Ballet des Polonais'. In truthful form of royal entertainment, 'Ballet des Polonais' was commissioned by Catherine de' Medici to accolade the Polish ambassadors who were visiting Paris upon the accretion of Henry of Anjou to the throne of Poland. In 1581, Catherine de' Medici deputed another courtroom ballet, Ballet Comique de la Reine, still 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 gear up pattern to convey a unified dramatic storyline. Moreover, the early organization and development of 'courtroom ballet' was funded past, influenced by and produced by the aristocrats of the time, fulfilling both their personal amusement and political propaganda needs.

In the late 17th century Louis Fourteen founded the Académie Royale de Musique (the Paris Opera) inside which emerged the first professional theatrical ballet visitor, the Paris Opera Ballet. The predominance of French in the vocabulary of ballet reflects this history. Theatrical ballet before long became an contained form of art, although still oftentimes maintaining a close association with opera, and spread from the heart of Europe to other nations. The Royal Danish Ballet and the Imperial Ballet of the Russian Empire were founded in the 1740s and began to flourish, particularly later on near 1850. In 1907 the Russian ballet in plow moved dorsum to France, where the Ballets Russes of Sergei Diaghilev and its successors were particularly influential. Before long ballet spread around the world with the formation of new companies, including London'due south The Majestic Ballet (1931), the San Francisco Ballet (1933), American Ballet Theatre (1937), the Imperial Winnipeg Ballet (1939), The Australian Ballet (1940 equally the predecessor Borovansky Ballet), the New York City Ballet (1948), the National Ballet of Canada (1951), and the National Ballet Academy and Trust of India (2002).^[1]

In the 20th century styles of ballet continued to develop and strongly influence broader concert dance, for example, in the The states choreographer George Balanchine adult what is now known equally neoclassical ballet, subsequent developments have included contemporary ballet and mail-structural ballet, for example seen in the piece of work of William Forsythe in Germany.

The etymology of the word "ballet" reflects its history. The word ballet comes from French and was borrowed into English effectually the 17th century. The French give-and-take in plow has its origins in Italian balletto, a diminutive of ballo (dance). Ballet ultimately traces back to Italian ballare, meaning "to dance".^[ii]

Origins [edit]

Renaissance – Italy and France [edit]

Ballet originated in the Renaissance courtroom as an outgrowth of court pageantry in Italy,^[3] where aristocratic weddings were lavish celebrations. Tutus, ballet slippers and pointe work were not yet used. The choreography was adapted from court dance steps.^[4] Performers dressed in fashions of the times. For women that meant formal gowns that covered their legs to the talocrural joint.^[5] Early ballet was participatory, with the audience joining the dance towards the end.

Domenico da Piacenza (c. 1400–c. 1470) was one of the first dancing masters. Forth with his students, Antonio Cornazzano and Guglielmo Ebreo da Pesaro, he was trained in trip the light fantastic toe and responsible for teaching nobles the art. Da Piacenza left one work: De arte saltandi et choreus ducendi (On the art of dancing and conducting dances), which was put together by his students.^[6]

In 1489, Galeazzo, Duke of Milan, married Isabella of Aragon in Tortona. An elaborate trip the light fantastic entertainment was bundled for the celebrations by the Italian dance chief Bergonzio di Botta. The dances were linked by a slim narrative concerning Jason and the Argonauts, and each corresponded to a different course for the dinner. Tristano Calco of Milan wrote about the outcome, and information technology was considered and then impressive, that many similar spectacles were organized elsewhere.^{[7] [8]}

Ballet was further shaped past the French ballet de cour, which consisted of social dances performed by the dignity in tandem with music, oral communication, verse, song, pageant, decor and costume.^[9] When Catherine de' Medici, an Italian aristocrat with an interest in the arts, married the French crown heir Henry II, she brought her enthusiasm for dance to France and provided fiscal support. Catherine'south glittering entertainments supported the aims of courtroom politics and unremarkably were organized around mythological themes.^[ten] The first ballet de cour was the Ballet de Polonais. This Ballet was performed in 1573 on the occasion of the visit of the Polish Ambassador. It was choreographed by Balthasar de Beaujoyeulx and featured an hour-long trip the light fantastic toe for xvi women, each representing a French province. Ballet Comique de la Reine (1581), which was as well choreographed and directed past Balthasar de Beaujoyeulx, was commissioned by Louise of Lorraine, queen consort of Male monarch Henry III, son of Catherine, to gloat the marriage of Henry's favorite the Duke de Joyeuse to Marguerite de Lorraine, the sister of Queen Louise. The ballet lasted for more than than v hours and was danced by twenty-four dancers: twelve naiades and twelve pages.^{[eleven] [12]}

In the same year, the publication of Fabritio Caroso'due south Il Ballarino, a technical transmission on court dancing, both functioning and social, helped to establish Italian republic as a centre of technical ballet development.^[13]

17th century – France and Court Trip the light fantastic toe [edit]

Ballet developed as a performance-focused art form in France during the reign of Louis XIV, who was passionate nearly dance.^[14] His interest in ballet dancing was politically motivated. He established strict social etiquettes through dancing and turned it into one of the well-nigh crucial elements in court social life, finer property authority over the nobles and reigning over the state.^[15] Louis's initiates led to the refinery and perfection of social dancing among aristocrats every bit a manner to display royalty, farther consolidating the art of classical ballet with newly established rules and protocols.^[16]

In 1661 Louis Fourteen, determined to further his ambition in controlling the nobles ^[17] and reverse a pass up in dance standards that began in the 17th century, established the Académie Royale de Danse.^[14] Earlier that, aristocrats considered dancing, together with riding and military preparation as three major disciplines in showcasing their dignity. Nonetheless, Louis' founding of the University diverted their attention from war machine arts to court social functions, from war to ballet, further tightening rules around them.^[18]

To expand the influence of French culture throughout Europe, Louis ordered Pierre Beauchamp, the king'southward personal dance teacher and favorite partner in ballet de cour in the 1650s,^[19] to create "a style of making dance understood on paper".^[twenty] Beauchamp was likewise appointed Intendant des ballets du roi and in 1680 became the managing director of the dance academy, a position he held until 1687.^[nineteen] This order led to an intense research in this surface area by many ballet masters, however, just Beauchamp'south dance annotation system got recognized.^[21] In his arrangement, he codified the five bones positions of the anxiety in ballet.^[19] Raoul Auger Feuillet, a Parisian ballet master, later adopted his organisation and had his work published in 1700. His notation organization became significantly popular in Europe.^[22]

Feuillet concentrated his efforts on the most influencing dance at court, called "La belle danse", or besides known as "The French noble way". This kind of trip the light fantastic toe was pop at balls or courts with more than demanding skills. "Entrée grave", as one of la belle danse's highest form, was typically performed past ane man or ii men with graceful and dignified movements, followed by tedious and elegant music. At this time, it'south just men that performed la belle danse and entrée grave. Women did perform at queen's ballets and other social occasions, only not at entrée grave, king's ballets, at courts or on Paris' stages, non until 1680s. During this particular time, men were considered to exist the champion and main of art, displaying their masculine, dignified and noble dance, a king'due south trip the light fantastic. This likewise gear up the model for classical ballet.^[23]

Courtroom ballets had a long history of combining dance and etiquette since the Renaissance, but when it came to la belle danse, etiquettes in ballet were brought to a completely new height. Every single etiquette rule in Louis' courts was put in great detail in la belle danse and one could certainly see others' noble status through their dances.^[24] Five positions of the bodies codified by Beauchamp, followed by Feuillet, described the trunk similar a miniature court, with the head equally the central point, analogous its limbs like the rex ruling his state. A dancer performing a 18-carat noble would perform different five positions than 1 performing a peasant or lower-ranking characters.^[25] Proof of dignity was also indicated through employ of masks, makeup, costumes especially shoes in la belle danse.^[26]

Jean-Baptiste Lully, an Italian violinist, dancer, choreographer, and composer, who joined the court of Louis XIV in 1652,^[27] played a significant role in establishing the general direction ballet would follow for the next century. Supported and admired by King Louis Fourteen, Lully often cast the rex in his ballets. The title of Sunday Rex for the French monarch, originated in Louis Fourteen'due south office in Lully's Ballet de la Nuit (1653). The fourteen-year-onetime Louis XIV danced 5 roles in this 12-60 minutes ballet.^[28] This Ballet was lavish and featured a scene where a set piece of a house was burned downwardly, included witches, werewolves, gypsies, shepherds, thieves, and the goddesses Venus and Diana.^[29] The ballet's primary theme was not darkness and night terrors though, but its focus was on Louis who appeared at the end as the Sunday (the Sun God, Apollo), putting an end to the night.^[30] Lully'south primary contribution to ballet were his nuanced compositions. His understanding of movement and trip the light fantastic allowed him to compose specifically for ballet, with musical phrasings that complemented physical movements.^[29] Lully besides collaborated with the French playwright Molière. Together, they took an Italian theatre style, the commedia dell'arte, and adapted it into their work for a French audition, creating the comédie-ballet. Amongst their greatest productions, with Beauchamp every bit the choreographer,^[19] was Le Bourgeois Gentilhomme (1670).^[31]

In 1669 Louis 14 founded the Académie d'Opéra with Pierre Perrin as director.^[32] Louis Xiv retired as a dancer in 1670, largely because of excessive weight proceeds. Earlier, in 1661 he had founded a school, the Adacemie Royale de danse. Beauchamp was the beginning ballet-primary of the Opéra and created the dances for the new visitor's first product Pomone with music past Robert Cambert.^[19] Later, later on Perrin went bankrupt, the king reestablished the Opéra equally the Académie royale de Musique and fabricated Lully the manager.^[32] Beauchamp was one of the master choreographers.^[19] In this position Lully, with his librettist Philippe Quinault, created a new genre, the tragédie en musique, each act of which featured a divertissement that was a miniature ballet scene.^[27] With almost all his important creations Jean-Baptiste Lully brought together music and drama with Italian and French dance elements. His work created a legacy which would define the future of ballet.

Popularity throughout Europe [edit]

The Royal Ballet of the Dowager of Bilbao's 1000 Ball, 1626.

France's courtroom was in some means the leading source of stylish culture for many other purple courts in Europe. Styles of entertainment were imitated, including the majestic ballets. Courts in Spain, Portugal, Poland, Germany, and elsewhere all became audiences and participants in ballets. In addition to France, Italian republic became an of import influence on the art grade, predominantly Venice.

Professional ballet troupes began to organize and tour Europe, performing for aristocratic audiences. In Poland, King Władysław 4 Vasa (1633–1648) hosted Italian opera productions, which included ballet performers in some scenes. The famous European ballet-masters who worked for the Shine court include Jean Favier, Antoine Pitrot, Antonio Sacco and Francesco Caselli.^[33]

18th century [edit]

France and development as an fine art form [edit]

The 18th century was a menstruum of advancement in the technical standards of ballet and the period when ballet became a serious dramatic art class on par with the opera. Central to this advance was the seminal work of Jean-Georges Noverre, Lettres sur la danse et les ballets (1760), which focused on developing the ballet d'activity, in which the movements of the dancers are designed to limited character and assist in the narrative. Noverre believed that: ballet should be technical just also move the audience emotionally, plots need to exist unified, the scenery and music need to support the plot and be unified inside the story, and that pantomime needs to exist uncomplicated and understandable.^[34]

Reforms were made in ballet limerick past composers such as Christoph Willibald Gluck. Finally, ballet was divided into three formal techniques sérieux, demi-caractère and comique. Ballet as well began to be featured in operas every bit interludes chosen divertissements.

Exterior France [edit]

Venice continued to be a middle of dance in Europe, especially during the Venice Carnival, when dancers and visitors from across the continent would travel to the city for a lively cultural exchange. The city's Teatro San Benedetto became a famous landmark largely due to the ballets performed at that place. Italian ballet techniques remained the dominant influence in much of southern and eastern Europe until Russian techniques supplanted them in the early 20th century.

Ballet performances spread to Eastern Europe during the 18th century, into areas such equally Hungary, where they were held in private theatres at aristocratic castles. Professional companies were established that performed throughout Hungary and also toured abroad. The Budapest National Theatre increasingly serving a part as a home for the dancers.^[35]

Some of the leading dancers of the fourth dimension who performed throughout Europe were Louis Dupré, Charles Le Picque with Anna Binetti, Gaetano Vestris, and Jean-Georges Noverre.^[33]

19th century [edit]

Smoothen ballet performers at the 1827 Venice Funfair. The dancer on the left is performing "en travestie" as a woman taking the man's role.

The ballerina became the about popular dance performer in Europe in the first half of the 19th century, gradually turning the spotlight away from the male dancer. In many performances, ballet heroes were played past a woman, like the Primary Boy in pantomime.^[36]

The professionalism of ballet companies became a focus for a new generation of ballet masters and dancers. Vienna was an important source of influential ballet coaches. The first ballet primary of Hungary'south National Theatre and Regal Opera was the Vienna-born Frigyes Campilli, who worked in Budapest for 40 years.^[37]

The 19th century was a period of great social modify, which was reflected in ballet by a shift away from the aristocratic sensibilities that had dominated earlier periods through romantic ballet. Ballerinas such as Geneviève Gosselin, Marie Taglioni and Fanny Elssler experimented with new techniques such as pointework that gave the ballerina prominence as the platonic stage effigy. Taglioni was known as the "Christian Dancer," every bit her image was calorie-free and pure (associated with her role every bit the sylph in La Sylphide). She was trained primarily by her father, Filipo Taglioni. In 1834, Fanny Elssler arrived at the Paris Opera and became known as the "Pagan Dancer," considering of the fiery qualities of the Cachucha dance that made her famous. Professional librettists began crafting the stories in ballets. Teachers similar Carlo Blasis codified ballet technique in the basic form that is still used today. The ballet boxed toe shoe was invented to support pointe piece of work.

Romantic motility [edit]

The Romantic move in art, literature, and theatre was a reaction against formal constraints and the mechanics of industrialization.[22] The zeitgeist led choreographers to compose romantic ballets that appeared low-cal, airy and free that would act as a contrast to the spread of reductionist science through many aspects of daily life that had, in the words of Edgar Allan Poe, "driven the hamadryad from the wood". These "unreal" ballets portrayed women every bit fragile unearthly beings, ethereal creatures who could exist lifted effortlessly and almost seemed to float in the air. Ballerinas began to clothing costumes with pastel, flowing skirts that bared the shins. The stories revolved effectually uncanny, folkloric spirits. An example of one such romantic ballet is La Sylphide, 1 of the oldest romantic ballets still performed today.

One strain of the Romantic movement was a new exploration of folklore and traditional ethnic culture. This influence was seen in the emergence of European folk dance and western portrayals of African, Asian, and Middle Due east peoples on European stages. In ballets from this period, not-European characters were often created as villains or every bit silly divertisements to fit the orientalist western understanding of the world.^[38] The National Opera of Ukraine, a performing arts theatre with a resident opera company, was established in Kiev in 1867. It likewise included a minor resident troupe of ballet dancers, who would perform mainly folk-style dancing during opera productions. By 1893, this grew to a troupe large enough to stage large ballets. Folk dancing and ballets with Ukrainian stories were amongst the early on productions.^[39]

Many leading European professional ballet companies that survive today were established at new theatres in Europe'due south capital cities during the mid- to late- 19th century, including the Kiev Ballet, the Hungarian National Ballet, the National Theatre Ballet (Prague) and the Vienna State Ballet (formerly the Vienna State Opera Ballet). These theatres usually combined big opera, drama and ballet companies under the aforementioned roof. Composers, dramatists, and choreographers were then able to create works that took advantage of the ability to interact among these operation troupes.

Russian federation [edit]

Mikhail Mordkin as Prince Siegfried and Adelaide Giuri equally Odette with students as the piffling swans in the Moscow Majestic Bolshoi Theatre'southward production of the Petipa/Ivanov/Tchaikovsky Swan Lake. 1901

While France was instrumental in early ballet, other countries and cultures soon adopted the art grade, most notably Russia. Russia has a recognized tradition of ballet, and Russian ballet has had great importance in its state throughout history. Afterwards 1850, ballet began to wane in Paris, but information technology flourished in Denmark and Russia thanks to masters such as August Bournonville, Jules Perrot, Arthur Saint-Léon, Enrico Cecchetti and Marius Petipa. In the belatedly nineteenth century, orientalism was in faddy. Colonialism brought awareness of Asian and African cultures, but distorted with disinformation and fantasy. The Due east was oftentimes perceived every bit a faraway place where annihilation was possible, provided it was lavish, exotic and corrupt. Petipa appealed to popular taste with The Pharaoh's Daughter (1862), and afterward The Talisman (1889), and La Bayadère (1877). Petipa is all-time remembered for his collaborations with Tchaikovsky. He used his music for his choreography of The Nutcracker (1892, though this is open to some debate among historians), The Sleeping Beauty (1890), and the definitive revival of Swan Lake (1895, with Lev Ivanov). These works were all drawn from European folklore.

The female dancers' classical tutu as it is recognized today began to appear at this time. It consisted of a short, stiff brim supported by layers of crinoline or tulle that revealed the acrobatic legwork, combined with a broad gusset that served to preserve modesty.

Argentina [edit]

Ballet companies from Europe began lucrative tours of theatres in North, Central and South America during the mid-19th century. The prestigious Colon Theater in Buenos Aires, Argentine republic had hosted strange ballet artists on its stage, with touring companies from Europe presenting full ballets as early on every bit 1867.^[40] Past the 1880s, the Colon Theater had its own professional ballet company. It would still exist several decades before most countries outside of Europe could claim their ain professional person ballet companies, still.

20th century and modernism [edit]

Russia and the Ballets Russes [edit]

Sergei Diaghilev brought ballet full-circumvolve back to Paris when he opened his company, Ballets Russes. It was made upwards of dancers from the Russian exile community in Paris after the Revolution.

Diaghilev and composer Igor Stravinsky merged their talents to bring Russian folklore to life in The Firebird and Petrushka choreographed by Fokine. Diaghilev'southward next choreographic commissions went to Nijinsky. His First ballet was L'apres-midi d'un Faune (Afternoon of a Faun) to music past Debussy. It was notable for its two dimensional shapes and lack of ballet technique. Information technology acquired controversy by depicting the faun rubbing the scarf of ane of the maidens on himself, in simulated masturbation. The most controversial work of the Ballets Russes withal, was The Rite of Spring, choreographed past Nijinsky with music past Stravinsky. The ballet'southward mod music, pigeon toed stomping and theme of homo sacrifice shocked audiences and so much they rioted.

Afterwards the "golden age" of Petipa, Michel Fokine began his career in Leningrad but moved to Paris and worked with Diaghilev and the Ballets Russes.

Russian ballet continued development nether Soviet dominion. There was footling talent left in the country after the Revolution, but information technology was enough to seed a new generation. After stagnation in the 1920s, by the mid-1930s that new generation of dancers and choreographers appeared on the scene. The technical perfection and precision of trip the light fantastic toe was promoted (and demanded) by Agrippina Vaganova, who had been taught past Petipa and Cecchetti and headed the Vaganova Ballet Academy, the schoolhouse to prepare dancers for the Kirov Ballet in Leningrad/St. petersburg.

Ballet was popular with the public. Both the Moscow-based Bolshoi and the St. petersburg (then Leningrad)-based Kirov ballet companies were agile. Ideological pressure level forced the creation of many socialist realist pieces, most of which made little impression on the public and were removed from the repertoire of both companies after.

Some pieces of that era, even so, were remarkable. The Romeo and Juliet by Prokofiev and Lavrovsky is a masterpiece. The Flames of Paris, while information technology shows all the faults of socialist realist art, pioneered the agile employ of the corps de ballet in the performance and required stunning virtuosity. The ballet version of the Pushkin poem, The Fountain of Bakhchisarai with music from Boris Asafiev and choreography past Rostislav Zakharov was as well a hitting.

The well-known ballet Cinderella, for which Prokofiev provided the music, is also the product of the Soviet ballet. During the Soviet era, these pieces were mostly unknown outside the Soviet Wedlock and subsequently outside of the Eastern Bloc. However, after the collapse of the Soviet Marriage they received more recognition.

The 1999 N American premiere of The Fountain of Bakhchisarai by the Kirov Ballet in New York was an outstanding success, for example. The Soviet era of the Russian Ballet put a lot of emphasis on technique, virtuosity and strength. It demanded strength usually to a higher place the norm of gimmicky Western dancers. When watching restored old footage, one can only marvel at the talent of their prima ballerinas such every bit Galina Ulanova, Natalya Dudinskaya and Maya Plisetskaya and choreographers such as Pyotr Gusev.

Russian companies, particularly afterwards World War Ii engaged in multiple tours all over the earth that revitalized ballet in the West.

Maiden Tower ^[41] written past Afrasiyab Badalbeyli is the offset ballet in the Muslim East.^{[42] [43] [41]}

United States [edit]

Post-obit the move of the Ballets Russes to France, ballet began to accept a broader influence, especially in the United States of America.

From Paris, afterward disagreements with Diaghilev, Fokine went to Sweden and so the Us and settled in New York. Diaghilev believed that traditional ballet offered little more than prettiness and athletic brandish. For Fokine that was not plenty. In improver to technical virtuosity he demanded drama, expression and historical actuality. The choreographer must research the period and cultural context of the setting and reject the traditional tutu in favour of authentic period costuming.

Fokine choreographed Sheherazade and Cleopatra. He besides reworked Petrouchka and The Firebird. 1 of his most famous works was The Dying Swan, performed past Anna Pavlova. Beyond her talents as a ballerina, Pavlova had the theatrical gifts to fulfill Fokine's vision of ballet as drama. Fable has it that Pavlova identified so much with the swan role that she requested her swan costume from her deathbed.

George Balanchine developed state-of-the-art technique in America by opening a schoolhouse in New York. He adapted ballet to the new media, movies and tv.^[44] A prolific worker, Balanchine rechoreographed classics such as Swan Lake and Sleeping Beauty every bit well as creating new ballets. He produced original interpretations of the dramas of William Shakespeare such every bit Romeo and Juliet and A Midsummer Night's Dream, and also of Franz Léhar's The Merry Widow.

In 1967, Balanchine'south Jewels broke with the narrative tradition and dramatized a theme rather than a plot. This focus fits with the state-sponsored funding sources in the United States which sought to encourage "liberty and freethinking" in dissimilarity to narrative-driven trip the light fantastic toe, which was seen as to exist continued as well closely with socialism, especially Soviet communism.^[45] Today, partly cheers to Balanchine, ballet is one of the about well-preserved dances in the world.^{[ citation needed ]}

Barbara Karinska was a Russian emigree and a skilled seamstress who collaborated with Balanchine to elevate the art of costume pattern from a secondary part to an integral part of a ballet performance. She introduced the bias cut and a simplified classic tutu that allowed the dancer more freedom of movement. With meticulous attention to detail, she decorated her tutus with beadwork, embroidery, crochet and appliqué.

Neoclassical ballet [edit]

George Balanchine is frequently considered to have been the commencement pioneer of what is now known as neoclassical ballet, a style of trip the light fantastic between classical ballet and today's gimmicky ballet. Tim Scholl, author of From Petipa to Balanchine, considers Balanchine's Apollo (1928) to exist the start neoclassical ballet. It represented a render to course in response to Serge Diaghilev'due south abstract ballets. Apollo and other works are still performed today, predominantly by the New York City Ballet. However, other companies are able to pay a fee for functioning rights to George Balanchine's works.

Frederick Ashton is another prominent choreographer associated with the neoclassical fashion. Three of his works take go standard pieces in the international repertoire: Sylvia (1952), Romeo and Juliet (1956), and Ondine (1958), the last of which was created every bit a vehicle to showcase Margot Fonteyn.

Contemporary [edit]

1 dancer who trained with Balanchine and captivated much of this neo-classical style was Mikhail Baryshnikov. Following Baryshnikov's appointment equally creative director of American Ballet Theatre in 1980, he worked with various modernistic choreographers, most notably Twyla Tharp. Tharp choreographed Push Comes To Shove for ABT and Baryshnikov in 1976; in 1986 she created In The Upper Room for her ain company. Both these pieces were considered innovative for their use of distinctly modernistic movements melded with the utilize of pointe shoes and classically trained dancers—for their utilise of contemporary ballet.

Tharp also worked with the Joffrey Ballet company, founded in 1957 by Robert Joffrey. She choreographed Deuce Coupe for them in 1973, using pop music and a alloy of modernistic and ballet techniques. The Joffrey Ballet continued to perform numerous contemporary pieces, many choreographed by co-founder Gerald Arpino.

Today at that place are many contemporary ballet companies and choreographers. These include Madrid Ballet; Royal Ballet of Flanders; Alonzo Rex and his company, Alonzo Male monarch LINES Ballet; Nacho Duato and Compañia Nacional de Danza; William Forsythe, who has worked extensively with the Frankfurt Ballet and today runs The Forsythe Company; and Jiří Kylián, formerly the creative director of the Nederlands Dans Theater. Traditionally "classical" companies, such as the Kirov Ballet and the Paris Opera Ballet, besides regularly perform gimmicky works.

Development of ballet method [edit]

Several well-known ballet methods are named after their originators. For example, two prevailing systems from Russia are known as the Vaganova method subsequently Agrippina Vaganova, and the Legat Method, later Nikolai Legat. The Cecchetti method was invented by Italian dancer Enrico Cecchetti (1850–1928), and the Bournonville method, which was invented by August Bournonville (1805–1879), is employed chiefly in Bournonville'south ain land of Denmark.

Run across likewise [edit]

• List of ballets by title
• Ballet music
• History of dance
• Black women in ballet

References [edit]

1. ^ National Ballet Academy & Trust of Bharat in New Delhi, Republic of india. Retrieved March 29, 2010.
2. ^ Chantrell (2002), p. 42.
3. ^ Kirstein (1952), p. 4.
4. ^ Thoinot Arbeau, _Orchesography_, trans. past Mary Steware Evans, with notes by Julia Sutton (New York: Dover, 1967)
5. ^ "BALLET 101: A Consummate Guide to Learning and Loving the Ballet by Robert Greskovic".
6. ^ Lee (2002), p. 29.
7. ^ «Catherine de' Medici (1519-1589)», article from September 1990, published on "Andros on Ballet" folio, on Michael Minn website.
8. ^ Vuillier, Gaston (1898). History of Dancing from the Earliest Ages to Our Own Times, pp. 65–69. New York: D. Anderson and Company. [Facsimile reprint (2004): Whitefish, Montana: Kessinger Publishing. ISBN 978-0-7661-8166-three.]
9. ^ Bland (1976), p. 43.
10. ^ Frances A. Yates, _The French Academies of the Sixteenth Century_, 2nd ed. (London: Routledge, 1988)
11. ^ Anderson (1992), p. 32.
12. ^ Cooper, Elizabeth (2004). "Le Balet Comique de la Reine, 1581: An Analysis". University of Washington website.
13. ^ Lee (2002), p. 54.
14. ^ ^{a b} Banal (1976), p. 49.
15. ^ "The Social and Political Importance of Dance". www.blakeneymanor.com . Retrieved June 4, 2020.
16. ^ Homans, Jennifer. (2010). Apollo's angels : a history of ballet (1st ed.). New York: Random Business firm. p. 52. ISBN978-1-4000-6060-3. OCLC 515405940.
17. ^ Homans, Jennifer. (2010). Apollo's angels : a history of ballet (1st ed.). New York: Random House. pp. 52, 56–58. ISBN978-1-4000-6060-iii. OCLC 515405940.
18. ^ Homans, Jennifer. (2010). Apollo'south angels : a history of ballet (1st ed.). New York: Random House. pp. 57–59. ISBN978-1-4000-6060-iii. OCLC 515405940.
19. ^ ^{a b c d e f} Costonis, Maureen Needham (1992). "Beauchamps [Beauchamp] Pierre" in Sadie (1992) i: 364.
20. ^ Homans, Jennifer. (2010). Apollo's angels : a history of ballet (1st ed.). New York: Random House. p. 64. ISBN978-ane-4000-6060-3. OCLC 515405940.
21. ^ Homans, Jennifer. (2010). Apollo'southward angels : a history of ballet (1st ed.). New York: Random House. p. 65. ISBN978-i-4000-6060-three. OCLC 515405940.
22. ^ Homans, Jennifer. (2010). Apollo's angels : a history of ballet (1st ed.). New York: Random House. pp. 65–66. ISBN978-1-4000-6060-3. OCLC 515405940.
23. ^ Homans, Jennifer. (2010). Apollo'due south angels : a history of ballet (1st ed.). New York: Random House. pp. 66–67. ISBN978-1-4000-6060-three. OCLC 515405940.
24. ^ Homans, Jennifer. (2010). Apollo'due south angels : a history of ballet (1st ed.). New York: Random Firm. pp. 67–68. ISBN978-1-4000-6060-three. OCLC 515405940.
25. ^ Homans, Jennifer. (2010). Apollo's angels : a history of ballet (1st ed.). New York: Random House. pp. 71–72. ISBN978-1-4000-6060-3. OCLC 515405940.
26. ^ Homans, Jennifer. (2010). Apollo'due south angels : a history of ballet (1st ed.). New York: Random House. pp. 79–85. ISBN978-1-4000-6060-3. OCLC 515405940.
27. ^ ^{a b} Rosow, Lois (1992). "Lully" in Sadie (1992) iii: 82–89.
28. ^ Lee (2002), pp. 72–73.
29. ^ ^{a b} Lee (2002)., p. 73.
30. ^ Homans, Jennifer. (2010). Apollo's angels : a history of ballet (1st ed.). New York: Random Business firm. p. 53. ISBN978-1-4000-6060-3. OCLC 515405940.
31. ^ Lee (2002), p. 74. Anderson (1992), p. 42.
32. ^ ^{a b} Pitt, Charles (1992). "Paris" in Sadie (1992) iii: 856.
33. ^ ^{a b} "Polish National Ballet History". Smooth National Theatre. Retrieved March xv, 2012.
34. ^ Kassing, Gayle. History of dance : an interactive arts approach. Champaign, IL: Human Kinetics, 2007. Print.
35. ^ "The Hungarian National Ballet". Hungarian State Opera House. Retrieved March 14, 2012. ^{[ permanent expressionless link ]}
36. ^ "MAD. DESARGUS-LEMAIRE ET MDELLE. AMÉLIE GALSTER / dans / le pas de deux polonais". Victoria and Albert Museum. Retrieved March 15, 2012.
37. ^ Buranbaeva, Oksana; Vanja Mladineo (2011). Culture and Customs of Hungary. ABC-CLIO. p. 172. ISBN978-0-313-38370-0.
38. ^ Macaulay, Alastair (September five, 2012). "Stereotypes in Toeshoes". New York Times. New York, Usa. Retrieved September 5, 2012.
39. ^ Bleiberg, Laura (December 9, 2005). "Kiev Ballet cleaves to the classics". Orange County Register . Retrieved March 10, 2012.
40. ^ Foster, David William; Melissa Fitch Lockhart; Darrell B. Lockhart (1998). Civilization and Community of Argentina. Greenwood Publishing Group. pp. 133. ISBN978-0-313-30319-seven.
41. ^ ^{a b} Музыкальная энциклопедия. Гл. ред. Ю. В. Келдыш. Т one. А — Гонг. 1072 стб. с илл. М.: Советская энциклопедия, 1973
42. ^ Чингиз Абдуллаев: «Вместо того, чтобы отталкивать нас, россиянам надо менять свои взгляды и отношение к народам бывших союзных республик» Archived May 31, 2014, at the Wayback Machine

    …первый балет на мусульманском востоке появился у нас.

43. ^ Большая Советская Энциклопедия. Гл. ред. А. М. Прохоров, 3-е изд. Т. one. А — Ангоб. 1969. 608 стр., илл.; 47 л. илл. и карт, 1 отд. л. табл.
44. ^ "Archived copy". Archived from the original on November 13, 2007. Retrieved February ix, 2008. {{cite web}}: CS1 maint: archived copy as title (link) George Balanchine
45. ^ Kiley, Brendan (February 7, 2012). "Old Is the New New: The Cold State of war and Don Quixote at Pacific Northwest Ballet". The Stranger. Seattle, Us. Retrieved Feb 10, 2012.

Farther reading [edit]

• Anderson, Jack (1992). Ballet & Modern Trip the light fantastic toe: A Concise History (2d ed.). Princeton, NJ: Princeton Book Company, Publishers. ISBN0-87127-172-9.
• Andre, Paul; Arkadyev, V. (1999) Bang-up History of Russian Ballet: Its Art & Choreography (1999).
• Bland, Alexander (1976). A History of Ballet and Dance in the Western Earth . New York: Praeger Publishers. ISBN0-275-53740-4.
• Caddy, Davinia. (2012). The Ballets Russes and Beyond: Music and Dance in Belle-Epoque Paris. Cambridge: Cambridge University Press.
• Cohen, Selma Jeanne, founding editor (1998). International Encyclopedia of Trip the light fantastic toe. New York: Oxford University Press.
• Cross, Samuel H. (1944) "The Russian Ballet Earlier Dyagilev." Slavonic and E European Review. American Series three.four (1944): 19–49. in JSTOR
• Ezrahi, Christina. (2012) Swans of the Kremlin: Ballet and Power in Soviet Russian federation (University of Pittsburgh Press); examines the resilience of artistic creativity in a history of the Bolshoi and Marinsky/Kirov ballets
• Franko, Mark (1993). Dance as Text: Ideologies of the Baroque Body. Cambridge: Cambridge University Printing.
• Homans, Jennifer, (2010). Apollo's Angels: A History of Ballet. New York: Random House.
• Johnson, Alfred Edwin. (1913) The Russian Ballet (Houghton Mifflin) online
• Kassing, Gayle. (2007). History of dance : an interactive arts approach . Champaign, IL: Man Kinetics.
• Lee, Carol (2002). Ballet In Western Culture: A History of its Origins and Evolution. New York: Routledge. ISBN0-415-94256-Ten.
• Lifar, Serge. (1954). A history of Russian ballet from its origins to the present twenty-four hours (Hutchinson)
• McGowan, Margaret Thousand. (1978). Fifty'art du ballet de cour en France, 1581–1643. Paris: Heart National de la Recherche Scientifique.
• Propert, Walter Archibald. (1972) The Russian Ballet in Western Europe, 1909-1920. B. Blom
• Roslavleva, Natalia. (1966). Era of the Russian Ballet, New York: E.P. Dutton & Co., Inc.
• Sadie, Stanley, ed. (1992). The new Grove lexicon of opera (4 volumes). London: Macmillan. ISBN978-1-56159-228-9.
• Surit͡s, E. I͡A, and E. I︠A︡ Surit︠s︡. (1990) Soviet Choreographers in the 1920s (Duke Univ Press, 1990).
• Wiley, Roland John. (1990) A century of Russian ballet: documents and accounts, 1810-1910 (Oxford Academy Press)

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Source: https://en.wikipedia.org/wiki/History_of_ballet

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