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    Giselle La Sylphide: Pointe Work

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    chris rosales
    Ballet originated in 15th century Italian Renaissance courts, where dancing masters taught nobility dance steps for lavish performances. In the 16th century, Catherine de Medici began funding ballet in the French court, encouraging its growth. A century later, King Louis XIV helped popularize and standardize ballet as a professional art form. By the late 1700s, French ballet masters introduced narrative ballet dramas that could stand alone, separate from opera. In the 19th century, romantic ballets emerged reflecting themes of the supernatural, women, and pointe work, while Russian choreographers took classical ballet to new heights with grand productions.

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    Giselle La Sylphide: Pointe Work

    Uploaded by

    chris rosales
    71 views2 pages
    Ballet originated in 15th century Italian Renaissance courts, where dancing masters taught nobility dance steps for lavish performances. In the 16th century, Catherine de Medici began funding ballet in the French court, encouraging its growth. A century later, King Louis XIV helped popularize and standardize ballet as a professional art form. By the late 1700s, French ballet masters introduced narrative ballet dramas that could stand alone, separate from opera. In the 19th century, romantic ballets emerged reflecting themes of the supernatural, women, and pointe work, while Russian choreographers took classical ballet to new heights with grand productions.

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    history hoe

    Original Title

    Ballet History

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    Ballet originated in 15th century Italian Renaissance courts, where dancing masters taught nobility dance steps for lavish performances. In the 16th century, Catherine de Medici began funding ballet in the French court, encouraging its growth. A century later, King Louis XIV helped popularize and standardize ballet as a professional art form. By the late 1700s, French ballet masters introduced narrative ballet dramas that could stand alone, separate from opera. In the 19th century, romantic ballets emerged reflecting themes of the supernatural, women, and pointe work, while Russian choreographers took classical ballet to new heights with grand productions.

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    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    71 views2 pages

    Giselle La Sylphide: Pointe Work

    Uploaded by

    chris rosales
    Ballet originated in 15th century Italian Renaissance courts, where dancing masters taught nobility dance steps for lavish performances. In the 16th century, Catherine de Medici began funding ballet in the French court, encouraging its growth. A century later, King Louis XIV helped popularize and standardize ballet as a professional art form. By the late 1700s, French ballet masters introduced narrative ballet dramas that could stand alone, separate from opera. In the 19th century, romantic ballets emerged reflecting themes of the supernatural, women, and pointe work, while Russian choreographers took classical ballet to new heights with grand productions.

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    Ballet originated in the Italian Renaissance courts of the 15th century.

    Noblemen
    and women were treated to lavish events, especially wedding celebrations, where
    dancing and music created an elaborate spectacle. Dancing masters taught the
    steps to the nobility, and the court participated in the performances.

    In the 16th century, Catherine de Medici — an Italian noblewoman, wife of King


    Henry II of France and a great patron of the arts — began to fund ballet in the
    French court. Her elaborate festivals encouraged the growth of ballet de cour, a
    program that included dance, decor, costume, song, music and poetry. A century
    later, King Louis XIV helped to popularize and standardize the art form. A
    passionate dancer, he performed many roles himself, including that of the Sun King
    in Ballet de la nuit. His love of ballet fostered its elevation from a past time for
    amateurs to an endeavor requiring professional training.

    By 1661, a dance academy had opened in Paris, and in 1681 ballet moved from the
    courts to the stage. The French opera Le Triomphe de l’Amour incorporated ballet
    elements, creating a long-standing opera-ballet tradition in France. By the mid-
    1700s French ballet master Jean Georges Noverre rebelled against the artifice of
    opera-ballet, believing that ballet could stand on its own as an art form. His notions
    — that ballet should contain expressive, dramatic movement that should reveal
    the relationships between characters — introduced the ballet d’action, a dramatic
    style of ballet that conveys a narrative. Noverre’s work is considered the precursor
    to the narrative ballets of the 19th century.

    Early classical ballets such as Giselle and La Sylphide were created during the
    Romantic Movement in the first half of the 19th century. This movement
    influenced art, music and ballet. It was concerned with the supernatural world of
    spirits and magic and often showed women as passive and fragile. These themes
    are reflected in the ballets of the time and are called romantic ballets. This is also
    the period of time when dancing on the tips of the toes, known as pointe work,
    became the norm for the ballerina. The romantic tutu, a calf-length, full skirt made
    of tulle, was introduced.

    The popularity of ballet soared in Russia, and, during the latter half of the 19th
    century, Russian choreographers and composers took it to new heights. Marius
    Petipa’s The Nutcracker, The Sleeping Beauty and Swan Lake, by Petipa and Lev
    Ivanov, represent classical ballet in its grandest form. The main purpose was to
    display classical technique — pointe work, high extensions, precision of movement
    and turn-out (the outward rotation of the legs from the hip)—to the fullest.
    Complicated sequences that show off demanding steps, leaps and turns were
    choreographed into the story. The classical tutu, much shorter and stiffer than the
    romantic tutu, was introduced at this time to reveal a ballerina’s legs and the
    difficulty of her movements and footwork.

    In the early part of the 20th century, Russian choreographers Sergei Diaghilev and
    Michel Fokine began to experiment with movement and costume, moving beyond
    the confines of classical ballet form and story. Diaghilev collaborated with
    composer Igor Stravinsky on the ballet The Rite of Spring, a work so different —
    with its dissonant music, its story of human sacrifice and its unfamiliar movements
    — that it caused the audience to riot. Choreographer and New York City Ballet
    founder George Balanchine, a Russian who emigrated to America, would change
    ballet even further. He introduced what is now known as neo-classical ballet, an
    expansion on the classical form. He also is considered by many to be the greatest
    innovator of the contemporary “plotless” ballet. With no definite story line, its
    purpose is to use movement to express the music and to illuminate human
    emotion and endeavor. Today, ballet is multi-faceted. Classical forms, traditional
    stories and contemporary choreographic innovations intertwine to produce the
    character of modern ballet.

    From: A Brief History of Ballet


    By the Pittsburg Ballet

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