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Marie Taglioni Dance Timeline Stone 3000 BC - 300-1299 AD 1300-1599 AD 1600-1799 1800-1890 1890-1910 1910-1929 Age 300 AD AD AD AD AD primitive early Middle Ages Renaissance Birth of Ballet Romantic Classical Ballet dance civilization folk dance pre-classic dance King Louis XIV Ballet Petipa Russe Trance Dance A dancer in a trance state may become unconscious after an ecstatic climax of quivering, shaking, and uncontrolled movements. Eastern dance (Asian, African, non-European) Based on tradition Religious rituals-to appease the gods Ceremonies Communal activities Courtship/fertility Healing, war, death Cycles of seasons The magic circle No audience only participants Drumming, chanting, singing Body decorations-feathers, grass, stone, shells, painted makeup Setting-woods, cave, hut Use of fire Harmonious dances-repetitive, hypnotic, shuffling, stamping, hopping, lunging, relaxed spine Ecstatic dances-whirling, shaking, head rolls, quivering, body parts throw wildly Men-dances of war and hunt, vigorous Women-planting, healing, dead, more toned down Form of spiritual communication Fluid, undulating spine, hips, ribs & head shift side to side, shoulders ripple and shake, knees are bent Greek Classical Period Dance flourished in this period along with music, poetry and drama. Dionysian festivals were wild, abandoned fertility rites. Western Theatrical Dance (European, American) Search for creativity and fresh ideas Professional dancers, choreographers, directors, companies Paying audience Developed as art, entertainment, recreation Partial to novelty Stable spine Hips, shoulders, arms held quietly Face and hands left to individual, high jumps and leaps Bend knees to stretch them straighter Women perform spectacular feats Part of education and military training Folk dancing steps-walking, running, hopping, skipping Pre classic dance evolved from folk dance and court ceremonies Dancing masters Courtiers and kings/queens danced Court spectacles Ballets included music, elaborate sets and costumes, a dramatic plot, dance sequences Danse Macabre A dance mania that afflicted medieval Europe A medieval trance dance Catherine de Medici Queen of France Produced and funded elaborate court entertainments Ballet master, Balthazar Beaujoyeux, choreographed Ballet Comique de la Reine The first real ballet imitated all over Europe Pre Classic Dance A combination of folk dance and dignified court processional dance The precursor of ballet Divided into basse and haute Ben Jonson Wrote court entertainments in England in the early 17th century called masques Included comic and grotesque scenes King Louis XIV The Sun King He founded the first Academy of Dance under the direction of Pierre Beauchamps He developed the New Order in which language and the arts were codified He developed a code of etiquette Beautiful, expressive works of art were produced in all fields He starred in La Ballet de la Nuit La Ballet de la Nuit King Louis XIV danced the role of the Sun King in this ballet at age 14 King Louis XIV Courtiers Dancing was one of the prime accomplishments of any lady or gentleman Many noble houses had a dancing master to teach the steps and proper bearing Dressing and fashion became artistic rituals. Politeness, tact and delicacy were the order of the day. Proper behavior was considered an art and was expected in high society. People were welcomed in high society in proportion to their accomplishments or skills. People of leisure and means took lessons of all kinds and dancing was the most prized of all Asante Courtiers Being a good dancer is one of the qualifications for election to asantehene. Chiefs at every level maintain ensembles of drummers and dancers to do honor to their own position and to pay homage to those higher up in the hierarchy. They enjoyed a life of privilege, abundance, and leisure. Their clothes, speech, manners, and bearing influenced his rank. Dancing was essential to the display of power. Those who failed to meet the court’s high standards suffered embarrassment or worse. Courtiers maneuvered to get closer to the king. Responsibility to pass on the songs and dances to the next generation. Marie Camargo 18th century ballerina She had exceptional speed and was a brilliant technician She was the first to execute entrechat quatre She shortened her skirt to see her footwork She was the rival of Marie Salle Marie Salle 18th century ballerina She was interested in dance expressing feelings and portraying situations Pygmalion was her best known work She created her own choreography She was a dramatic dancer She designed costumes that suited the dance idea and allowed freedom of movement Jean-Georges Noverre The most famous person of 18th century dance He wrote Letters on Dancing and Ballet He criticized the choreography and costumes of the Paris Opera Romantic ballet style 19th century European culture Accented feeling and imagination Freedom from rules Poetic fantasy Imaginary ethereal beings-wilis, sylphs Love sick youth dreaming of far off places Fairy tale settings Exotic adventures searching for an ideal Moonlit landscape Introspective, gloomy Marie Taglioni in La Sylphide Theophile Gautier created first romantic ballet, Giselle Carlotta Grisi, first Giselle; Jules Perrot as Albrecht Giselle choreography by Jean Coralli and Jules Perrot Full, bell-shaped, white tutu Taglioni first to glide on pointe One-sided feminine emphasis Marie Taglioni 19th century Romantic ballerina She triumphed in Ballet of the Nuns She added an illusion of effortless grace to technical feats The first to glide on pointe Noted for her role in La Sylphide She danced with decency and modesty She was the embodiment of Romantic ballet Intense fan rivalry with Fanny Ellsler led to violence at a performance La Sylphide Romantic ballet starring Marie Taglioni The story of a winged sylph who falls in love with a mortal Scotsman Fanny Ellsler Early 19th century ballerina A rival of Marie Taglioni Intense fan rivalry leading to violence She expressed physical passion and had considerable acting ability Famous for La Cachucha Carlo Blasis The most important theorist of academic ballet technique The teacher of most of the great 19th century dancers Giselle Romantic classic ballet The inspiration of Theophile Gautier Carlotta Grisi was the star Adolph Adam-composer A peasant girl, Giselle dies of a broken heart and becomes a wili Adolph Adam The composer of Giselle Unique because of his use of the leitmotif -a recurring musical theme Theophile Gautier He had the inspiration for the ballet Giselle He worked with others to develop the plot of a peasant girl who falls in love with a prince and dies of a broken heart and becomes a wili Carlotta Grisi 19th century Romantic ballerina She gained fame as the first Giselle Partner of Jules Perrot Jules Perrot Dancer and choreographer He choreographed for Carlotta Grisi in Giselle He choreographed Pas de Quatre for the 4 leading ballerinas of the time Pas de Quatre Jules Perrot choreographed for the 4 leading ballerinas: Carlotta Grisi Marie Taglioni Lucille Grahn Fanny Cerrito Coppelia Choreographed by Arthur Saint Leon Franz falls in love with a doll A comic variation on the theme of Giselle and La Sylphide August Bournonville Choreographer of the Royal Danish Ballet Bournonville technique uses delicate and fleeting transition steps and unexpected changes of direction It makes the dancers look like they spring through space and skim over the stage Classical ballet style The age of Petipa Late 19th century (after Romantic era) Formal rules of proportion and harmony Traditional forms Technical virtuosity rather than emotional depth Grand manner Procession of elaborately dressed noblemen around a king with fanciful characters assemble for their entertainment Comparable to dazzling, colorful Renaissance court spectacles Royal characters Females dominated the choreography Males carried the ballerina or showed her off Classical ballets-Sleeping Beauty, Swan Lake, The Nutcracker, La Bayadere Choreographic formula-court ballet, spectacle,virtuosity, choreographic variety (mime, solos, couples, small and large groups, folk dance), grand pas de deux, finale, classic style Lev Ivanov-Petipa’s assistant Tchaikovsky music Pantomime like sign language rather than expressive acting Simple, symmetrical formations Clear development of form A-B-A Marius Petipa French choreographer who became the chief choreographer of the St. Petersburg Imperial Ballet He developed the classical style in ballet He created famous ballets to Tchaikovsky’s scores: Sleeping Beauty Swan Lake The Nutcracker He created a choreographic formula and developed the grand pas de deux Lev Ivanov Assistant ballet master to Petipa Petipa took full credit for choreography although Ivanov contributed a great deal Ivanov had a more romantic inclination to express movement and music through dance patterns than Petipa Credited to Ivanov: The Nutcracker, the romantic vision scene in Sleeping Beauty, Act 2 of Swan Lake Ballet Russe The company founded by Serge Diaghilev Its home base is in Paris Produced ballets known for their collaboration among famous artists, composers, designer, choreographers The male dancer regained ground that was lost in the Romantic era Produced high quality, entertaining ballets Serge Diaghilev Impresario Founder of Ballet Russe He brought together musicians, designers, dancers in collaborations Composers-Stravinsky, Prokofiev, Debussy, Ravel Designers-Benois, Bakst, Picasso, Matisse Dancers/Choreographers-Fokine, Pavlova, Nijinsky, Massine, Balanchine Michel
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