Ballet ( French: Ã, [bal?] ) is a type of dance performance that originated during the Italian Renaissance in the 15th century and later developed into a concert dance form in France and Russia. Since then it has become a widespread and highly technical dance form with its own vocabulary based on French terminology. It has been globally influential and has defined the basic techniques used in many other genres and dance cultures. Ballet has been taught in various schools around the world, which have historically incorporated their own culture and as a result, art has evolved in a number of different ways. View the ballet glossary.
ballet , a work, composed of choreography and music for ballet production. A notable example of this is the The Nutcracker , a two-phase ballet choreographed by Marius Petipa and Lev Ivanov with a musical score by Pyotr Ilyich Tchaikovsky. Ballet is choreographed and performed by trained ballet dancers. Traditional classical ballet is usually done with classical music accompaniment and uses elaborate costumes and performances, while modern ballet, such as American choreographer George Balanchine's neoclassical work, is often done in simple costumes (for example, tight shirts and tights) and without the use of sets or sights complicated.
Video Ballet
Etymology
Ballet is a French word derived from Italian balletto, a miniature of ballo (dance) originating from Latin ballo , ballare , meaning "to dance", which in turn comes from the Greek "???????" ( ballizo ), "dancing, jumping up and down". The word was used in English from French circa 1630.
Maps Ballet
History
Ballet came from the Italian Renaissance palace in the 15th and 16th centuries before spreading from Italy to France by an Italian nobleman, Catherine de 'Medici, who became Queen of France. In France, ballet grew further under the influence of its aristocrats. The dancers in these early ballads are mostly noble amateurs. Ballet in this period is long and complicated and often serves political purposes. The king displays the wealth of the country through the power and splendor of complex performances. Ornamental costumes are meant to impress the audience, but they limit the freedom of movement of the players.
Ballet is done in large space with viewers on three sides. The implementation of the proscenium arch from 1618 on different players of the audience, who could then see and appreciate the technical achievements of professional dancers in production.
The French court ballet reached its peak under the reign of King Louis XIV. Known as the King of the Sun, Louis symbolizes the splendor and splendor of France. Influenced by his participation in court ballads from an early age, Louis founded the Acadà © ake Royale de Danse (Royal Dance Academy) in 1661 to set standards and authorize dance instructors. In 1672, Louis XIV made Jean-Baptiste Lully the director of Acadà © ake Royale de Musique (Paris Opera) from which the first professional ballet company, Paris Opera Ballet, appeared. Lully is considered the most important musical composer for ballet de cour and instrumental for the development of forms. Pierre Beauchamp served as Lully's ballet master, the most important position of artistic authority and power to the company during this century. Together, their partnership will drastically influence ballet development, as evidenced by the credits granted to them for the creation of five major positions of the foot. The years after the creation of 1661 of Acadà © ake Royale de Danse formed the future of ballet, as it became more apparent to those in France Nobility that there was a significant need for trained professional dancers. In 1681, the first of those now to be called "ballerinas" took the stage after years of training in the AcadÃÆ' © n noodles, influenced by the earliest beginnings of the coding techniques taught there.
Ballet began to decline in France after 1830, but continues to grow in Denmark, Italy, and Russia. The arrival in Europe from Ballet Russes led by Sergei Diaghilev on the eve of the First World War revived interest in ballet and started the modern era of art. Russian Choreographer Michel Fokine challenges tradition and calls for reforms that revive ballet as an art form.
In the 20th century, ballet had a wide influence on other dance genres, and the ballet subgenre has also evolved. In the United States, choreographer George Balanchine developed what is now known as neoclassical ballet. Other developments include contemporary ballet and post-structural ballet. Also in the twentieth century, ballet took a turn dividing it from classical ballet to the introduction of modern dance, leading to a modernist movement in several countries. Well-known 20th century dancers include Anna Pavlova, Galina Ulanova, Rudolf Nureyev, Maya Plisetskaya, Margot Fonteyn, Rosella Hightower, Head of Mary Tall, Erik Bruhn, Mikhail Baryshnikov, Suzanne Farrell, Gelsey Kirkland, Natalia Makarova, and Arthur Mitchell.
Styles
Variations of style have emerged and evolved since the Italian Renaissance. Early on, classical variations are mainly related to geographical origin. Examples are Russian ballet, French ballet, and Italian ballet. Then variations, such as contemporary ballet and neoclassical ballet, combine both classical ballet and non-traditional techniques and movements. Perhaps the most widely known and performed ballet style is the Late Romantic ballet (or Ballet blanc), a classic style that focuses on the female dancer (ballerina ) and features the right pointe of work, flow and movement, and often presents a female dancer in a traditional long white tutus.
Classic ballet
The classic ballet is based on traditional ballet techniques and vocabulary. There are various classical ballet styles associated with the area of ​​origin, such as French ballet, Italian ballet, English ballet, and Russian ballet. Some classical ballet styles are associated with special training methods, which are usually named according to their creators. For example, the Cecetti method is described after its creator, Italian dancer Enrico Cecetti and the Vaganova method named after Russian ballerina Agrippina Vaganova. The Royal Academy of Dance method is a ballet technique and training system founded by diverse groups of ballet dancers. They combine their respective dance methods (Italian, French, Danish and Russian) to create a new ballet style unique to the organization and are recognized internationally as an English ballet style. Some examples of classical ballet production are: Swan Lake and the Nutcracker.
romantic ballet
Romantic ballet is a classic ballet artistic movement. It relies on the same codified steps, but departs from the previous classical ballet in artistic production changes. For example, this era marks the emergence of pointe work, female domination in ballet production, and a change from a short-sighted tutus that stands directly to a longer, flowing tutus that tries to give an example of subtle softness and aura. This movement occurred in the early to mid-19th century (Romantic era) and featured themes that emphasize strong emotions as a source of aesthetic experience. The plots of many romantic ballets revolve around the spirit women (sylphs, wilis, and ghosts) that enslave the hearts and feelings of mortal men, as well as the mysteries of imagination or dreams. The 1827 ballet La Sylphide is widely regarded as the first, and the 1870 ballet Coppà © lia is considered to be the last work of the romantic ballet. Well-known ballet dancers from the Romantic era include Marie Taglioni, Fanny Elssler, and Jules Perrot. Jules Perrot is also known for his choreography, especially Giselle, often considered the most celebrated romantic ballet.
Neoclassical ballet
A neoclassical ballet is a style that uses classical ballet techniques and vocabulary, but deviates from classical ballet in its abstract use. In neoclassical balloons, there are often no obvious plots, costumes, or scenes. The choice of music can be diverse and will often include music that is also neoclassical (eg Stravinsky, Roussel). The neoclassical ballet opens the use of space for a variety of possibilities, because the abolition of the necessities of formality and storytelling allows more possibilities for architecture and design in choreography.
Scholl's team, author From Petipa to Balanchine, considered George Balanchine's Apollo in 1928 to be the first neoclassical ballet. Apollo represents a return to form in response to the abstract race of Sergei Diaghilev. Balanchine works with modern dance choreographer Martha Graham, extending her exposure to modern techniques and ideas, and she brings modern dancers to her company, New York City Ballet, like Paul Taylor, who in 1959 appeared in Balanchine's Episode.
While Balanchine is widely regarded as the face of neoclassical ballet, there are others who make a significant contribution to the development of style. Frederick Ashton's Symphonic Variations (1946) is a seminal work for choreographers, and is a work staged in white tunics, an abstract and minimal set design with no visible plot. Set to CÃÆ' Â © sar Franck with the same title, it is a pure dance interpretation of the score in a way that exemplifies the Ashton style.
Another form, Modern Ballet, also appears as a branch of neoclassicism. Among the innovators in this form are Glen Tetley, Robert Joffrey, and Gerald Arpino. Although it is difficult to break down the modern ballet of neoclassicism, this choreographed work favors greater athletics that departs from the delights of ballet. Physically bolder, with mood, subject and music more intense. An example of this is Joffrey Astarte (1967), which features rock scores and sexual tones in choreography.
Contemporary ballet
The contemporary ballet is a dance form that opens the door for any style to influence the work created using ballet techniques. It can take a variety of aesthetics, incorporating pedestrian, modern, jazz, or ethnic forms, as long as the classical ballet roots are real. This allows for open explorations and experiments, but a good way to determine if a work is a contemporary ballet, as opposed to contemporary dance, is to ask the question, is ballet training necessary to do this as intended?
Sometimes it is difficult to distinguish this form from neoclassical or modern ballet. Some of the main examples of this are Twyla Tharp's Deuce Coupe (1973) for Joffrey Ballet. In this ballet, Tharp juxtapose a white-shaped ballerina that makes its way through the lyrics of ballet steps, while dancers wear street clothes, sometimes in pointe shoes, socks or sneakers, dancing in various styles for Musical Beach music. In the 1980s William Forsythe made substantial innovations in contemporary ballet with various works, including In the Middle, Kindly Elevated (1987). This work features strong athletic and electric scores. Forsythe took the classical ballet vocabulary and exaggerated it, making the dancers move larger, faster and more direction than before.
Many contemporary ballet concepts come from the ideas and innovations of 20th century modern dance, including floor work and foot turns. This ballet style is often done barefoot. Contemporary ballets can include pantomime and acting, and are usually set to music (usually orchestras but sometimes vocals).
George Balanchine, founding director of the New York City Balloon, is considered to have been a pioneer of contemporary ballet due to the development of his neoclassical ballet pioneer. Another contemporary ballet choreographer, Twyla Tharp, choreographer Push Comes To Shove for the American Ballet Theater in 1976, and in 1986 created In The Upper Room for his own company. Both pieces are considered innovative because of their blend of clear modern movements with the use of classically trained pointe and dancer shoes.
Today there are many companies and contemporary ballet choreographers. These include Alonzo King and his company LINES Ballet; Matthew Bourne and his company, New Adventures; Contemporary Ballet Complex; Nacho Duato and Compaà ± ónnya him Nacional de Danza; William Forsythe and The Forsythe Company; and Ji? ÃÆ' KyliÃÆ'¡n from Nederlands Dans Theater. Traditional "classic" companies, such as Ballins Mariinsky (Kirov) and Paris Opera Ballet, also regularly perform contemporary works.
The term ballet has evolved to include all the forms associated with it. A person practicing as a ballet dancer is now expected to perform neoclassical, modern and contemporary work. Ballet dancers are expected to be great and great for classical, free and lyrical works in neoclassical works, and not simple, harsh or pedestrian for modern and contemporary works. In addition, there are several types of modern dance that combine classical ballet techniques with contemporary dance, such as Hiplet, which requires dancers to be practiced in a non-Western dance style.
The technical method of ballet instructions
There are six methods that are widely used and recognized internationally for teaching or studying ballet. These methods are the French School, the Vaganova Method, the Cecetti Method, the Bournonville Method, the Royal Academy of Dance method, and the Balanchine (American-style) method.
French method
The French method is a style of training that relies heavily on historical tradition, as it traces back to the 17th century France. This style is widely taught, as this is the foundation of all ballet training. When Louis XIV created the AcadÃÆ'Â © nie Royale de Danse in 1661, he helped create codified techniques that are still used today by them in the profession, regardless of what training method they obeyed. The French school was specifically revitalized under Rudolf Nureyev, a talented dancer and director of the Paris Opera Ballet in the 1980s. His influence revitalized and renewed his appreciation for this style, and has drastically shaped the ballet as a whole. This can be seen in French schools sometimes referred to as Nureyev schools. The French method is often characterized by technical precision, elegance and elegance, as well as elegant and clean lines. The accuracy of footwork and emphasis strength and elegance determine the method. For this style, fast footwork is often used to give the impression that the players are floating lightly on stage. Two important trademarks of this technique are the special ways in which port de bras and ÃÆ' Â © paulement are performed. In this technique, it is clear that they are more rounded than when dancing in Russian style, but not as round as when using Danish style.
Vaganova Method
The Vaganova method is a ballet-style technique that emerged from the Russian ballet, and was created by Agrippina Vaganova. This dance method emerged from a technique taught at the Imperial Russian Ballet, especially when under the influence of Premier MaÃÆ'®tre de Ballet Marius Petipa in the latter half of the 19th century. After retiring from professional dance at the Imperial Ballet in 1916, Vaganova turned to teach at a school associated with him in 1921, now named the Leningrad Chore School. While here, he created what is now an internationally renowned training technique and wrote a highly respected ballet book, The Fundamental of Classical Dance (1934), outlining this style. This method is characterized by a blend of classical French style, especially elements of the classical Romantic ballet era, with the athleticism of the Italian method, and the spirit of the Russian ballet. He developed a very appropriate way of ballet instruction in his book The Basic Principles of Russian Classical Dance (1948). This includes outlining when to teach the technical components to students in their ballet careers, for how long to focus on it, and the right amount of focus at each stage of a student's career. These textbooks continue to be very important for ballet instruction today.
This method emphasizes the development of essential strength, flexibility, and endurance for proper ballet performance. He embraces the belief that just as important should be placed on the arms and legs while doing ballet, as this will bring greater harmony and expression to the body as a whole.
Method cecetti
The Cecchitti method was pioneered by Enrico Cecetti (1850-1928). This method is one that is known internationally because of its strong dependence on the anatomical understanding associated with classical ballet. The purpose of this method is to instill important characteristics for ballet performance into students so that they do not need to rely on imitation of the teacher. An important component to this method is the suppression of balance, improvement, balloons, tranquility, and strength.
This method supports the importance of recognizing that all parts of the body move together to create beautiful, graceful lines, and as a reminder of the mindset of ballet in terms of arms, legs, and neck and body as separate parts. This method is famous for the eight port de bra used.
Bournonville Method
Bournonville method is a Danish ballet style that teaches the technique first made by August Bournonville. This method is considered an attempt to return to the 19th century techniques of classical classical ballet school. Bournonville was heavily influenced by the early French ballet method because of his training with his father, Antoine Bournonville and other important French ballet masters. This method has many different styles that distinguish it from other ballet methods taught today. The key component is the use of diagonal ÃÆ' Â © paulements, with the upper body rotating toward the working foot normally. This method also combines the use of very basic arms, pirouettes from low positions into the seconde, and the use of the fifth position of the bra en bra for the beginning and end of movement.
This technique is known for its fast and earthy footwork, humble performance. Emphasis is placed on the dancers who show no sign of the intense effort required to perform the steps.
The Royal Academy of Dance (RAD) Method
The Royal Academy of Dance method, also known as the English ballet style, was founded in 1920 by Genee, Karsavina, Bedells, E Espinosa, and Richardson. The purpose of this method is to promote academic training in classical ballet throughout the United Kingdom. This style also spread to the United States, and is widely used today. There are certain grade levels where a student must move to complete the training in this method. The main principle behind this teaching method is that basic ballet techniques should be taught at a slow pace, with the progression of difficulty often slower than the rest of the method. The idea behind this is that if a student has to do a great deal of effort to refine the basic steps, the techniques learned in these steps allow a student to use the harder at a much easier level. Focus on the basic steps so as to define the ability of the dancer to perform and really master the ballet.
Balanchine Method
The Balanchine method was developed by George Balanchine in the New York City Ballet. As a dancer in the Imperial Russian Ballet, his method is very interesting from Russian influence, but mainly moves away from detailed theatrical storylines. This technique is known for its extreme speed across routines, emphasis on lines, and the inside. Perhaps one of the most notable differences of this style is the unusual body position. These stylish dancers often flex hands and even legs, while other methods support the importance of sharp legs. Dancers are also often in an off-balance position, as opposed to the more traditional style of 'balance' emphasis. This method is the only one of six styles that is part of the Neoclassical ballet, making it very different from other methods of interest in traditional classical ballet. The important ballet studios that teach this method are Ballet Miami City, Ballet Chicago Studio Company, and School of American Ballet in New York.
Costume
Ballet costumes play an important role in the ballet community. They are often the only survival of production, representing the imaginary image of the scene.
Renaissance and Baroque
The ballet roots go back to the Renaissance in France and Italy when the palace outfit is the beginning of the ballet costume. Ballet costumes have been around since the beginning of the 15th century. Cotton and silk mixed with hemp, woven into semitransparent gauze to create a beautiful ballet costume.
Seventeenth Century
During the seventeenth century, various types of fabrics and designs were used for ballet costumes to make them much more spectacular and eye catching. The court dress remains for women during this century. Silk, satin, and embroidered fabrics with real gold and precious stones increase the level of spectacular decoration associated with ballet costumes. Women's costumes also consist of heavy clothing and knee-length skirts that make it difficult for them to create many movements and movements.
Eighteenth Century
During the eighteenth century, stage costumes were still very similar to court outfits but grew over time, largely because of French-run dancers and French master Jean-Georges Noverre (1727 - 1810) whose proposal to modernize ballet was contained in his revolutionary Lettres sur la danse et les balet (1760). Noverre states in his texts that ballet must be revealed through a dramatic movement and the movement must express the relationship between characters. Prior to Noverre, Ballet was a large spectacles that focused primarily on costumes and intricate sights rather than on the physical and emotional expressions of the dancers.
European Ballet is centered in Opera Paris. During this era, skirts grew a few inches off the ground compared to Renaissance and seventeenth-century periods. Overtime, the costumes evolved as more designs and colors were used on ballet costumes. Flowers, creases, ribbons and lace emphasize this feminine style of luxury, because the soft pastel tones in citron, peach, pink, and pistachio dominate the color range of the stage costumes.
Nineteenth Century
During the early nineteenth century, body costumes covering the body, flower crown, corsage and jewelry were used. Romanticism ideals are reflected through the women's movement. The costumes become tighter when the corset begins to be used, to show off the indentation on the ballerina. Fascinating jewelry and costumes are becoming much more popular.
Twentieth Century
Twentieth CenturySource of the article : Wikipedia
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