Transcript Ballet - Somerset Independent Schools

Ballet
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Early Ballet—Baroque:
Grew from the early court dance traditions
established by rulers like King Louis XIV in
the European Renaissance.
Rulers wanted their dancers to rehearse and
demonstrate the utmost in social etiquette.
Dance masters became a necessity.
Dance manuals were created.
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Before King Louis XIV (who ruled 1643-1715),
she assisted with the beginnings of ballet in
France.
In 1533, Catherine married the king of France,
Henry II.
She brought with her from Italy a dance master
named Balthasar de Beaujoyeaux.
In 1581, he created the Ballet Comique de la
Reine (the Queen’s Comic Ballet)—large sets,
songs poetry—all performed by nobles of the
court.
Catherine was known as a significant patron of
the arts.
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Continued the French tradition of ballet.
His nickname, “The Sun King,” was given to
him after his performance in the role of
Apollo in Ballet de la Nuit in 1653.
In 1661, established the Academie Royale de
la Danse, a dance academy that aided in the
professionalizing of the art of ballet.
Pierre Beauchamp, the king’s ballet master,
developed ballet terminology and technique
and created five positions for the feet.
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Ballet moved out of the palace and into the
theatre.
The first female dancers to perform
professionally in a theater production
appeared (in 1681) in a ballet called Le
Triomphe de l’Amour (The Triumph of Love).
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1st: Heels touching; toes pointed out. Feet
make a 90-degree to 180-degree angle,
depending on “turn-out” ability.
2nd: Feet are same position as first, but space
between the heels. Ankles in line with pelvic
& shoulder bones.
3rd: From 2nd position, drag either heel to a
perpendicular position at the center of
opposite foot—making a “T” with your feet.
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5th: (yes, we’re going out of order)—slide
right heel to left toe. With great turnout you
would be able to touch your right toe to your
left heel and your left toe to your right heel.
(very uncomfortable, unless trained!)
4th: Beginning in fifth position with right foot
in front, slide right foot forward about a
foot’s length in front of you. Distribute
weight over both legs and keep hips vertically
parallel to the wall in front of you.
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Developed over a long period of time.
Dances followed a basic pattern in the early
days with very little content or storyline.
The story portions were told mostly through
pantomime.
The heavy costumes limited the movement of
the dancers.
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A choreographer who wrote ballet guidelines
in Letters on Dancing and Ballet in 1760.
Seven Basic Movements of Dance:
Plier (plee-AY)—to bend.
Etendre (ay-THAN-druh)—to stretch.
Relever (ruhl-VAY)—to rise.
Sauter (soh-TAY)—to jump.
Tourner (toor-NAY)—to turn.
Glisser (glee-SAY)—to glide.
Elancer (ay-lahn-SAY)—to dart.
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These terms allowed choreographers to
communicate to dancers more effectively.
He believed ballets should:
have logic,
be easily understood by the audience,
and move them emotionally.
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In the late 1700s, the French Revolution
brought about a transformation in ballet.
The arts had to play to a more general public
audience.
1st Romantic Ballet to be performed—La
Sylphide.
Stories of the supernatural (ghosts, fairies)
became popular.
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Around the 1820s, ballerinas began to dance
on their toes.
Known as sur les pointes or en pointes (on
the toes.
In the 1860s, pointe shoes were created to
enhance the skill. (Made of layered cloth and
glue with a wooden shank.)
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Early 1800s—heavy costumes eliminated and
changed to costumes made from tulle (a fine
net) and other (see-through) materials.
The Romantic tutu was a skirt made of tulle
from the female dancer’s waist to just below
her knee.
Ballerinas (female dancers) became more
popular during this “Golden Age” of ballet.
Favorites: Marie Taglioni and Fanny Essler.
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The center of ballet activity shifted from
France to Russia.
The Romonov family in Russia wanted to
“westernize” their court, so they invited
artists from western Europe to perform in
Russia.
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A ballet dancer at the Imperial Theatre.
Became chief ballet master.
Created 77 works and 37 opera dances.
He developed the tutu (short skirt), so the
audiences could view the advances of the
females’ technique.
Choreographed ballets such as:
Don Quixote and La Bayadere
The Sleeping Beauty (1890)
The Nutcracker (1892)
Swan Lake (1895)
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Ballet found new life and regained interest.
The U.S. gained several talented dancers and
choreographers.
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Made ballet less courtly and more athletic.
Demonstrated the influences of modern and
jazz dance.
Choreographed Broadway musicals.
Brought glamour to modern ballet with his
strong sense of artistic design.
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Born in St. Petersburg, Russia.
Wanted dancers to feel the music.
Like Balanchine, he made a place for male
dancers on stage.
No longer was a pas-de-deux (dance for two)
about supporting the female en pointe.
He wanted a dance for two to be about two
performers dancing with each other (creating
emotion & feeling for the audience).
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Grew up in Russia and danced at the Vaganova
Ballet Academy.
Joined the Kirov Ballet in 1966
Came to the U.S. in 1974
Worked with Balanchine and danced for the New
York City Ballet.
Danced with the American Ballet theatre from
1974-1979.
Returned in 1980 as artistic director/dancer.
Worked with modern dancer Twyla Tharp.
Became involved with contemporary
choreography after retirement, working with
Mark Morris and the White Oak Project.