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CHAPTER 5 - BALLET

CHAPTER 5 - BALLET. I. Introduction A. Ballet History dates back to the 15th Century in Italy, a popular dance form for fun and celebration. Eventually the dance form became a way to entertain the families of Nobility.

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CHAPTER 5 - BALLET

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  1. CHAPTER 5 - BALLET I. Introduction A. Ballet History dates back to the 15th Century in Italy, a popular dance form for fun and celebration. Eventually the dance form became a way to entertain the families of Nobility. B. Catherine de’Medici (1519-1589), royalty of Italy arrived in France and paved the way for dance to develop from the 16th century to the present

  2. 1. Catherine came from Italy to France to marry into the ruling family of Henri Duc d’Orleans, who would become the King of France 2. Brought her dancing masters 3. She introduced a new type of entertainment to the public, later to be known as the “Court Ballet”

  3. II. EARLY BALLET MOVEMENTS A. “ BALLETS” IN THE 16TH CENTURY WERE DIFFERENT FROM TODAY 1. COURT BALLETS - DAZZLING SPECTACLES 2. SOMETIMES CONSISTED OF ONLY SIMPLE FLOOR PATTERNS, POSES DESIGNED TO BE SEEN FROM ABOVE RATHER THAN FROM THE FRONT OR THE SIDE 3. ELABORATE COSTUMING WAS USED - COSTUMES GREATLY RESTRICTED THE PERFORMER’S MOVEMENTS 4. THE EVENTS LASTED 5 OR 6 HOURS LONG AND INCLUDED EXTRAVAGANT FOOD, MUSIC AND OTHER THEATRICAL INTERLUDES.

  4. BALLETCOMIQUE DE LA REINE

  5. B. THE COURT BALLETS & ITS MAKERS - THE COURT BALLET REACHED ITS CLIMAX DURING THE REIGN (1643–1715) OF LOUIS XIV, WHOSE TITLE THE "SUN KING" - DERIVED FROM A ROLE HE DANCED IN A BALLET. MANY OF THE BALLETS PRESENTED AT HIS COURT WERE CREATED BY CHOREOGRAPHER PIERRE BEAUCHAMP, WHO SAID TO HAVE IDENTIFIED THE FIVE POSITIONS OF THE FEET. IN 1961 LOUIS XIV ESTABLISHED THE ACADEMIE ROYALE DE DANSE, A PROFESSIONAL ORGANIZATION FOR DANCING EXPERTS. HE HIMSELF STOPPED DANCING IN 1670 AND HIS COURTIERS FOLLOWED HIS EXAMPLE.BY THEN THE COURT BALLET WAS ALREADY GIVING WAY TO PROFESSIONAL DANCING. AT FIRST ALL THE DANCERS WERE MEN, AND MEN IN MASKS DANCED WOMEN ROLES. THE FIRST FEMALE DANCERS TO PERFORM PROFESSIONALLY AT A THEATER PRODUCTION APPEARED (1681) IN A BALLET CALLED LE TRIOMPHE DE L’AMOUR (THE TRIUMPH OF LOVE).

  6. Court Ballets performed by & for members of nobility • Most prominent Louis XIV (referred to as Sun King) a. commissioned many ballets (1643-1715) AKA “money bags” b. he performed in the ballets (steps named after him) c. granted permission for and funded The Royal Academy of Dance in France, later known as Paris Opera

  7. C. PROSCENIUM STAGE CREATED AT THE END OF THE 16TH CENTURY 1. SEPARATED AUDIENCE FROM THE PERFORMERS2. BALLETS TOOK ON MORE SERIOUS & THEATRICAL QUALITY3. DANCERS BEGAN TO USE “TURNED-OUT” POSITIONS4. SET VOCABULARY OF MOVEMENTS WAS DEVELOPED A. POSITIONS OF THE FEET B. POSITIONS OF THE ARMS/HEAD C. LOCOMOTOR / NON-LOCOMOTOR MOVEMENTS 5. RIGOROUS TECHNIQUE REQUIRED DANCERS TO TRAIN HOURS TO BE PROFICIENT 6. BY 17TH CENTURY BALLET WAS RECOGNIZED AS A VIABLE ART FORM

  8. La Sylphide Giselle

  9. III. CLASSICAL BALLET (LATE 1800’S) A. CLASSICAL BALLET CHARACTERISTICS 1. PROSCENIUM STAGE 2. SPECTACULAR SCENERY 3. ELABORATE COSTUMES 4. STORYLINE IS USUALLY A FAIRY- TALE OR FABLE B. MARIUS PETIPA (1818-1910) 1. CHOREOGRAPHED THE SLEEPING BEAUTYIN 1890 2. CHOREOGRAPHED SWAN LAKEWITH LEV IVANOV 1885

  10. C. MIKAIL FOKINE, THE FIRST CHOREOGRAPHER, AND DIAGHILEV OF THE BALLET RUSSE SHARED AESTHETIC THAT PUSHED THE BOUNDARIES AND INTRODUCED A “NEW” DANCE 1. DID NOT USE PANTOMIME LIKE CLASSICAL OR ROMANTIC BALLETS 2. CORPS DE BALLET SHOULD BE MORE INVOLVED IN THE BALLET CHOREOGRAPHY 3. COLLABORATION: ALL PARTS TO THE BALLET PRESENTED EQUALLY: MOVEMENT, COSTUMES AND SET 4. FOKINE’S CHOREOGRAPHY HELPED HEIGHTEN STATUS OF MALE DANCER

  11. The Father of Contemporary Ballet: George Balanchine

  12. BALANCHINE AND THE NEW YORK CITY BALLET 1. PRESENTED DUETS 2. KNOWN FOR HIS “PLOTLESS” BALLETS WHOSE FOCUS IS CONNECTION OF MOVEMENT TO MUSIC RATHER THAN STORYLINE A. CONCERTO BACCO (1941) B. AGON ( 1957) 3. CHOREOGRAPHED SOME NARRATIVE BALLETS A. PRODIGAL SON ( 1929 AD REVISED IN 1950)THREE GREAT AMERICAN BALLET COMPANIES WERE FOUNDED IN NEW YORK CITY IN THE 1940S, AMERICAN BALLET THEATRE AND THE NEW YORK CITY BALLET. THE LATTER DREW MANY OF ITS DANCERS FROM THE SCHOOL OF AMERICAN BALLET ESTABLISHED BY BALANCHINE AND KIRSTEIN IN 1934.1. NYCB 2. ABT 3. DANCE THEATRE OF HARLEM (1ST BALLET COMPANY MADE UP OF MOSTLY BLACK DANCERS)

  13. VII. TODAY’S CONTEMPORARY CHOREOGRAPHERS A. MARICE BEJART, ARTISTIC DIRECTOR OF THE BEJART BALLET 1. RECOGNIZED FOR HIS WITTY AND OFTEN FLAMBOYANT DANCES 2. DRAWS INSPIRATIONS FROM VARIOUS CULTURES 3. BLURS GENDER IDENTITIES 4. ANGULAR YET ELEGANT MOVEMENT B. JIRI KYLIÁN OF NEDERLANDS DANS THEATER (1959 ) 1. TURNED AWAY FROM LYRICAL WORKS TO ABSTRACT AND OFTEN SURREALISTIC BALLETS. 2. RESTRUCTURED THE COMPANY IN THE 80’S TO HAVE THREE SEPARATE PERFORMANCE GROUPS TOURING AT THE SAME TIME!

  14. Afternoon of a Faun Choreography: Vaslav Nijinksy Soloist: Rudolph Nuryev Music: Claude Debusy Stravinsky Violin Concerto Choreography: George Balanchine Dancers: Members of New York City Ballet Music by: Igor Stravinsky

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