The Renaissance Period Saw the Fall of Ballet as a Professional Art Form

Formalized form of dance

Ballet is a formalized form of dance with its origins in the Italian Renaissance courts of 15th and 16th centuries. Ballet spread from Italia to France with the help of Catherine de' Medici, where ballet adult even further under her aloof influence. An early on example of Catherine's development of ballet is through 'Le Paradis d' Amour', a piece of work presented at her daughter's wedding, Marguerite de Valois to Henry of Navarre. Aristocratic coin was responsible for the initial stages of development in 'court ballet', as information technology was royal money that dictated the ideas, literature and music used in ballets that were created to primarily entertain the aristocrats of the time. The starting time formal 'court ballet' e'er recognized was staged in 1573, 'Ballet des Polonais'. In true class of royal entertainment, 'Ballet des Polonais' was commissioned by Catherine de' Medici to honour the Shine ambassadors who were visiting Paris upon the accession of Henry of Anjou to the throne of Poland. In 1581, Catherine de' Medici deputed another court ballet, Ballet Comique de la Reine, however 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'southward Academie, by integrating poetry, dance, music and set design to convey a unified dramatic storyline. Moreover, the early on system and development of 'court ballet' was funded by, influenced by and produced past the aristocrats of the time, fulfilling both their personal entertainment and political propaganda needs.

In the belatedly 17th century Louis XIV founded the Académie Royale de Musique (the Paris Opera) within which emerged the first professional theatrical ballet company, the Paris Opera Ballet. The predominance of French in the vocabulary of ballet reflects this history. Theatrical ballet soon became an contained course of art, although still ofttimes maintaining a close association with opera, and spread from the center of Europe to other nations. The Imperial Danish Ballet and the Purple Ballet of the Russian Empire were founded in the 1740s and began to flourish, particularly after 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 germination 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 every bit 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 United States choreographer George Balanchine developed what is now known as neoclassical ballet, subsequent developments have included gimmicky ballet and postal service-structural ballet, for example seen in the work of William Forsythe in Deutschland.

The etymology of the word "ballet" reflects its history. The word ballet comes from French and was borrowed into English around the 17th century. The French discussion in turn has its origins in Italian balletto, a diminutive of ballo (dance). Ballet ultimately traces back to Italian ballare, meaning "to dance".^[2]

Origins [edit]

Renaissance – Italy and France [edit]

Ballet originated in the Renaissance court as an outgrowth of court pageantry in Italy,^[3] where aristocratic weddings were lavish celebrations. Tutus, ballet slippers and pointe piece of work were not yet 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.^[5] Early ballet was participatory, with the audience joining the trip the light fantastic towards the terminate.

Domenico da Piacenza (c. 1400–c. 1470) was i of the first dancing masters. Along with his students, Antonio Cornazzano and Guglielmo Ebreo da Pesaro, he was trained in dance and responsible for teaching nobles the fine 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, Knuckles of Milan, married Isabella of Aragon in Tortona. An elaborate trip the light fantastic entertainment was bundled for the celebrations by the Italian dance master 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 event, and information technology was considered so impressive, that many similar glasses were organized elsewhere.^{[vii] [8]}

Ballet was farther shaped by the French ballet de cour, which consisted of social dances performed by the nobility in tandem with music, speech, verse, vocal, 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 trip the light fantastic toe to French republic and provided financial support. Catherine's glittering entertainments supported the aims of court politics and ordinarily were organized around mythological themes.^[10] The outset 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 hour-long dance 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 deputed past Louise of Lorraine, queen consort of Rex Henry III, son of Catherine, to celebrate 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 five hours and was danced by xx-four dancers: twelve naiades and twelve pages.^{[11] [12]}

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

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

Ballet developed as a operation-focused fine art grade in French republic during the reign of Louis XIV, who was passionate about dance.^[14] His involvement 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 authority over the nobles and reigning over the state.^[15] Louis'south initiates led to the refinery and perfection of social dancing amongst aristocrats as a fashion to display royalty, further consolidating the art of classical ballet with newly established rules and protocols.^[16]

In 1661 Louis XIV, determined to farther his ambition in controlling the nobles ^[17] and reverse a decline in trip the light fantastic toe standards that began in the 17th century, established the Académie Royale de Danse.^[14] Earlier that, aristocrats considered dancing, together with riding and military training as three major disciplines in showcasing their nobility. Nonetheless, Louis' founding of the University diverted their attending from military arts to courtroom social functions, from war to ballet, farther tightening rules around them.^[18]

To expand the influence of French culture throughout Europe, Louis ordered Pierre Beauchamp, the male monarch'south personal trip the light fantastic toe teacher and favorite partner in ballet de cour in the 1650s,^[19] to create "a way of making trip the light fantastic understood on paper".^[20] Beauchamp was also appointed Intendant des ballets du roi and in 1680 became the director of the dance academy, a position he held until 1687.^[19] This order led to an intense inquiry in this area past many ballet masters, however, only Beauchamp's trip the light fantastic toe annotation organization got recognized.^[21] In his system, he codification the five basic positions of the feet in ballet.^[xix] Raoul Auger Feuillet, a Parisian ballet master, later on adopted his system and had his work published in 1700. His notation system became significantly popular in Europe.^[22]

Feuillet concentrated his efforts on the well-nigh influencing trip the light fantastic at court, called "La belle danse", or also known as "The French noble fashion". This kind of dance was popular at balls or courts with more than demanding skills. "Entrée grave", as one of la belle danse's highest form, was typically performed by i man or ii men with graceful and dignified movements, followed by slow and elegant music. At this time, it's only men that performed la belle danse and entrée grave. Women did perform at queen's ballets and other social occasions, but not at entrée grave, king's ballets, at courts or on Paris' stages, non until 1680s. During this detail time, men were considered to be the champion and chief of fine art, displaying their masculine, dignified and noble dance, a king'southward dance. This also set the model for classical ballet.^[23]

Court ballets had a long history of combining dance and etiquette since the Renaissance, just when information technology 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 bully detail in la belle danse and one could certainly see others' noble status through their dances.^[24] Five positions of the bodies codification past Beauchamp, followed past Feuillet, described the body similar a miniature court, with the head every bit the primal indicate, coordinating its limbs like the rex ruling his land. A dancer performing a genuine noble would perform dissimilar five positions than ane performing a peasant or lower-ranking characters.^[25] Proof of dignity was also indicated through utilize of masks, makeup, costumes especially 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 significant office in establishing the general direction ballet would follow for the side by side century. Supported and admired by Male monarch Louis 14, Lully often cast the male monarch in his ballets. The championship of Sun Rex for the French monarch, originated in Louis XIV's function in Lully's Ballet de la Nuit (1653). The fourteen-year-erstwhile Louis Fourteen danced five roles in this 12-hour ballet.^[28] This Ballet was lavish and featured a scene where a set slice of a business firm was burned downwards, included witches, werewolves, gypsies, shepherds, thieves, and the goddesses Venus and Diana.^[29] The ballet'due south master theme was not darkness and night terrors though, but its focus was on Louis who appeared at the end as the Sun (the Sun God, Apollo), putting an end to the night.^[30] Lully'southward master contribution to ballet were his nuanced compositions. His understanding of movement and dance immune him to etch specifically for ballet, with musical phrasings that complemented concrete movements.^[29] Lully also collaborated with the French playwright Molière. Together, they took an Italian theatre manner, 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,^[19] was Le Bourgeois Gentilhomme (1670).^[31]

In 1669 Louis Xiv founded the Académie d'Opéra with Pierre Perrin as director.^[32] Louis XIV retired equally a dancer in 1670, largely considering of excessive weight proceeds. Earlier, in 1661 he had founded a school, the Adacemie Royale de danse. Beauchamp was the beginning ballet-master of the Opéra and created the dances for the new company'due south first product Pomone with music by Robert Cambert.^[19] Later, after Perrin went bankrupt, the king reestablished the Opéra as the Académie royale de Musique and made Lully the director.^[32] Beauchamp was one of the principal choreographers.^[xix] 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 Chiliad Ball, 1626.

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

Professional ballet troupes began to organize and tour Europe, performing for aristocratic audiences. In Poland, Rex Władysław Four 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 advocacy in the technical standards of ballet and the period when ballet became a serious dramatic art form on par with the opera. Primal 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 express character and assist in the narrative. Noverre believed that: ballet should be technical merely besides move the audience emotionally, plots need to exist unified, the scenery and music demand to support the plot and exist unified within the story, and that pantomime needs to be unproblematic and understandable.^[34]

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

Outside France [edit]

Venice continued to exist a centre of dance in Europe, particularly 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 there. Italian ballet techniques remained the dominant influence in much of southern and eastern Europe until Russian techniques supplanted them in the early on 20th century.

Ballet performances spread to Eastern Europe during the 18th century, into areas such equally Republic of hungary, where they were held in private theatres at aristocratic castles. Professional companies were established that performed throughout Hungary and also toured away. The Budapest National Theatre increasingly serving a part every bit a domicile 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 Carnival. The dancer on the left is performing "en travestie" as a woman taking the man's office.

The ballerina became the most popular dance performer in Europe in the first one-half of the 19th century, gradually turning the spotlight away from the male dancer. In many performances, ballet heroes were played by a woman, like 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 important source of influential ballet coaches. The offset ballet master of Republic of hungary's National Theatre and Royal 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 abroad from the aristocratic sensibilities that had dominated earlier periods through romantic ballet. Ballerinas such equally Geneviève Gosselin, Marie Taglioni and Fanny Elssler experimented with new techniques such equally pointework that gave the ballerina prominence as the platonic stage figure. Taglioni was known as the "Christian Dancer," equally her image was light and pure (associated with her role as 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 "Infidel Dancer," because 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 grade that is withal used today. The ballet boxed toe shoe was invented to support pointe work.

Romantic movement [edit]

The Romantic movement 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 light, airy and free that would deed 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 as fragile unearthly beings, ethereal creatures who could be lifted effortlessly and almost seemed to float in the air. Ballerinas began to wear 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 withal performed today.

One strain of the Romantic motility was a new exploration of sociology and traditional ethnic culture. This influence was seen in the emergence of European folk trip the light fantastic toe and western portrayals of African, Asian, and Middle East peoples on European stages. In ballets from this menses, not-European characters were oftentimes 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 also included a small 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 amidst the early productions.^[39]

Many leading European professional ballet companies that survive today were established at new theatres in Europe'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 ordinarily combined large opera, drama and ballet companies under the same roof. Composers, dramatists, and choreographers were and so able to create works that took advantage of the ability to collaborate amidst these functioning troupes.

Russian federation [edit]

Mikhail Mordkin as Prince Siegfried and Adelaide Giuri every bit Odette with students as the picayune swans in the Moscow Imperial Bolshoi Theatre's production 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 land throughout history. Later on 1850, ballet began to wane in Paris, but it 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, but distorted with disinformation and fantasy. The East was often perceived as a faraway place where annihilation was possible, provided it was lavish, exotic and decadent. Petipa appealed to pop taste with The Pharaoh's Daughter (1862), and later 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 up to some debate among historians), The Sleeping Dazzler (1890), and the definitive revival of Swan Lake (1895, with Lev Ivanov). These works were all drawn from European folklore.

The female person dancers' classical tutu every bit information technology is recognized today began to announced at this time. Information technology consisted of a curt, stiff skirt 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 N, Central and South America during the mid-19th century. The prestigious Colon Theater in Buenos Aires, Argentina had hosted foreign ballet artists on its phase, with touring companies from Europe presenting full ballets as early every bit 1867.^[40] By the 1880s, the Colon Theater had its ain professional ballet visitor. Information technology would still exist several decades earlier about countries outside of Europe could claim their own professional ballet companies, notwithstanding.

20th century and modernism [edit]

Russia and the Ballets Russes [edit]

Sergei Diaghilev brought ballet full-circumvolve dorsum to Paris when he opened his visitor, Ballets Russes. It was made upwardly of dancers from the Russian exile community in Paris after 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 side by side choreographic commissions went to Nijinsky. His First ballet was Fifty'apres-midi d'un Faune (Afternoon of a Faun) to music by Debussy. Information technology was notable for its 2 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 withal, was The Rite of Spring, choreographed by Nijinsky with music past Stravinsky. The ballet's mod music, dove toed stomping and theme of human sacrifice shocked audiences then much they rioted.

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

Russian ballet continued development under Soviet rule. There was lilliputian talent left in the country after the Revolution, but it was enough to seed a new generation. After stagnation in the 1920s, past the mid-1930s that new generation of dancers and choreographers appeared on the scene. The technical perfection and precision of dance was promoted (and demanded) past Agrippina Vaganova, who had been taught by Petipa and Cecchetti and headed the Vaganova Ballet Academy, the school to prepare dancers for the Kirov Ballet in St. Petersburg/Leningrad.

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

Some pieces of that era, however, were remarkable. The Romeo and Juliet by Prokofiev and Lavrovsky is a masterpiece. The Flames of Paris, while it shows all the faults of socialist realist art, pioneered the active use 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 also a striking.

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 Matrimony and later exterior of the Eastern Bloc. Even so, afterwards the collapse of the Soviet Matrimony they received more recognition.

The 1999 Northward American premiere of The Fountain of Bakhchisarai past the Kirov Ballet in New York was an outstanding success, for case. The Soviet era of the Russian Ballet put a lot of accent on technique, virtuosity and force. It demanded strength commonly above the norm of gimmicky Western dancers. When watching restored old footage, one can only curiosity 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 after Earth War Two engaged in multiple tours all over the globe that revitalized ballet in the Westward.

Maiden Belfry ^[41] written by Afrasiyab Badalbeyli is the first ballet in the Muslim East.^{[42] [43] [41]}

United States [edit]

Post-obit the motility of the Ballets Russes to France, ballet began to take a broader influence, particularly in the Usa.

From Paris, after disagreements with Diaghilev, Fokine went to Sweden and then the United states and settled in New York. Diaghilev believed that traditional ballet offered little more than prettiness and able-bodied brandish. For Fokine that was not enough. In add-on to technical virtuosity he demanded drama, expression and historical authenticity. The choreographer must research the period and cultural context of the setting and reject the traditional tutu in favour of accurate period costuming.

Fokine choreographed Sheherazade and Cleopatra. He also reworked Petrouchka and The Firebird. One of his almost 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 every bit drama. Legend has information technology that Pavlova identified and then much with the swan function that she requested her swan costume from her deathbed.

George Balanchine developed land-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 too as creating new ballets. He produced original interpretations of the dramas of William Shakespeare such as Romeo and Juliet and A Midsummer Night'due south Dream, and besides 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 state-sponsored funding sources in the United States which sought to encourage "liberty and freethinking" in contrast to narrative-driven dance, which was seen every bit to exist connected likewise closely with socialism, especially Soviet communism.^[45] Today, partly thanks to Balanchine, ballet is 1 of the well-nigh well-preserved dances in the world.^{[ commendation needed ]}

Barbara Karinska was a Russian emigree and a skilled seamstress who collaborated with Balanchine to drag the fine 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 freedom of motility. With meticulous attention to particular, she decorated her tutus with beadwork, embroidery, crochet and appliqué.

Neoclassical ballet [edit]

George Balanchine is often considered to take been the starting time pioneer of what is at present known every bit neoclassical ballet, a mode of dance between classical ballet and today's contemporary ballet. Tim Scholl, author of From Petipa to Balanchine, considers Balanchine's Apollo (1928) to be the first neoclassical ballet. Information technology represented a return to course in response to Serge Diaghilev'southward abstruse ballets. Apollo and other works are still performed today, predominantly by the New York City Ballet. Notwithstanding, other companies are able to pay a fee for functioning rights to George Balanchine'south works.

Frederick Ashton is some other prominent choreographer associated with the neoclassical style. 3 of his works take become 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]

One dancer who trained with Balanchine and absorbed much of this neo-classical fashion was Mikhail Baryshnikov. Post-obit Baryshnikov's appointment every bit artistic director of American Ballet Theatre in 1980, he worked with various modern 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 own visitor. Both these pieces were considered innovative for their utilise of distinctly modern movements melded with the use of pointe shoes and classically trained dancers—for their utilise of gimmicky 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 modern 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 King and his company, Alonzo Rex 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 every bit the Kirov Ballet and the Paris Opera Ballet, also regularly perform contemporary works.

Evolution of ballet method [edit]

Several well-known ballet methods are named later their originators. For instance, two prevailing systems from Russia are known every bit the Vaganova method after Agrippina Vaganova, and the Legat Method, after 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 Kingdom of denmark.

Meet also [edit]

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

References [edit]

1. ^ National Ballet Academy & Trust of India 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 Complete 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" page, on Michael Minn website.
8. ^ Vuillier, Gaston (1898). History of Dancing from the Primeval Ages to Our Ain Times, pp. 65–69. New York: D. Anderson and Company. [Facsimile reprint (2004): Whitefish, Montana: Kessinger Publishing. ISBN 978-0-7661-8166-3.]
9. ^ Bland (1976), p. 43.
10. ^ Frances A. Yates, _The French Academies of the Sixteenth Century_, 2d ed. (London: Routledge, 1988)
11. ^ Anderson (1992), p. 32.
12. ^ Cooper, Elizabeth (2004). "Le Balet Comique de la Reine, 1581: An Assay". University of Washington website.
13. ^ Lee (2002), p. 54.
14. ^ ^{a b} Bland (1976), p. 49.
15. ^ "The Social and Political Importance of Trip the light fantastic". www.blakeneymanor.com . Retrieved June 4, 2020.
16. ^ Homans, Jennifer. (2010). Apollo's angels : a history of ballet (1st ed.). New York: Random 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 Business firm. pp. 52, 56–58. ISBN978-1-4000-6060-3. OCLC 515405940.
18. ^ Homans, Jennifer. (2010). Apollo'south angels : a history of ballet (1st ed.). New York: Random Business firm. pp. 57–59. ISBN978-i-4000-6060-3. OCLC 515405940.
19. ^ ^{a b c d e f} Costonis, Maureen Needham (1992). "Beauchamps [Beauchamp] Pierre" in Sadie (1992) 1: 364.
20. ^ Homans, Jennifer. (2010). Apollo's angels : a history of ballet (1st ed.). New York: Random House. p. 64. ISBN978-i-4000-6060-3. OCLC 515405940.
21. ^ Homans, Jennifer. (2010). Apollo'due south angels : a history of ballet (1st ed.). New York: Random House. p. 65. ISBN978-1-4000-6060-three. OCLC 515405940.
22. ^ Homans, Jennifer. (2010). Apollo'southward angels : a history of ballet (1st ed.). New York: Random House. pp. 65–66. ISBN978-ane-4000-6060-three. OCLC 515405940.
23. ^ Homans, Jennifer. (2010). Apollo's angels : a history of ballet (1st ed.). New York: Random House. pp. 66–67. ISBN978-1-4000-6060-iii. OCLC 515405940.
24. ^ Homans, Jennifer. (2010). Apollo's angels : a history of ballet (1st ed.). New York: Random House. pp. 67–68. ISBN978-1-4000-6060-3. OCLC 515405940.
25. ^ Homans, Jennifer. (2010). Apollo'south angels : a history of ballet (1st ed.). New York: Random Firm. 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 Business firm. pp. 79–85. ISBN978-1-4000-6060-3. OCLC 515405940.
27. ^ ^{a b} Rosow, Lois (1992). "Lully" in Sadie (1992) 3: 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 Firm. p. 53. ISBN978-1-4000-6060-iii. OCLC 515405940.
31. ^ Lee (2002), p. 74. Anderson (1992), p. 42.
32. ^ ^{a b} Pitt, Charles (1992). "Paris" in Sadie (1992) three: 856.
33. ^ ^{a b} "Polish National Ballet History". Smooth National Theatre. Retrieved March xv, 2012.
34. ^ Kassing, Gayle. History of trip the light fantastic : an interactive arts approach. Champaign, IL: Human Kinetics, 2007. Print.
35. ^ "The Hungarian National Ballet". Hungarian Land Opera House. Retrieved March fourteen, 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). Civilisation and Community of Hungary. ABC-CLIO. p. 172. ISBN978-0-313-38370-0.
38. ^ Macaulay, Alastair (September 5, 2012). "Stereotypes in Toeshoes". New York Times. New York, U.s.. Retrieved September 5, 2012.
39. ^ Bleiberg, Laura (December nine, 2005). "Kiev Ballet cleaves to the classics". Orangish County Annals . Retrieved March ten, 2012.
40. ^ Foster, David William; Melissa Fitch Lockhart; Darrell B. Lockhart (1998). Civilization and Customs of Argentine republic. Greenwood Publishing Group. pp. 133. ISBN978-0-313-30319-7.
41. ^ ^{a b} Музыкальная энциклопедия. Гл. ред. Ю. В. Келдыш. Т 1. 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 Motorcar

    …первый балет на мусульманском востоке появился у нас.

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

Farther reading [edit]

• Anderson, Jack (1992). Ballet & Modern Dance: A Concise History (2nd ed.). Princeton, NJ: Princeton Book Company, Publishers. ISBN0-87127-172-ix.
• Andre, Paul; Arkadyev, V. (1999) Bully History of Russian Ballet: Its Fine art & Choreography (1999).
• Bland, Alexander (1976). A History of Ballet and Dance in the Western World . New York: Praeger Publishers. ISBN0-275-53740-iv.
• Caddy, Davinia. (2012). The Ballets Russes and Across: Music and Dance in Belle-Epoque Paris. Cambridge: Cambridge University Press.
• Cohen, Selma Jeanne, founding editor (1998). International Encyclopedia of Dance. New York: Oxford University Press.
• Cross, Samuel H. (1944) "The Russian Ballet Before Dyagilev." Slavonic and East European Review. American Series 3.four (1944): 19–49. in JSTOR
• Ezrahi, Christina. (2012) Swans of the Kremlin: Ballet and Power in Soviet Russian federation (Academy of Pittsburgh Press); examines the resilience of artistic creativity in a history of the Bolshoi and Marinsky/Kirov ballets
• Franko, Mark (1993). Trip the light fantastic toe equally Text: Ideologies of the Baroque Body. Cambridge: Cambridge University Printing.
• Homans, Jennifer, (2010). Apollo'south Angels: A History of Ballet. New York: Random House.
• Johnson, Alfred Edwin. (1913) The Russian Ballet (Houghton Mifflin) online
• Kassing, Gayle. (2007). History of trip the light fantastic toe : 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-X.
• Lifar, Serge. (1954). A history of Russian ballet from its origins to the present day (Hutchinson)
• McGowan, Margaret M. (1978). 50'fine art du ballet de cour en France, 1581–1643. Paris: Centre 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 dictionary of opera (4 volumes). London: Macmillan. ISBN978-1-56159-228-9.
• Surit͡s, E. I͡A, and Due east. I︠A︡ Surit︠s︡. (1990) Soviet Choreographers in the 1920s (Knuckles Univ Press, 1990).
• Wiley, Roland John. (1990) A century of Russian ballet: documents and accounts, 1810-1910 (Oxford University Press)

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

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