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Essay / Research Paper Abstract
A 6 page research paper that compares and contrasts a traditional ballet, Petipa's Sleeping Beauty, with an innovative ballet of the next century, Balanchine's Agon. Bibliography lists 7 sources.
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6 pages (~225 words per page)
File: D0_khsbag.rtf
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the most influential choreographers of the twentieth century. The following essay compares and contrasts a traditional ballet, Petipas Sleeping Beauty, with an innovative ballet of the next century, Balanchines Agon.
Sleeping Beauty For Sleeping Beauty, the revered composer Peter Ilyich Tchaikovsky provided Petipa with a collaborative relationships that would endure for many years (Lee 213). Petipa wrote his own
ballet scenarios and then persuaded Tchaikovsky to coordinate precisely designated musical measures and counts with the choreographic plan (Lee 213). Sometimes, Petipa wold even indicate which orchestral instruments he preferred
should be used for a given passage. Tchaikovskys respect for Petipas talent was such that he complied with choreographers detailed instructions -- all 101 of them (Lee 213). The
result of this collaboration was historic and magnificent, but also highly traditional. In a traditional sense, Sleeping Beauty was in "every sense a court ballet rendering," which paid
homage to the Romanov lineage (Lee 213). Its opulent production values were similar to those of Louis XIVs Court at Versailles and this flattering allusion was not lost on the
sophisticated aristocracy of St. Petersburg (Lee 213). They delighted in knowing that "their imperial Russian family, their capital city and its ballet" had surpassed the much-admired precedents offered by French
culture (Lee 214). While Petipas technical vocabulary of movement had made great and creative strikes, "great elegance and dignity" remained hallmarks of Petipas work, just as these features had
characterized the ballets produced under the rule of Frances Sun King (Lee 214). Petipas vocabulary was creative, but nonetheless, a classical vocabulary. Auxiliary steps, such as failli, tombe,
and glissade, serve to connect one step or movement phrase to the next (Lee 210). Large and small elevations steps, such as pas de chat or grand jete entrelace,
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