A True Connoisseur of the Art of Ballet at Times Approaching a Kind of Madness Would Be Called a?

Formalized form of trip the light fantastic

Ballet is a formalized grade of dance with its origins in the Italian Renaissance courts of 15th and 16th centuries. Ballet spread from Italy to France with the help of Catherine de' Medici, where ballet developed even further under her aristocratic influence. An early example of Catherine's development of ballet is through 'Le Paradis d' Flirtation', a piece of work presented at her daughter's wedding ceremony, Marguerite de Valois to Henry of Navarre. Aloof coin was responsible for the initial stages of development in 'courtroom ballet', as it was royal 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 regal entertainment, 'Ballet des Polonais' was commissioned by Catherine de' Medici to honor the Polish ambassadors who were visiting Paris upon the accession of Henry of Anjou to the throne of Poland. In 1581, Catherine de' Medici commissioned some other court ballet, Ballet Comique de la Reine, all the same 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 use the principles of Baif's Academie, by integrating verse, dance, music and set blueprint to convey a unified dramatic storyline. Moreover, the early organization and evolution of 'court ballet' was funded by, influenced by and produced by the aristocrats of the time, fulfilling both their personal entertainment and political propaganda needs.

In the belatedly 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 soon became an independent grade of art, although however frequently maintaining a shut association with opera, and spread from the centre of Europe to other nations. The Majestic Danish Ballet and the Imperial Ballet of the Russian Empire were founded in the 1740s and began to flourish, especially later about 1850. In 1907 the Russian ballet in turn moved dorsum to France, where the Ballets Russes of Sergei Diaghilev and its successors were particularly influential. Soon ballet spread around the world with the formation of new companies, including London's The Royal Ballet (1931), the San Francisco Ballet (1933), American Ballet Theatre (1937), the Royal 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 case, in the United States choreographer George Balanchine adult what is now known equally neoclassical ballet, subsequent developments accept included gimmicky ballet and post-structural ballet, for example seen in the work of William Forsythe in Germany.

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

Origins [edit]

Renaissance – Italy and French republic [edit]

Ballet originated in the Renaissance court as an outgrowth of court pageantry in Italy,^[iii] where aloof weddings were lavish celebrations. Tutus, ballet slippers and pointe piece of work were non however used. The choreography was adapted from courtroom dance steps.^[4] Performers dressed in fashions of the times. For women that meant formal gowns that covered their legs to the talocrural joint.^[five] Early ballet was participatory, with the audition joining the trip the light fantastic towards the end.

Domenico da Piacenza (c. 1400–c. 1470) was 1 of the start dancing masters. Along with his students, Antonio Cornazzano and Guglielmo Ebreo da Pesaro, he was trained in trip the light fantastic and responsible for teaching nobles the art. Da Piacenza left ane work: De arte saltandi et choreus ducendi (On the art of dancing and conducting dances), which was put together by his students.^[vi]

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

Ballet was farther shaped past the French ballet de cour, which consisted of social dances performed by the nobility in tandem with music, spoken language, poesy, 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 French republic and provided financial support. Catherine's glittering entertainments supported the aims of court politics and usually were organized around mythological themes.^[ten] The offset 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 past Balthasar de Beaujoyeulx and featured an 60 minutes-long trip the light fantastic toe for sixteen women, each representing a French province. Ballet Comique de la Reine (1581), which was also choreographed and directed by Balthasar de Beaujoyeulx, was commissioned by Louise of Lorraine, queen espoused of Male monarch Henry III, son of Catherine, to celebrate the marriage of Henry's favorite the Knuckles de Joyeuse to Marguerite de Lorraine, the sister of Queen Louise. The ballet lasted for more five hours and was danced by twenty-four dancers: twelve naiades and twelve pages.^[11] ^[12]

In the same yr, the publication of Fabritio Caroso'southward Il Ballarino, a technical manual on court dancing, both performance and social, helped to establish Italy as a centre of technical ballet development.^[13]

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

Ballet developed every bit a performance-focused fine art form in France during the reign of Louis Fourteen, who was passionate about dance.^[fourteen] His interest in ballet dancing was politically motivated. He established strict social etiquettes through dancing and turned it into one of the most crucial elements in court social life, effectively holding say-so over the nobles and reigning over the state.^[15] Louis'south initiates led to the refinery and perfection of social dancing among aristocrats as a manner to brandish royalty, farther consolidating the fine art of classical ballet with newly established rules and protocols.^[xvi]

In 1661 Louis Xiv, determined to further his ambition in controlling the nobles ^[17] and contrary a turn down in dance standards that began in the 17th century, established the Académie Royale de Danse.^[xiv] Before that, aristocrats considered dancing, together with riding and armed forces grooming every bit 3 major disciplines in showcasing their nobility. Nonetheless, Louis' founding of the Academy diverted their attention from military arts to courtroom social functions, from war to ballet, farther tightening rules around them.^[18]

To expand the influence of French civilization throughout Europe, Louis ordered Pierre Beauchamp, the king'southward personal trip the light fantastic toe teacher and favorite partner in ballet de cour in the 1650s,^[19] to create "a way of making dance understood on paper".^[20] Beauchamp was besides appointed Intendant des ballets du roi and in 1680 became the manager of the dance academy, a position he held until 1687.^[nineteen] This order led to an intense research in this area by many ballet masters, nevertheless, only Beauchamp'due south dance notation system got recognized.^[21] In his system, he codified the 5 bones positions of the anxiety in ballet.^[19] Raoul Auger Feuillet, a Parisian ballet main, later adopted his system and had his work published in 1700. His notation organization became significantly pop in Europe.^[22]

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

Court 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 summit. Every single etiquette rule in Louis' courts was put in great detail in la belle danse and one could certainly run into others' noble status through their dances.^[24] 5 positions of the bodies codification by Beauchamp, followed by Feuillet, described the body like a miniature courtroom, with the head as the key point, coordinating its limbs like the king ruling his state. A dancer performing a genuine noble would perform different 5 positions than one performing a peasant or lower-ranking characters.^[25] Proof of nobility was besides indicated through employ of masks, makeup, costumes particularly shoes in la belle danse.^[26]

Jean-Baptiste Lully, an Italian violinist, dancer, choreographer, and composer, who joined the courtroom of Louis Xiv in 1652,^[27] played a meaning role in establishing the general direction ballet would follow for the side by side century. Supported and admired by King Louis Fourteen, Lully oft cast the rex in his ballets. The title of Sun Male monarch for the French monarch, originated in Louis 14's role in Lully's Ballet de la Nuit (1653). The fourteen-yr-onetime Louis Xiv danced five roles in this 12-hour ballet.^[28] This Ballet was lavish and featured a scene where a ready piece of a business firm was burned down, included witches, werewolves, gypsies, shepherds, thieves, and the goddesses Venus and Diana.^[29] The ballet's main theme was not darkness and night terrors though, simply its focus was on Louis who appeared at the end as the Sun (the Sun God, Apollo), putting an end to the night.^[thirty] Lully'due south master contribution to ballet were his nuanced compositions. His understanding of motility and trip the light fantastic toe 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 audience, creating the comédie-ballet. Among their greatest productions, with Beauchamp as the choreographer,^[nineteen] was Le Bourgeois Gentilhomme (1670).^[31]

In 1669 Louis Xiv founded the Académie d'Opéra with Pierre Perrin equally director.^[32] Louis 14 retired equally a dancer in 1670, largely because of excessive weight proceeds. Before, in 1661 he had founded a school, the Adacemie Royale de danse. Beauchamp was the first ballet-main of the Opéra and created the dances for the new company's first production Pomone with music past Robert Cambert.^[xix] Later, after Perrin went bankrupt, the king reestablished the Opéra as the Académie royale de Musique and made Lully the manager.^[32] Beauchamp was i of the master choreographers.^[xix] In this position Lully, with his librettist Philippe Quinault, created a new genre, the tragédie en musique, each human action of which featured a divertissement that was a miniature ballet scene.^[27] With virtually 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'south One thousand Ball, 1626.

French republic'south courtroom was in some ways the leading source of stylish civilisation for many other royal courts in Europe. Styles of amusement were imitated, including the purple ballets. Courts in Kingdom of spain, Portugal, Poland, Germany, and elsewhere all became audiences and participants in ballets. In add-on to France, Italian republic became an important influence on the art form, predominantly Venice.

Professional ballet troupes began to organize and tour Europe, performing for aloof audiences. In Poland, Male monarch 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 Polish court include Jean Favier, Antoine Pitrot, Antonio Sacco and Francesco Caselli.^[33]

18th century [edit]

France and development as an art form [edit]

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

Reforms were made in ballet composition by composers such equally Christoph Willibald Gluck. Finally, ballet was divided into 3 formal techniques sérieux, demi-caractère and comique. Ballet also began to exist featured in operas every bit interludes called divertissements.

Exterior France [edit]

Venice continued to be a centre of trip the light fantastic 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 urban center'southward Teatro San Benedetto became a famous landmark largely due to the ballets performed there. 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 as Hungary, where they were held in private theatres at aristocratic castles. Professional person companies were established that performed throughout Hungary and likewise toured abroad. The Budapest National Theatre increasingly serving a role as a home for the dancers.^[35]

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

19th century [edit]

Polish ballet performers at the 1827 Venice Carnival. The dancer on the left is performing "en travestie" equally a woman taking the homo's role.

The ballerina became the most popular trip the light fantastic toe performer in Europe in the beginning one-half of the 19th century, gradually turning the spotlight abroad from the male dancer. In many performances, ballet heroes were played past a adult female, similar the Principal Boy in pantomime.^[36]

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

The 19th century was a period of great social change, which was reflected in ballet by a shift away from the aloof sensibilities that had dominated earlier periods through romantic ballet. Ballerinas such as Geneviève Gosselin, Marie Taglioni and Fanny Elssler experimented with new techniques such equally pointework that gave the ballerina prominence every bit the ideal phase figure. Taglioni was known every bit the "Christian Dancer," as her prototype was light and pure (associated with her role equally the sylph in La Sylphide). She was trained primarily by her male parent, 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 class that is still used today. The ballet boxed toe shoe was invented to back up pointe work.

Romantic movement [edit]

The Romantic motion in fine 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 light, 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 woods". 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 wearable costumes with pastel, flowing skirts that bared the shins. The stories revolved around uncanny, folkloric spirits. An example of one such romantic ballet is La Sylphide, one of the oldest romantic ballets notwithstanding performed today.

One strain of the Romantic move 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 flow, non-European characters were often created as villains or equally 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. Information technology also included a pocket-size 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 big ballets. Folk dancing and ballets with Ukrainian stories were among the early on productions.^[39]

Many leading European professional ballet companies that survive today were established at new theatres in Europe's majuscule 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 large 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 collaborate among these functioning troupes.

Russian federation [edit]

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

While French republic was instrumental in early ballet, other countries and cultures soon adopted the art form, most notably Russia. Russia has a recognized tradition of ballet, and Russian ballet has had great importance in its country throughout history. Afterward 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 late nineteenth century, orientalism was in vogue. Colonialism brought awareness of Asian and African cultures, simply distorted with disinformation and fantasy. The Due east was often perceived equally a faraway place where anything was possible, provided it was lavish, exotic and decadent. Petipa appealed to pop gustatory modality with The Pharaoh's Daughter (1862), and later The Talisman (1889), and La Bayadère (1877). Petipa is best remembered for his collaborations with Tchaikovsky. He used his music for his choreography of The Nutcracker (1892, though this is open up to some contend among historians), The Sleeping Beauty (1890), and the definitive revival of Swan Lake (1895, with Lev Ivanov). These works were all fatigued from European folklore.

The female person dancers' classical tutu equally it is recognized today began to appear at this fourth dimension. Information technology consisted of a short, stiff skirt supported past layers of crinoline or tulle that revealed the acrobatic legwork, combined with a wide 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, Argentina had hosted foreign ballet artists on its stage, with touring companies from Europe presenting total ballets as early as 1867.^[40] Past the 1880s, the Colon Theater had its ain professional ballet company. It would still be several decades earlier nigh countries exterior of Europe could claim their own professional person ballet companies, however.

20th century and modernism [edit]

Russian federation and the Ballets Russes [edit]

Sergei Diaghilev brought ballet full-circle back to Paris when he opened his visitor, Ballets Russes. It was made up of dancers from the Russian exile community in Paris subsequently the Revolution.

Diaghilev and composer Igor Stravinsky merged their talents to bring Russian sociology to life in The Firebird and Petrushka choreographed past Fokine. Diaghilev's next choreographic commissions went to Nijinsky. His First ballet was L'apres-midi d'united nations Faune (Afternoon of a Faun) to music by Debussy. It was notable for its ii dimensional shapes and lack of ballet technique. It caused controversy by depicting the faun rubbing the scarf of one of the maidens on himself, in simulated masturbation. The most controversial work of the Ballets Russes however, was The Rite of Jump, choreographed past Nijinsky with music by Stravinsky. The ballet's modern music, dove toed stomping and theme of human sacrifice shocked audiences so much they rioted.

Afterward the "golden historic period" of Petipa, Michel Fokine began his career in St. Petersburg only moved to Paris and worked with Diaghilev and the Ballets Russes.

Russian ballet continued development nether Soviet rule. There was little talent left in the state after the Revolution, but information technology was plenty to seed a new generation. Afterward 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 by Petipa and Cecchetti and headed the Vaganova Ballet University, the school to set dancers for the Kirov Ballet in St. Petersburg/Leningrad.

Ballet was pop with the public. Both the Moscow-based Bolshoi and the St. Petersburg (then Leningrad)-based Kirov ballet companies were active. Ideological pressure forced the cosmos of many socialist realist pieces, most of which made little impression on the public and were removed from the repertoire of both companies later.

Some pieces of that era, however, were remarkable. The Romeo and Juliet past Prokofiev and Lavrovsky is a masterpiece. The Flames of Paris, while it shows all the faults of socialist realist fine art, pioneered the agile use of the corps de ballet in the functioning and required stunning virtuosity. The ballet version of the Pushkin poem, The Fountain of Bakhchisarai with music from Boris Asafiev and choreography by Rostislav Zakharov was also a hit.

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 Marriage and later outside of the Eastern Bloc. Yet, afterwards the collapse of the Soviet Matrimony they received more recognition.

The 1999 North American premiere of The Fountain of Bakhchisarai past the Kirov Ballet in New York was an outstanding success, for example. The Soviet era of the Russian Ballet put a lot of accent on technique, virtuosity and strength. Information technology demanded strength usually above the norm of contemporary Western dancers. When watching restored sometime footage, one can only marvel at the talent of their prima ballerinas such as Galina Ulanova, Natalya Dudinskaya and Maya Plisetskaya and choreographers such every bit Pyotr Gusev.

Russian companies, especially subsequently World State of war II engaged in multiple tours all over the earth that revitalized ballet in the West.

Maiden Tower ^[41] written by Afrasiyab Badalbeyli is the beginning ballet in the Muslim Eastward.^[42] ^[43] ^[41]

U.s. [edit]

Following the motion of the Ballets Russes to France, ballet began to have a broader influence, particularly in the United States of America.

From Paris, after disagreements with Diaghilev, Fokine went to Sweden then the U.s.a. and settled in New York. Diaghilev believed that traditional ballet offered little more than prettiness and able-bodied display. For Fokine that was non enough. In add-on to technical virtuosity he demanded drama, expression and historical authenticity. The choreographer must enquiry the flow and cultural context of the setting and reject the traditional tutu in favour of accurate period costuming.

Fokine choreographed Sheherazade and Cleopatra. He too reworked Petrouchka and The Firebird. I of his well-nigh famous works was The Dying Swan, performed by Anna Pavlova. Beyond her talents as a ballerina, Pavlova had the theatrical gifts to fulfill Fokine'south 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 adult state-of-the-art technique in America by opening a school in New York. He adapted ballet to the new media, movies and television.^[44] A prolific worker, Balanchine rechoreographed classics such as Swan Lake and Sleeping Beauty as well as creating new ballets. He produced original interpretations of the dramas of William Shakespeare such as Romeo and Juliet and A Midsummer Night'south Dream, and too of Franz Léhar's The Merry Widow.

In 1967, Balanchine's Jewels broke with the narrative tradition and dramatized a theme rather than a plot. This focus fits with the land-sponsored funding sources in the United states of america which sought to encourage "liberty and freethinking" in dissimilarity to narrative-driven trip the light fantastic, which was seen as to be connected too closely with socialism, particularly Soviet communism.^[45] Today, partly cheers to Balanchine, ballet is one of the virtually well-preserved dances in the earth.^{[ citation needed ]}

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

Neoclassical ballet [edit]

George Balanchine is often considered to have been the first pioneer of what is now known as neoclassical ballet, a style of dance betwixt classical ballet and today's gimmicky ballet. Tim Scholl, author of From Petipa to Balanchine, considers Balanchine'south Apollo (1928) to be the showtime neoclassical ballet. Information technology represented a render to form in response to Serge Diaghilev'south abstract ballets. Apollo and other works are still performed today, predominantly by the New York City Ballet. Nevertheless, other companies are able to pay a fee for performance rights to George Balanchine's works.

Frederick Ashton is some other prominent choreographer associated with the neoclassical style. Three of his works have become standard pieces in the international repertoire: Sylvia (1952), Romeo and Juliet (1956), and Ondine (1958), the last of which was created as a vehicle to showcase Margot Fonteyn.

Contemporary [edit]

One dancer who trained with Balanchine and absorbed much of this neo-classical manner was Mikhail Baryshnikov. Post-obit Baryshnikov'due south date every bit artistic director of American Ballet Theatre in 1980, he worked with various modern choreographers, well-nigh notably Twyla Tharp. Tharp choreographed Push button 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 apply of distinctly modern movements melded with the apply of pointe shoes and classically trained dancers—for their apply of gimmicky ballet.

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

Today there are many contemporary ballet companies and choreographers. These include Madrid Ballet; Royal Ballet of Flanders; Alonzo Rex and his company, Alonzo King 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 artistic director of the Nederlands Dans Theater. Traditionally "classical" companies, such equally the Kirov Ballet and the Paris Opera Ballet, too regularly perform contemporary works.

Development of ballet method [edit]

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

References [edit]

^ National Ballet Academy & Trust of Bharat in New Delhi, India. Retrieved March 29, 2010.
^ Chantrell (2002), p. 42.
^ Kirstein (1952), p. 4.
^ Thoinot Arbeau, _Orchesography_, trans. by Mary Steware Evans, with notes by Julia Sutton (New York: Dover, 1967)
^ "BALLET 101: A Consummate Guide to Learning and Loving the Ballet by Robert Greskovic".
^ Lee (2002), p. 29.
^ «Catherine de' Medici (1519-1589)», article from September 1990, published on "Andros on Ballet" page, on Michael Minn website.
^ Vuillier, Gaston (1898). History of Dancing from the Primeval Ages to Our Own Times, pp. 65–69. New York: D. Anderson and Visitor. [Facsimile reprint (2004): Whitefish, Montana: Kessinger Publishing. ISBN 978-0-7661-8166-3.]
^ Banal (1976), p. 43.
^ Frances A. Yates, _The French Academies of the Sixteenth Century_, 2nd ed. (London: Routledge, 1988)
^ Anderson (1992), p. 32.
^ Cooper, Elizabeth (2004). "Le Balet Comique de la Reine, 1581: An Assay". University of Washington website.
^ Lee (2002), p. 54.
^ ^a ^b Bland (1976), p. 49.
^ "The Social and Political Importance of Dance". www.blakeneymanor.com . Retrieved June 4, 2020.
^ Homans, Jennifer. (2010). Apollo'south angels : a history of ballet (1st ed.). New York: Random Firm. p. 52. ISBN978-1-4000-6060-iii. OCLC 515405940.
^ Homans, Jennifer. (2010). Apollo's angels : a history of ballet (1st ed.). New York: Random Firm. pp. 52, 56–58. ISBN978-1-4000-6060-three. OCLC 515405940.
^ Homans, Jennifer. (2010). Apollo's angels : a history of ballet (1st ed.). New York: Random House. pp. 57–59. ISBN978-1-4000-6060-3. OCLC 515405940.
^ ^a ^b ^c ^d ^e ^f Costonis, Maureen Needham (1992). "Beauchamps [Beauchamp] Pierre" in Sadie (1992) 1: 364.
^ Homans, Jennifer. (2010). Apollo's angels : a history of ballet (1st ed.). New York: Random Firm. p. 64. ISBN978-1-4000-6060-three. OCLC 515405940.
^ Homans, Jennifer. (2010). Apollo's angels : a history of ballet (1st ed.). New York: Random House. p. 65. ISBN978-1-4000-6060-iii. OCLC 515405940.
^ Homans, Jennifer. (2010). Apollo'southward angels : a history of ballet (1st ed.). New York: Random Firm. pp. 65–66. ISBN978-1-4000-6060-3. OCLC 515405940.
^ Homans, Jennifer. (2010). Apollo'due south angels : a history of ballet (1st ed.). New York: Random House. pp. 66–67. ISBN978-ane-4000-6060-3. OCLC 515405940.
^ Homans, Jennifer. (2010). Apollo'southward angels : a history of ballet (1st ed.). New York: Random House. pp. 67–68. ISBN978-one-4000-6060-3. OCLC 515405940.
^ Homans, Jennifer. (2010). Apollo'southward angels : a history of ballet (1st ed.). New York: Random House. pp. 71–72. ISBN978-1-4000-6060-iii. OCLC 515405940.
^ Homans, Jennifer. (2010). Apollo'due south angels : a history of ballet (1st ed.). New York: Random House. pp. 79–85. ISBN978-one-4000-6060-3. OCLC 515405940.
^ ^a ^b Rosow, Lois (1992). "Lully" in Sadie (1992) iii: 82–89.
^ Lee (2002), pp. 72–73.
^ ^a ^b Lee (2002)., p. 73.
^ Homans, Jennifer. (2010). Apollo's angels : a history of ballet (1st ed.). New York: Random House. p. 53. ISBN978-ane-4000-6060-3. OCLC 515405940.
^ Lee (2002), p. 74. Anderson (1992), p. 42.
^ ^a ^b Pitt, Charles (1992). "Paris" in Sadie (1992) 3: 856.
^ ^a ^b "Smooth National Ballet History". Polish National Theatre. Retrieved March 15, 2012.
^ Kassing, Gayle. History of trip the light fantastic : an interactive arts approach. Champaign, IL: Human Kinetics, 2007. Print.
^ "The Hungarian National Ballet". Hungarian State Opera House. Retrieved March fourteen, 2012. ^{[ permanent expressionless link ]}
^ "MAD. DESARGUS-LEMAIRE ET MDELLE. AMÉLIE GALSTER / dans / le pas de deux polonais". Victoria and Albert Museum. Retrieved March 15, 2012.
^ Buranbaeva, Oksana; Vanja Mladineo (2011). Civilization and Customs of Hungary. ABC-CLIO. p. 172. ISBN978-0-313-38370-0.
^ Macaulay, Alastair (September 5, 2012). "Stereotypes in Toeshoes". New York Times. New York, United States. Retrieved September 5, 2012.
^ Bleiberg, Laura (Dec 9, 2005). "Kiev Ballet cleaves to the classics". Orange Canton Register . Retrieved March 10, 2012.
^ Foster, David William; Melissa Fitch Lockhart; Darrell B. Lockhart (1998). Culture and Customs of Argentina. Greenwood Publishing Group. pp. 133. ISBN978-0-313-30319-vii.
^ ^a ^b Музыкальная энциклопедия. Гл. ред. Ю. В. Келдыш. Т i. А — Гонг. 1072 стб. с илл. М.: Советская энциклопедия, 1973
^ 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 Car

…первый балет на мусульманском востоке появился у нас.
^ Большая Советская Энциклопедия. Гл. ред. А. М. Прохоров, 3-е изд. Т. 1. А — Ангоб. 1969. 608 стр., илл.; 47 л. илл. и карт, 1 отд. л. табл.
^ "Archived copy". Archived from the original on November thirteen, 2007. Retrieved February nine, 2008. {{cite web}}: CS1 maint: archived copy every bit title (link) George Balanchine
^ 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, U.s.a.. Retrieved February x, 2012.