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Essay / Research Paper Abstract
This 3 page paper discusses the development of the romantic ballet form. Major choreographers are discussed as well as the ballets they are known for. History, movement, and evolution of the form are discussed. Bibliography lists 3 sources.
Page Count:
3 pages (~225 words per page)
File: D0_MBballet.rtf
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Unformatted sample text from the term paper:
very long and distinguished legacy, especially romantic ballet. However, Romantic ballet, like most forms of dance, have not remained static, but have gone through an evolution of their own.
Most experts generally agree that the first romantic ballet was called La Sylphide, which was first performed by Marie Taglioni(Balanchine 1989). What makes this doubly important was that Ms.
Taglioni danced almost the entire ballet on pointe shoes, which until then, had not been utilized in such fashion. The white tutu was also introduced via La Sylphide and utilized
in many other romantic ballets, including Giselle. The use of toe dancing was her fathers idea as he wanted the character that Marie portrayed, a supernatural creature, to seem otherworldly.
La Sylphide was such a success and employed so many innovations that it influenced changes in the ballets of the time. Themes of the supernatural, nature and love were common.
Giselle, known more popularly by audiences, also used the theme of humans interacting with the supernatural worlds of the ghostly spirit. Grace and beauty were emphasized and as
a result there were many great ballerinas to come from the romantic ballet. After the style fell into decline, a Frenchman by the name of Marius Petipa, became the
chief choreographer of the Imperial Russian Ballet and managed to keep the form alive. In fact, the evolution of the romantic ballet continued under his directorship.
His changes included lengthening the performance to three hours which utilized elaborate sets, combined set dances with mimed scenes. His best-known works are
The Sleeping Beauty (1890) and Swan Lake (co-choreographed with the Russian Lev Ivanov), both set to commissioned scores by Peter Ilich Tchaikovsky(Terry 1976).
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