Transcript Ballet as Ideology - (Kay) Picart Homepage

Ballet as Ideology:
Giselle, Act 2
Evan Alderson
Presented by: Michelle dePozsgay
Edited by Laura Pratt and Dr. Kay Picart
Aims
• To understand how art functions in society
• To understand how ideology is projected
through aesthetic value in Giselle
• To explore the connection between
Balanchine’s ballerina and the incidence of
Anorexia
Key Terms
• What is
IDEOLOGY:________________________
__________________________________
__________________________________
Key Terms
• What is ROMANTICISM:
__________________________________
__________________________________
__________________________________
Key Terms
• What is the
BOURGEOISIE:_____________________
__________________________________
__________________________________
Ballet Terms
• ADAGIO:____________________________________
• ATTITUDE:
_____________________________________________
• BALLET BLANC: _______________________________
• RONDS DE JAMBE: ____________________________
• POINTES: ____________________________________
Theophile Gautier
1811 – 1872
Libretto for
Giselle
“More than one eye which thought it was seeing only
ronds de jambe and pointes found to its surprise its vision
obscured by a tear- which
does not often happen in ballet.” (123)
Giselle
CHARACTERS:
•
•
•
•
GISELLE:___________________
ALBRECHT: ________________
HILLARION: ________________
PRINCESS BATHILDE:
___________________________
• THE WILIS:
___________________________
___________________________
• QUEEN MYRTHA:
___________________________
Giselle
PLOT:
• ACT1:
______________________________________
______________________________________
______________________________________
______________________________________
• ACT2:
______________________________________
______________________________________
______________________________________
______________________________________
Alderson’s Giselle experience
• Second Act adagio, Giselle en attitude: “...Evelyn
Hart’s virtuosity, the forms of grace given in ballet,
the unfolding story, the music and the décor all
seemed to become one thing. Criticism fell away; I
was for that time seized by beauty.” (123)
Alderson’s Giselle Experience
• Act 1: _____________
• Act 2: _____________
– ______________________________
FEMININE POWER: Act 2
The Wilis’ great revenge
– ___________________________________
___________________________________
– ___________________________________
___________________________________
Giselle’s forgiveness
• _________________________________
The Bourgeoisie
• Gautier claimed to despise the
bourgeoisie:
__________________________________
__________________________________
__________________________________
• Center of social value:
__________________________________
__________________________________
__________________________________
The Bourgeoisie
• Bourgeois values embedded in Giselle
– “MASK:”
____________________________________
____________________________________
– “VEIL:”
____________________________________
____________________________________
Though he vows to oppose the “intolerable
world of the bourgeoisie,” he has instead
become its ideologist. (127)
Maria Taglioni
• sexuality and chastity
• first and foremost
ballerina of the
Romantic period
• father, Fillipo Taglioni
created La Sylphide
for her
Taglioni
• Gautier, “The dancer for women”
• ______________________________________
______________________________________
• ______________________________________
______________________________________
• ______________________________________
______________________________________
• ______________________________________
______________________________________
More Key Terms
• ANOREXIA NERVOSA:
__________________________________
__________________________________
__________________________________
__________________________________
• ANORECTIC:
__________________________________
__________________________________
Balanchine
• “Ballet is woman” (129)
• “Man is a better cook, a better painter, a better
musician, composer…Man is stronger,
faster…And woman accepts this, It is her
business to accept. She knows what is beautiful.”
(129)
Balanchine and Anorexia
“The man who defeminized women”
• ___ percent of female ballet students are
anorectics (130)
• Ballet training and Anorexia:
__________________________________
__________________________________
• ___________ sexuality
Balanchine and Anorexia
• “The anorectic pursues, with a vengeance,
a particular ideal of feminine beauty.” (130)
• The ballerina invites women to embody
her same image.
• “Anorexia is a cultural invasion of the
body.” (130)
Ideology, Aesthetics, and Dance
• AESTHETICS:
______________________________________
______________________________
• IDEOLOGY:
______________________________________
______________________________________
• THE CONNECTION:
______________________________________
______________________________________
______________________________________
Works Cited
•
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•
•
•
•
•
Alderson, Evan. “Ballet as Ideology: Giselle, Act 2.” Meaning in Motion. Ed. Jane
Desmond. Durham: Duke University Press, 1997. 121-131
McKenzie, Kevin. “Ballet Dictionary.” American Ballet Theater. Ballet Theater
Foundation, Inc. 2003. 22 Mar 2005.
http://www.abt.org/education/dictionary/index.html
Shomler, Bob. “Giselle Act 2.” 1994. http://www.shomler.com/dance/giselle/
“Taglioni, Maria,” “Anorexia Nervosa.” Columbia Encyclopedia, sixth edition.
Highbeam Research, Inc 2005. 22 Mar 2005.
http://www.encyclopedia.com/html/T/Taglioni.asp
Garland, Kevin. “La Sylphide Note.” The National Ballet of Canada. 22 Mar 2005.
http://www.national.ballet.ca/Performances/Seasons/2005fall/sylphideNote.php
Hugo, Victor. “Theophile Gautier.” 22 Mar 2005
http://www.victorhugo2002.culture.fr/culture/celebrations/hugo/fr/contpg4.htm
Croatian National Theater, Multimedia. “Giselle.” 2004. 22 Mar 2005.
<http://www.hnk.hr/en/novosti.php>