ballet test 3

romantic era

steam power

• expanded industries, accelerated production to unprecedented numbers and unheard of speeds

robert le diable 1831

•  Filippo Taglioni and danced by his daughter, Marie

• Quick synopsis: In the moonlit ruins of a medieval cloister, nuns who had broken their vows rose from their tombs to dance. They were shrouded in veils & gowned in white…

• Major innovation of gas lighting lit the stage in such a manner, representing a supernatural, ghostly stage

• Huge success for the Paris Opera Ballet

romanticism

push back from enlightenment

Filippo Taglioni (It, 1777-1871)

• Dancer, choreographer, ballet master and father of the famed Marie Taglioni

• Born in Milan and studied ballet in Italy before dancing for the Paris Opera

• Greatest contribution: a new style of dance that embodied graciousness, featuring the female dancer’s elevation and mystical qualities

• In contrast, he was a very demanding teacher and oftentimes his daughter, Marie, would become so exhausted that she would have to be carried out of lengthy rehearsals.

• Famous ballets he created:  Le Dieu et la Bayadere & La Sylphide

Marie Taglioni (It, 1804-1884)

• Pure embodiment of the spirit of Romanticism

• Born in Stockholm and began training with her father at the age of 12

• Made debut in in France in 1827

• La Sylphide was her signature piece and this established her as a ballerina

• Marie’s unique quality of purity and lightness created an ethereal style that became the SYMBOL of the Romantic Era

• She transformed ballet with the use of pointe shoes by rising to the tips of her darned ballet slippers which gave the illusion of defying gravity and becoming a weightless spirit of the air

• Known as one of the 4 greatest ballerinas of her time and danced with the other 3 in Pas de Quatre (1845)

Carlotta Grisi, Fanny Cerrito, Lucile Grahn

•  danced lead role in Giselle; the role was written specifically for her; as the 1^st Giselle she became one of the most prominent romantic ballerinas

• Believed to be the 1^st ballerina to wear a BLOCKED SLIPPER (true pointe)

• known for her brilliant technique and a star of the London stage

• studied under August Bournonville and danced in the 1^st production of La Sylphide ; most often danced sylph-like roles like La Sylphide; also danced for the POB

Fanny Elssler (Viennese 1810-1884)

• Most known for her famous dance, the Spanish Cachucha---a character solo dance; dance displayed her fiery temper and earthy movements, which is quite the opposite of the romantic image 

• The Cachucha costume became a fashion craze in Paris

• Superb actress and brilliant dancer; pointe work was very advanced for the time

• Rival of Marie Taglioni

• Toured in American and Cuba; instant success in America-Congress actually adjourned for the day during her visit

• Definitely offered a contrast to romantic era femininity

Jules Perrot (French 1810-1892)

• Danced with Paris Opera Ballet and partnered with Marie Taglioni

• Considered greatest male dancer of the Romantic Era

• Created MANY ballets that SOLIDIFIED the theories of Jean-Georges Noverre (using dramatic plots & expressive choreography

• Important ballets he created: La Esmeralda, Pas de Quatre

• In 1848 he moved to Russia and served as ballet master in St. Petersburg (at the Imperial Theatre)

• Choreographer of Pas de Quatre, which brought the 4 leading ballerinas of the Romantic Era together; the ballet showed off their personal styles

• He, along with Jean Coralli created the PROTOTYPE of the Romantic Era:  Giselle

Jean Coralli (French with Italian descent, 1779-1854)

• Dancer, choreographer, ballet master

• Debuted at the Paris Opera

• Most important ballets were produced at the POB, including the 1841 Giselle, with Perrot

• Choreographer of the famous Cachucha

August Bournonville (Danish, 1805-1879)

• Danish dancer, choreographer, ballet director

• While in Paris, studying under August Vestris, he absorbed the French style of the 18^th century danseur noble & the technical virtuosity of the 19^th century Fr. School male dancer. These attributes were integral to the Royal Danish Ballet~the school he would later develop

• Known to have kept a balance between male and female dance roles

• Included folk dances from exotic countries, collaborated with composers (which is an important ELEMENT of Romantic ballets)

Carlo Blasis (Italian 1797-1878)

• Although a dancer, he contributions to 19^th century ballets are his work as a teacher & his writings as a ballet THEORIST

• Invented the attitude ~ was inspired by Gianini Bologna’s Statue of Mercury

• Codified ballet technique of that time

• Wrote The Code of Terpsichore, which was written for dancers that established the basis of modern classical ballet; It is a guide to the dance technique of the 1^st part of the 19^th century & set standards for dance for future generations

• Teacher of Enrico Cecchetti

2-ACT FORM

• Act I took place in the indefinable past, somewhat medieval in nature and described as GOTHIC in nature.  Setting: rustic or exotic and rich in local color.  Act II was a contrast to Act I with a fantastical setting, such as a forest at midnight or under the sea.

PLOT

• centered on a love triangle or a story of unrequited love

DRAMATIC ACTION

characters were extremely emotional and melodramatic

CHARACTERS

• realistic (human) & fantastic (sylphs, Wilis, ethereal creatures of the air and water) & supported by a corps de ballet~body of the ballet or dancing chorus

MUSIC

• supported the setting & mood of each act & reflected the emotions the characters & the dramatic action of the scene

COSTUMING

• females~ long, filmy skirt, usually white, mid-calf length, like in Giselle; fitted bodice/males~knee breeches or short pants over tights, poet’s shirts, and short jackets or vests/POINTE dancing

Proscenium Arch

• was introduced to separate audience and performers

Raised stage

appeared for the first time as new innovation

GAS LIGHTING

• this new illumination gave way to sunlit and moonlit acts, making Act II Giselle possible