By Tim Scholl
During this wealthy interdisciplinary examine Tim Scholl offers a provocative and well timed re-examination of the improvement of ballet from the Eighties to the center of the 20th century. within the gentle of a considerate re-appraisal of dance classicism he locates the roots of contemporary ballet within the works of Marius Petipa, instead of within the much-celebrated choreographic experiements of Diaghilev's Ballet Russe.Not purely is that this the 1st e-book to offer 19th- and twentieth-century ballet as a continual instead of damaged culture, From Petipa to Balanchine areas works reminiscent of snoozing attractiveness, Les Sylphides, Apollo and Jewells of their right cultural and creative context.The in basic terms English-language research to be in response to the unique Russian soures, this publication may be crucial studying for all dance students. Written in an enticing and chic sort it's going to additionally entice a person drawn to the historical past of ballet commonly.
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Additional info for From Petipa to Balanchine: Classical Revival and the Modernization of Ballet
5 January 1890) This was not the first time a nineteenth-century lyric theater work was judged incomprehensible, nor would it be the last. (Lev Tolstoy’s attack on nineteenth-century From Petipa to Balanchine 26 opera in What is Art? ) In fact, the libretto of Sleeping Beauty ranks among the more lucid of nineteenth-century ballet narratives, with the story line concentrated in the early acts and its last scene devoted to the extended divertissement. 14 Aleksandr Pleshcheev raises similar objections, emphasizing the sub-jugation of dance to the féerie’s visual splendor: Balletomanes, and the lovers of choreographic art generally, were not happy to see the fusion of ballet with even such an elegant féerie, in which dance is only a supplement to the effects of the production, which play the leading role.
The Ballets Russes themselves would never have seen the light of day had not the Belle au Bois Dormant awakened in a group of Russian youths a fiery enthusiasm that developed into a kind of frenzy. (1941, 127) Benois’ love for the ballet developed slowly, over several viewings, fueled primarily by his admiration for the score: One of the great attractions of La Belle au Bois Dormant was the historical reminiscences that it evoked. No music had ever so successfully resuscitated the distant past as was done in the hunting scene and in the last divertissement of La Belle au Bois Dormant.
Sleeping Beauty mined a rich lode of dance history and lore, recalling and creating, rather From Petipa to Balanchine 28 than destroying ballet tradition as its harshest critics maintained. Vera Krasovskaya sees the ballet as an attempt to revive French court theater: To Vsevolozhsky, such a ballet seemed quite different from a Western European dance revue, where a contemporary thematic predominated. He dreamed of something else—to revive the magnificent court spectacle of old France. (1963, 292) Krasovskaya’s suggestion is particularly interesting when read with Léon Bakst’s recollections of the general rehearsal of Sleeping Beauty: An unforgettable matinée!