What Are The 3 Major Changes In Ballet During The 18th Century
3 major changed in ballet during the 18th century:
- Professional dancers of both genders emerged. Their innovations in developing ballet separated it into a singular art form.
- Different styles of ballet were developed (opera-ballet, ballet pantomime, ballet d’action) - Female dancers changed the game and norms of performing ballet
Francoise Prevost – Showed a glimpse of the dramatic direction French ballet would later take. TEACHER OF MARIE COMARGO AND MARIE SALLE
Marie Comargo – quick, intricate footwork. Shortened her skirt to see her feet and wore slippers
Marie Salle – Wore a simple, draped dress and her hair down
Opera-Ballet – extension and development; social dance forms
Ballet Pantomime – Storytelling through gesture
or theatrical form; dramatic action
Ballet d’action – told a story through dance and mime; next step in ballet development
Gaeten Vestris – Assumed the title of “God of Dance” from Dupre. His style and technique was extraordinary, making him a leading dancer in Europe.
Maximilien Gardel – Gaeten’s rival. Removed the mask as to not be mistaken for him. Pioneer of ballet pantomime
Lettres sur La Danse et sur Les Ballets: -Written by: Jean Georges Noverre -He is important because: he was a dancer, teacher, composer and ballet master -2 main ideas:
- Scenery, music and plot should all be unified
- Pantomime needed to be simpler and more understandable.
5 major changes in ballet and the theater during the 19th century: - Ballroom dance was developed - Gas lighting allowed dim effect - - -
Marie Taglioni – Daughter of Filippo Taglioni, embodiment of spirit of romanticism, her debut was dancing in her father’s ballet
Filippo Taglioni – Born in Milan, ballet master, created a new style of dance that featured the female dancer’s elevation and mystical qualities
Jean Coralli – produced Giselle, dancer, choreographer, and dance master, choreographed La Peri
Carlos Blasis – developed the ballet position of attitude, distinguished three types of dancers: the serious, the demi caractere, and the comic dancer, the most important teacher of the 19th century.
Marius Pepita – Swan Lake, principle dancer in Paris, demanded strong male dancers
Enrico Cecchetti – created logical progression of class excersizes, balanced allegro and adagio parts of the class, dancer, mime, and teacher.
3 elements of the romantic ballet form: - 2 act form - plot centered on a love triangle or story of unrequited love - dramatic action of character is extremely emotional and melodramatic
Explain 4-part structure of the grand pas de deux: - Part I – Adaglio – couple, slow turns and lifts - Part II – Male Variation – male solo - Part III – Female variation – female solo - Part IV – Finale or Coda – couple, quick jumps and lifts
La Sylphide: - Choreographed by: Filippo Taglioni - Composed by: - 1832 - man in love with a woman, but she is set to marry another man
Pas de Quatre: - Choreographed by: Jules Perrot - Composed by: - 1845 - plotless, 4 ballerinas dance, each taking turns to have a solo
French and Industrial Revolution:
- Professional dancers of both genders emerged. Their innovations in developing ballet separated it into a singular art form.
- Different styles of ballet were developed (opera-ballet, ballet pantomime, ballet d’action) - Female dancers changed the game and norms of performing ballet
Francoise Prevost – Showed a glimpse of the dramatic direction French ballet would later take. TEACHER OF MARIE COMARGO AND MARIE SALLE
Marie Comargo – quick, intricate footwork. Shortened her skirt to see her feet and wore slippers
Marie Salle – Wore a simple, draped dress and her hair down
Opera-Ballet – extension and development; social dance forms
Ballet Pantomime – Storytelling through gesture
or theatrical form; dramatic action
Ballet d’action – told a story through dance and mime; next step in ballet development
Gaeten Vestris – Assumed the title of “God of Dance” from Dupre. His style and technique was extraordinary, making him a leading dancer in Europe.
Maximilien Gardel – Gaeten’s rival. Removed the mask as to not be mistaken for him. Pioneer of ballet pantomime
Lettres sur La Danse et sur Les Ballets: -Written by: Jean Georges Noverre -He is important because: he was a dancer, teacher, composer and ballet master -2 main ideas:
- Scenery, music and plot should all be unified
- Pantomime needed to be simpler and more understandable.
5 major changes in ballet and the theater during the 19th century: - Ballroom dance was developed - Gas lighting allowed dim effect - - -
Marie Taglioni – Daughter of Filippo Taglioni, embodiment of spirit of romanticism, her debut was dancing in her father’s ballet
Filippo Taglioni – Born in Milan, ballet master, created a new style of dance that featured the female dancer’s elevation and mystical qualities
Jean Coralli – produced Giselle, dancer, choreographer, and dance master, choreographed La Peri
Carlos Blasis – developed the ballet position of attitude, distinguished three types of dancers: the serious, the demi caractere, and the comic dancer, the most important teacher of the 19th century.
Marius Pepita – Swan Lake, principle dancer in Paris, demanded strong male dancers
Enrico Cecchetti – created logical progression of class excersizes, balanced allegro and adagio parts of the class, dancer, mime, and teacher.
3 elements of the romantic ballet form: - 2 act form - plot centered on a love triangle or story of unrequited love - dramatic action of character is extremely emotional and melodramatic
Explain 4-part structure of the grand pas de deux: - Part I – Adaglio – couple, slow turns and lifts - Part II – Male Variation – male solo - Part III – Female variation – female solo - Part IV – Finale or Coda – couple, quick jumps and lifts
La Sylphide: - Choreographed by: Filippo Taglioni - Composed by: - 1832 - man in love with a woman, but she is set to marry another man
Pas de Quatre: - Choreographed by: Jules Perrot - Composed by: - 1845 - plotless, 4 ballerinas dance, each taking turns to have a solo
French and Industrial Revolution: