Example Of A Research Paper: Ballet
SUMMER 2010
DANCE-38A
INSTRUTOR: LUCAS
ZENG, JIAXIN
RESEARCH PAPER Through this course, I am interested in Ballet. I didn’t know there are so many kind of ballet before. I always thought ballet is just a kind of dance, and I didn’t know there is classical ballet, temporary ballet, and neoclassical ballet until I take this course.
Ballet emerged in the late fifteenth-century Renaissance court culture of Italy as a dance interpretation of fencing, and further developed in the French court from the time of Louis XIV in the 17th century. This is reflected in the largely French vocabulary of ballet. Despite the great reforms of Noverre in the eighteenth century, ballet went into …show more content…
decline in France after 1830, though it was continued in Denmark, Italy, and Russia. It was reintroduced to Western Europe on the eve of the First World War by a Russian company: the Ballets Russes of Sergei Diaghilev, who came to be influential around the
world.
Diaghilev 's company came to be a destination for many of the Russian trained dancers fleeing the famine and unrest that followed the Bolshevik revolution. These dancers brought many of the choreographic and stylistic innovations that had been flourishing under the czars back to their place of origin.
In the 20th century ballet has continued to develop and has had a strong influence on broader concert dance. For example, in the United States, choreographer George
Balanchine developed what is now known as neoclassical ballet. Subsequent developments now include contemporary ballet and post-structural ballet, seen in the work of William Forsythe in Germany.
Sergei Pavlovich Diaghilev is the other my favorite. He was a Russian art critic, patron, ballet impresario and founder of the Ballets Russes from which many famous dancers and choreographers would later arise.
And the Ballets Russes was an itinerant ballet company which performed under the directorship of Sergei Diaghilev between 1909 and 1929. They performed in many countries, including England, the U.S.A., and Spain. Many of the company 's
dancers originated from the Imperial Ballet of Saint Petersburg. Younger dancers were trained in
Paris, within the community of exiles after the Russian Revolution of 1917. The company featured and premiered now-famous (and sometimes notorious) works by the great choreographers Marius Petipa and Michel Fokine, as well as new works by Bronislava Nijinska, Léonide Massine, Vaslav Nijinsky, and the young George
Balanchine at the start of his career.
The company 's productions, which combined new dance, art and music, created a huge sensation around the world, altering the course of musical history, bringing many significant visual artists into the public eye, and completely reinvigorating the art of performing dance. The Ballets Russes was one of the most influential theatre companies of the twentieth century, in part because of its ground-breaking artistic collaboration among contemporary choreographers, composers, artists, and dancers. Its ballets have been variously interpreted as Classical, Neo-Classical, Romantic, Neo-Romantic, Avant-
Garde, Expressionist, Abstract, and Orientalist. The influence of the Ballets Russes lasts to this day in one form or another.
There are a lot of choreographers in this world. But my favorite choreographer is
George Balanchine. He was one of the 20th century 's foremost choreographers, a pioneer of ballet in the United States, co-founder and balletmaster of New York City Ballet: his work created modern ballet, based on his deep knowledge of classical forms and techniques.[2] He was a choreographer known for his musicality; he did not illustrate music but expressed it in dance and worked extensively with Igor Stravinsky.
Apollo is a ballet in two tableaux composed between 1927 and 1928 by Igor
Stravinsky. It was choreographed by balletmaster George Balanchine in 1928, the composer contributing the libretto. The scenery and costumes were designed by Andre
Bauchant with new costumes by Coco Chanel in 1929. The scenery was executed by
Prince A.Schervashidze, the costumes under the direction of Mme. A. Youkine; the lighting was by Ronald Bates and the staging by Francia Russell. The American patron of the arts Elizabeth Sprague Coolidge commissioned the ballet in 1927 for a festival of contemporary music to be held the following year at the Library of Congress,
Washington.
Apollo is Balanchine 's oldest surviving ballet and his first great public success. It marked the beginning of his significant and enduring collaboration with Stravinsky and featured the neoclassical style for which Balanchine was to become renowned. It was presented for the first time on 12 June 1928 by Diaghilev 's Ballets Russes at the Theatre
Sarah Berbhart in Paris. Balanchine looked upon Apollo as the turning point of his life, "in its sustained oneness of tone and feeling". The story centres around Apollo, the god of music, who is visited by three muses; Terpsichore, muse of dance and song; Polyhymnia, muse of mime; and Calliope, muse of poetry. This ballet plainly takes Classical antiquity as its subject, but the plot suggests a contemporary situation.
The ballet is concerned with the reinvention of tradition, since its inspiration is
"classique", or even post-baroque, but nevertheless the orchestra is simplified.
Apollo composed by Igoy Stravinsky. Stravinsky wrote for a homogeneous ensemble of bowed string instruments, choosing to replace the contrasts in timbre that one hears in Pulcinella with contrasts in dynamics. As much later in Agon, this ballet takes its inspiration from the grand tradition of French seventeenth and eighteenth- century music, in particular that of Lully. The prologue begins with dotted rhythms in the style of a French overture. The composer depends on a basic rhythmic cell, presented at the beginning of the work, which he transforms by subdivisions of successive values which are made increasingly complex.
The characters are Apollo and three Muses: Calliope, the musen of poetry; Polyhymnia, the muse of rhetoric; and Terpsichore, the muse of dance. The theme is: Apollon musagetes ("director of the Muses") instructs the muses in their arts and leads them to Parnassus. The ballet is divided into two tableaux: the first tableau called The birth of Apollo. The second tableau are Variation of Apollo, Pas d 'action
(Apollo and the three Muses, Variation of Calliope (the Alexandrine), Variation of
Polyhymnia, Variation of Terpsichore, Second variation of Apollo, Pas de deux, Coda and Apotheosis.
Bibliography: http://en.wikipedia.org/wiki/George_Balanchine http://en.wikipedia.org/wiki/Ballet http://en.wikipedia.org/wiki/Apollo http://www.youtube.com/watch?v=DUNQjjbozF8 http://en.wikipedia.org/wiki/Ballets_Russes#Mikhail_Fokine http://en.wikipedia.org/wiki/Ballets_Russes
http://en.wikipedia.org/wiki/Serge_Diaghilev
DANCE-38A
INSTRUTOR: LUCAS
ZENG, JIAXIN
RESEARCH PAPER Through this course, I am interested in Ballet. I didn’t know there are so many kind of ballet before. I always thought ballet is just a kind of dance, and I didn’t know there is classical ballet, temporary ballet, and neoclassical ballet until I take this course.
Ballet emerged in the late fifteenth-century Renaissance court culture of Italy as a dance interpretation of fencing, and further developed in the French court from the time of Louis XIV in the 17th century. This is reflected in the largely French vocabulary of ballet. Despite the great reforms of Noverre in the eighteenth century, ballet went into …show more content…
decline in France after 1830, though it was continued in Denmark, Italy, and Russia. It was reintroduced to Western Europe on the eve of the First World War by a Russian company: the Ballets Russes of Sergei Diaghilev, who came to be influential around the
world.
Diaghilev 's company came to be a destination for many of the Russian trained dancers fleeing the famine and unrest that followed the Bolshevik revolution. These dancers brought many of the choreographic and stylistic innovations that had been flourishing under the czars back to their place of origin.
In the 20th century ballet has continued to develop and has had a strong influence on broader concert dance. For example, in the United States, choreographer George
Balanchine developed what is now known as neoclassical ballet. Subsequent developments now include contemporary ballet and post-structural ballet, seen in the work of William Forsythe in Germany.
Sergei Pavlovich Diaghilev is the other my favorite. He was a Russian art critic, patron, ballet impresario and founder of the Ballets Russes from which many famous dancers and choreographers would later arise.
And the Ballets Russes was an itinerant ballet company which performed under the directorship of Sergei Diaghilev between 1909 and 1929. They performed in many countries, including England, the U.S.A., and Spain. Many of the company 's
dancers originated from the Imperial Ballet of Saint Petersburg. Younger dancers were trained in
Paris, within the community of exiles after the Russian Revolution of 1917. The company featured and premiered now-famous (and sometimes notorious) works by the great choreographers Marius Petipa and Michel Fokine, as well as new works by Bronislava Nijinska, Léonide Massine, Vaslav Nijinsky, and the young George
Balanchine at the start of his career.
The company 's productions, which combined new dance, art and music, created a huge sensation around the world, altering the course of musical history, bringing many significant visual artists into the public eye, and completely reinvigorating the art of performing dance. The Ballets Russes was one of the most influential theatre companies of the twentieth century, in part because of its ground-breaking artistic collaboration among contemporary choreographers, composers, artists, and dancers. Its ballets have been variously interpreted as Classical, Neo-Classical, Romantic, Neo-Romantic, Avant-
Garde, Expressionist, Abstract, and Orientalist. The influence of the Ballets Russes lasts to this day in one form or another.
There are a lot of choreographers in this world. But my favorite choreographer is
George Balanchine. He was one of the 20th century 's foremost choreographers, a pioneer of ballet in the United States, co-founder and balletmaster of New York City Ballet: his work created modern ballet, based on his deep knowledge of classical forms and techniques.[2] He was a choreographer known for his musicality; he did not illustrate music but expressed it in dance and worked extensively with Igor Stravinsky.
Apollo is a ballet in two tableaux composed between 1927 and 1928 by Igor
Stravinsky. It was choreographed by balletmaster George Balanchine in 1928, the composer contributing the libretto. The scenery and costumes were designed by Andre
Bauchant with new costumes by Coco Chanel in 1929. The scenery was executed by
Prince A.Schervashidze, the costumes under the direction of Mme. A. Youkine; the lighting was by Ronald Bates and the staging by Francia Russell. The American patron of the arts Elizabeth Sprague Coolidge commissioned the ballet in 1927 for a festival of contemporary music to be held the following year at the Library of Congress,
Washington.
Apollo is Balanchine 's oldest surviving ballet and his first great public success. It marked the beginning of his significant and enduring collaboration with Stravinsky and featured the neoclassical style for which Balanchine was to become renowned. It was presented for the first time on 12 June 1928 by Diaghilev 's Ballets Russes at the Theatre
Sarah Berbhart in Paris. Balanchine looked upon Apollo as the turning point of his life, "in its sustained oneness of tone and feeling". The story centres around Apollo, the god of music, who is visited by three muses; Terpsichore, muse of dance and song; Polyhymnia, muse of mime; and Calliope, muse of poetry. This ballet plainly takes Classical antiquity as its subject, but the plot suggests a contemporary situation.
The ballet is concerned with the reinvention of tradition, since its inspiration is
"classique", or even post-baroque, but nevertheless the orchestra is simplified.
Apollo composed by Igoy Stravinsky. Stravinsky wrote for a homogeneous ensemble of bowed string instruments, choosing to replace the contrasts in timbre that one hears in Pulcinella with contrasts in dynamics. As much later in Agon, this ballet takes its inspiration from the grand tradition of French seventeenth and eighteenth- century music, in particular that of Lully. The prologue begins with dotted rhythms in the style of a French overture. The composer depends on a basic rhythmic cell, presented at the beginning of the work, which he transforms by subdivisions of successive values which are made increasingly complex.
The characters are Apollo and three Muses: Calliope, the musen of poetry; Polyhymnia, the muse of rhetoric; and Terpsichore, the muse of dance. The theme is: Apollon musagetes ("director of the Muses") instructs the muses in their arts and leads them to Parnassus. The ballet is divided into two tableaux: the first tableau called The birth of Apollo. The second tableau are Variation of Apollo, Pas d 'action
(Apollo and the three Muses, Variation of Calliope (the Alexandrine), Variation of
Polyhymnia, Variation of Terpsichore, Second variation of Apollo, Pas de deux, Coda and Apotheosis.
Bibliography: http://en.wikipedia.org/wiki/George_Balanchine http://en.wikipedia.org/wiki/Ballet http://en.wikipedia.org/wiki/Apollo http://www.youtube.com/watch?v=DUNQjjbozF8 http://en.wikipedia.org/wiki/Ballets_Russes#Mikhail_Fokine http://en.wikipedia.org/wiki/Ballets_Russes
http://en.wikipedia.org/wiki/Serge_Diaghilev