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Arabesken – Das Ornamentale Des Balletts Im Frühen 19

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Arabesken – Das Ornamentale Des Balletts Im Frühen 19 2017-10-18 10-58-48 --- Projekt: transcript.anzeigen / Dokument: FAX ID 026f474678049510|(S. 1- 2) VOR2935.p 474678049518 Aus: Eike Wittrock Arabesken – Das Ornamentale des Balletts im frühen 19. Jahrhundert November 2017, 358 Seiten, kart., zahlr. Abb., 39,99 €, ISBN 978-3-8376-2935-4 Die Arabeske ist nicht nur eine der wichtigsten Positionen des klassischen Ballettvo- kabulars, mit ihr lässt sich auch das Ornamentale des Balletts im frühen 19. Jahrhun- dert beschreiben. Aus bisher größtenteils unveröffentlichten ikonografischen Quellen entwickelt Eike Wittrock eine Ästhetik des Balletts, die sowohl die Einzelfigur Arabes- ke wie auch die Gruppenformationen des corps de ballet erfasst. Lithografien, choreo- grafische Notationen, Abbildungen in Traktaten, Musterbücher und Buchverzierun- gen werden dabei als historiografische Medien von Tanz verstanden, die die fantasti- sche Bildlichkeit dieser Ballette in der Aufzeichnung weiterführen. Eike Wittrock ist Tanzwissenschaftler an der Freien Universität Berlin und forscht dort zur Tanzgeschichte. Außerdem arbeitet er als Dramaturg und Kurator im Bereich des zeitgenössischen Tanzes. Weitere Informationen und Bestellung unter: www.transcript-verlag.de/978-3-8376-2935-4 © 2017 transcript Verlag, Bielefeld 2017-10-18 10-58-48 --- Projekt: transcript.anzeigen / Dokument: FAX ID 026f474678049510|(S. 1- 2) VOR2935.p 474678049518 Inhalt 1. Einleitung | 7 Le Délire d’un peintre: Figur und Fantasie | 11 Zur Methode | 20 Der Begriff Arabeske | 36 Tanzhistorischer Forschungsstand | 53 2. Danseuses d’Herculanum | 65 3. Genealogie der Arabeske | 97 Drei frühe Auftritte der Arabeske | 104 Carlo Blasis’ Theorie der Arabeske | 108 Eingebildete Linien | 131 Of the figure that moves against the wind | 146 Finale Arabeske/Unzählige Variationen | 149 Im Cirque Olympique | 159 Arabesken in Giselle | 168 4. Thea, oder: Die Blumenfee | 195 5. Voyages dans les espaces imaginaire | 217 Ballet fantastique | 236 Unterwasserwelten | 266 The fading form of the Ondine | 277 Von einer Schönheit, die im Rahmen wohnt | 284 Letzte Arabesken (Fanny Elßler) | 294 6. Schluss | 309 7. Literaturverzeichnis | 319 8. Abbildungsverzeichnis | 353 1. Einleitung Book I/Part I/Theory/General Information As the art of dance is essentially decorative and aesthetic, the dancer should try to mold his body into vigorously aesthetic forms; this gives the poses, even transiently, all that grace and artistic beauty that never grates upon the eye of the audience. 1 GRAZIOSO CECCHETTI Diese tanzhistorische Arbeit entwickelt sich aus einem einzigen Muster her- aus: der Arabeske. Parallel zu den Entwicklungen in Literatur, Philosophie und Bildender Kunst zu Beginn des 19. Jahrhunderts spielt auch im europäi- schen Bühnentanz das Ornament eine zentrale Rolle in jenen tiefgreifenden Umwälzungsprozessen, die sich in den Künsten im Registerwechsel von der Rhetorik zur Ästhetik vollziehen: „Die Problematik des Ornaments entstand […] im Spannungsfeld zweier Paradigmen: dem antiken Paradigma der Rhe- torik und dem modernen Paradigma der ausdifferenzierten Sphären der Er- kenntnis (Wahrheit), der Moral und der Ästhetik. Sobald es nicht mehr aus- schließlich als bloßer Bestandteil der Rhetorik verstanden wurde, wurde das Ornament zum Streitobjekt.“2 Das Auftauchen einer Figur namens Arabeske 1 Grazioso Cecchetti: Classical Dance. A Complete Manual of the Cecchetti Method, Bd. 1, hg. von Flavia Pappacena, Rom 1997, S. 17. 2 Frank-Lothar Kroll, Gérard Raulet: „Ornament“, in: Karlheinz Barck u.a (Hg.): Äs- thetische Grundbegriffe. Historisches Wörterbuch in sieben Bänden, Bd. 4, Stutt- gart/Weimar 2002, S. 656-683, hier S. 656. Die unterschiedlichen Ornamentbe- griffe der Rhetorik (‚aristotelisch und grammatisch‘) und der Ästhetik (‚kantianisch und substantialisch‘) arbeitet sehr gut heraus: Danièle Cohn: „Der Gürtel der Aph- 8 | ARABESKEN im Ballettvokabular dieser Zeit – zuerst als Gruppenfigur, dann als singuläre Pose – ist das deutlichste Indiz dieser Veränderung im künstlerischen Büh- nentanz. Die Verbindungen, Übertragungen und Transpositionen zwischen Tanz und den anderen Künsten nehmen in dieser Arbeit dabei eine heraus- gehobene Position ein, da die Arabeske nicht nur eine Ornamentfigur ist, die zwischen den Künsten wandert, sondern die medialen Übergänge selbst ver- körpert bzw. reflektiert: sie vermittelt zwischen Schrift und Bild, und (kon)notiert darüber hinaus Bewegung an sich. Die Pose Arabeske ist jedoch nur ein Aspekt des Ornamentalen im Bal- lett des 19. Jahrhunderts.3 Das Ornamentale ist ein modus operandi, der sich – als das Arabeske – auf verschiedenen Ebenen dieser Ballette wiederfindet: neben der Ornamentalisierung der einzelnen Tänzer*innen-Figur auch in Gruppenformationen, wie den tableaus und décors, der Dramaturgie dieser Werke, als auch in Erinnerungsobjekten von Balletten und Tänzer*innen. In den Zwischenräumen von visuellen und schriftlichen Dokumenten, zwi- schen Notationen, Bildern und Texten, soll so eine implizite Theorie der Äs- thetik des Balletts im frühen 19. Jahrhundert aufgesucht werden. Die Kategorie des Ornamentalen, so wenig theoretische Aufmerksamkeit diese bisher erfahren hat, lässt sich bis in die Frühgeschichte des europäi- schen Tanzes zurückverfolgen. Grotesktanz, die Komplementärgattung der Arabeske, bezeichnet seit dem 18. Jahrhundert die Perversion bzw. Umkeh- rung des klassisch schönen Tanzideals.4 Auch in Tanzreformbewegungen erscheint das Ornament stets als Negativfolie. So argumentiert Jean-Georges Noverre im 18. Jahrhundert gegen das Ornament des höfischen Tanzes als ‚bloßes Accessoire‘, um den Tanz als selbstständige Kunstform aufzuwerten: rodite. Eine kurze Geschichte des Ornaments“, in: Vera Beyer, Christian Spies (Hg.): Ornament. Motiv – Modus – Bild, München 2012, S. 149-178. 3 Die vorliegende Untersuchung verwendet statt dem epochalen Begriff „Romanti- sches Ballett“ die Bezeichnung Ballett im (frühen) 19. Jahrhundert, und operiert mit Begriffen wie dem Fantastischen und der Feerie, die Selbstbezeichnungen wie ballet fantastique und ballet féerique entlehnt sind. 4 Vgl. dazu Rebecca Harris-Warrick, Bruce Alan Brown (Hg.): The Grotesque Dancer on the Eighteenth-Century Stage. Gennaro Magri and His World, Madison 2005; wie auch für eine Diskussion der tänzerischen Groteske im 20. und 21. Jahrhun- dert: Susanne Föllmer: Valeska Gert. Fragmente einer Avantgardistin in Tanz und Schauspiel der 1920er Jahre, Bielefeld 2006; und dies.: Am Rand der Körper. In- venturen des Unabgeschlossenen im zeitgenössischen Tanz, Bielefeld 2009. EINLEITUNG | 9 „Je ne puis m’empêcher de dire que tous les ornemens postiches, inutiles et incohé- rens dont on a farci ce ballet [Le Jugement de Pâris], ont absolument étouffé l’impression qu’il devoit produire; que la danse, quelque agréable et quelque magnifi- que qu’elle soit, ne peut être regardée que comme accessoire, et que c’est un grand art de savoir la placer à propos, et d’éviter de s’en servir, lorsqu’elle peut être nuisible à l’action et à l’intérêt que peut faire naître la pantomime.“5 Die Reformkämpfe um die Kunstform Tanz im 20. Jahrhundert entzünden sich ebenfalls an der Frage des Ornaments und wiederholen so unter ande- ren Vorzeichen ästhetische Kämpfe des 18. Jahrhunderts (siehe Kapitel 2). Einerseits findet das Ballett in abstrakten Choreografien wie jenen Georges Balanchines im Ornamentalen zu einer ‚reinen‘ Form des Tanzes,6 anderer- seits lehnt der Moderne Tanz jedwede Ornamentalität als Vorwurf eines bloßen Divertissements ab: „Aus der Pariastellung, nur zur Unterhaltung und zur Auffrischung toter und müder Stunden zu dienen, ist [der Tanz] herausgekommen. Die Mißbewertung, so etwas wie ein arabeskenhaftes Kunstgewerbe zu sein, in einer technisch einfachen und leicht er- lernbaren Bewegung zu einer Musik zu bestehen, hat man überwunden.“7 Jenseits dieser tanzhistorischen Polemiken soll in dieser Arbeit ein zeitlich begrenzter Abschnitt des Balletts und seiner Aufzeichungsformen auf ihr Ornamentales hin betrachtet werden, um das ästhetische, operative und re- flexive Potenzial dieser Kategorie – zumindest für diesen begrenzten Zeit- raum – aufzudecken. 5 Jean-Georges Noverre: Lettres sur les Arts Imitateurs en général, et sur la Danse en particuliér, Bd. 2, Paris 1807, S. 414. 6 Balanchines Choreografien wurden von der Kritik oft als ‚pure dance‘ gefeiert, vgl. exemplarisch Emily Coleman: „Apostle of the Pure Ballet. George Balanchine has little patience with costumes, scenery, frills, even plot. Nothing must distract from the dance“, in: New York Times, 1.12.1957, S. 37-43. 7 Fritz Böhme: Tanzkunst, Dessau 1926, S. 26, vgl. auch S. 103, dort nennt Böhme die rhythmischen Elemente des Tanzes „nichts als ein ins Arabeskenhafte umge- formter natürlicher Trieb“. 10 | ARABESKEN Der Fokus dieser Arbeit liegt dabei auf dem europäischen Bühnentanz im zweiten Drittel des 19. Jahrhunderts, in dem Ornament und Tanz eine be- sonders produktive Verbindung eingehen und in einen vielfältigen Aus- tausch treten. Diese Arbeit versucht in der Konzentration auf einen heraus- gehobenen ästhetischen Aspekt – das Ornamentale – gleichsam die Materiali- tät (und Medialität) der historischen Übertragung zu bedenken. Im Folgen- den geht es also stets auch um die Aufzeichnung des europäischen Bühnen- tanzes im frühen 19. Jahrhundert im Ornamentalen. Somit stellt sich eben- falls die Frage, welchen Einfluss die ästhetische Gestaltung der Aufzeich- nungsformen von Tanz – die Lithografien, Traktate und Erinnerungsalben, aber auch Notationen und Skizzen – auf die Ästhetik
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