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Ballet: the story on HearLore | HearLore
Ballet
In the year 1489, a wedding feast in the Italian town of Sabbioneta featured a performance that would eventually birth a global art form, yet the dancers were not professionals but nobles themselves. This early court ballet, known as the intermedio, was a spectacle of opulence where the primary goal was to display wealth rather than technical prowess. The costumes were heavy, woven from cotton, silk, and flax, often embroidered with real gold and precious stones, which severely restricted the dancers' ability to move freely. These early performances took place in large chambers where the audience sat on three sides, creating an intimate but chaotic viewing experience. The dancers, mostly noble amateurs, wore ornate costumes designed to impress the court rather than to facilitate complex movement. It was a time when the word ballet, derived from the Italian balletto and ultimately the Greek ballizo meaning to dance or jump about, was synonymous with courtly entertainment rather than a disciplined art form. The transition from these lavish, restrictive court displays to a structured discipline would take centuries and require the intervention of a king who saw dance as a tool of statecraft.
The King's Academy
The transformation of ballet from a courtly pastime to a codified profession began in 1661 when King Louis XIV of France founded the Académie Royale de Danse. Before this decree, dance was an amateur pursuit for the aristocracy, but the King, who famously performed as Apollo in the Ballet Royal de la Nuit in 1653, sought to elevate the art to a professional standard. He established a system to certify dance instructors and create a unified vocabulary for movement. By 1672, the King appointed Jean-Baptiste Lully as the director of the Académie Royale de Musique, which eventually gave rise to the Paris Opera Ballet. Pierre Beauchamp, serving as Lully's ballet-master, worked alongside the King to create the five major positions of the feet that remain the foundation of ballet technique today. A pivotal moment in this evolution occurred in 1681 when the first professional ballerinas took the stage, ending the era where noblewomen exclusively performed. The implementation of the proscenium arch from 1618 onwards had already begun to distance performers from the audience, allowing for a clearer view of technical feats. This shift marked the beginning of ballet as a spectator sport rather than a participatory court ritual, setting the stage for the technical rigor that would define the art form for centuries.
Romantic Spirits
The early nineteenth century witnessed a radical shift in ballet's emotional core with the rise of Romantic ballet, a movement that prioritized intense emotion and the supernatural over courtly display. The 1827 ballet La Sylphide is widely considered the first true Romantic ballet, introducing themes of spirit women, such as sylphs and wilis, who enslaved the hearts of mortal men. This era was defined by the emergence of pointe work, which allowed dancers to appear weightless and ethereal, and the dominance of female dancers who wore longer, flowy tutus designed to exemplify softness. Marie Taglioni, the star of La Sylphide, became an icon of this period, her performances embodying the delicate aura that defined the style. The 1870 ballet Coppélia is often cited as the last major work of this Romantic era, marking the end of a period where plots revolved around ghosts and spirits. The costumes of this time, while still elaborate, began to reflect the ideals of Romanticism with close-fitting body costumes, floral crowns, and corsages. The focus shifted from the heavy, restrictive garments of the Renaissance to costumes that allowed for greater movement, though corsets were still used to show off the curves of the ballerina. This period established the emotional depth and technical innovations that would become the bedrock of classical ballet.
Ballet originated in the year 1489 during a wedding feast in the Italian town of Sabbioneta. This early court ballet known as the intermedio featured noble amateurs performing in heavy costumes woven from cotton, silk, and flax.
Who founded the Académie Royale de Danse and when?
King Louis XIV of France founded the Académie Royale de Danse in 1661. He appointed Jean-Baptiste Lully as director of the Académie Royale de Musique in 1672 and worked with Pierre Beauchamp to create the five major positions of the feet.
What defines the Romantic ballet era and when did it begin?
Romantic ballet began in the early nineteenth century with the 1827 ballet La Sylphide considered the first true Romantic ballet. This era prioritized intense emotion and the supernatural while introducing pointe work and longer flowy tutus designed to exemplify softness.
How did the Vaganova method influence ballet training?
Agrippina Vaganova developed the Vaganova method at the Leningrad Choreographic School starting in 1921. Her book The Fundamentals of Classical Dance published in 1934 fused the classical French style with the athleticism of the Italian method to emphasize strength and flexibility.
What characterizes the Balanchine method of ballet?
George Balanchine developed the Balanchine method in the United States which prioritizes extreme speed deep pliés and unorthodox body positioning. His work such as Apollo in 1928 is considered the first neoclassical ballet and is taught at institutions like the School of American Ballet.
What are the physical and financial challenges facing professional ballet dancers today?
Professional ballet dancers earn an average of US$19 per hour as of 2020 and face health issues including stress fractures in the first rib and posterior ankle impingement syndrome. The profession also carries a high risk of eating disorders and results in lower bone mineral density in the arms due to intensive training.
While ballet declined in France after 1830, it found a new home in Russia, where it evolved into a style characterized by athleticism, soulful passion, and extreme technical precision. The arrival of the Ballets Russes led by Sergei Diaghilev on the eve of the First World War revived interest in ballet across Europe, introducing a modern era that challenged traditional norms. Agrippina Vaganova, a retired dancer who began teaching at the Leningrad Choreographic School in 1921, developed a method that fused the classical French style with the athleticism of the Italian method. Her book, The Fundamentals of Classical Dance, published in 1934, became a classic reference for dancers worldwide. The Vaganova method emphasized the development of strength, flexibility, and endurance, ensuring that equal importance was placed on the arms and legs to bring harmony to the body. This Russian influence was further revitalized in the 1980s by Rudolf Nureyev, whose impact on the French school was so profound that the style is sometimes referred to as the Nureyev school. The Russian style is known for its fast footwork, which gives the impression that performers are drifting lightly across the stage, and its emphasis on the soulful passion of the dancer. This period marked a turning point where ballet became a global phenomenon, with Russian companies like the Mariinsky Ballet setting new standards for technical excellence.
The American Style
In the twentieth century, ballet took a distinct turn in the United States, where George Balanchine developed a method that prioritized extreme speed, deep pliés, and unorthodox body positioning. Balanchine, who had trained in Russia, brought his own style to the New York City Ballet, creating a technique known for its emphasis on lines and the use of flexed hands and even feet. His method, often called the Balanchine method, is taught at institutions like the School of American Ballet and the Miami City Ballet. Balanchine's work, such as Apollo in 1928, is considered the first neoclassical ballet, representing a return to form in response to the abstract ballets of Sergei Diaghilev. He worked with modern dance choreographer Martha Graham and brought modern dancers like Paul Taylor into his company, blending classical technique with modern movement. This style is known for its unorthodox positioning of the body, where dancers are often placed in off-balance positions to create a sense of dynamic tension. The Balanchine method has influenced countless choreographers and companies, establishing a distinct American identity within the global ballet community. It is a style that demands extreme athleticism and speed, setting it apart from the more fluid and graceful styles of the French and Russian schools.
The Cost of Grace
Despite the beauty and artistry of ballet, the profession carries a heavy physical and financial toll on its practitioners. Professional dancers are generally not well paid, with American dancers earning an average of US$19 per hour as of 2020, a figure that is often lower than that of a typical worker. The competition for jobs is intense, with the number of applicants vastly exceeding the number of openings, and most jobs involve teaching in private dance schools rather than performing on stage. The physical demands of ballet lead to a range of health issues, including stress fractures in the first rib, which are common among teenage girl dancers, and posterior ankle impingement syndrome, which affects those who perform repetitive plantar flexion. Eating disorders are thought to be common, and a 2014 meta-analysis suggests that ballet dancers are at higher risk than the general population for several kinds of eating disorders. Researchers have also noted that intensive training in ballet results in lower bone mineral density in the arms. The financial and physical challenges of the profession are compounded by the fact that most ballet choreography is written so that it can only be performed by a relatively young dancer, limiting the career span of many artists. Despite these challenges, the dedication of dancers continues to drive the art form forward, even as the industry grapples with the realities of its demands.
The Modern Fusion
The twenty-first century has seen ballet evolve into a diverse landscape that incorporates elements of modern dance, hip hop, and contemporary styles, creating new forms such as Hiplet and contemporary ballet. Companies like Complexions Contemporary Ballet, founded by Dwight Rhoden and Desmond Richardson, and The Forsythe Company, led by William Forsythe, have pushed the boundaries of what ballet can be. These companies blend classical technique with modern movement, creating works that are unassuming, harsh, or pedestrian, yet still rooted in the fundamentals of ballet. The term ballet has evolved to include all forms associated with it, and a ballet dancer is now expected to be able to perform neoclassical, modern, and contemporary work. The influence of modern dance is evident in the use of floor work, turn-in of the legs, and the incorporation of mime and acting. Choreographers like Twyla Tharp, who created Push Comes To Shove for the American Ballet Theatre in 1976, have demonstrated that ballet can be a vehicle for innovation and experimentation. The modern fusion of ballet and contemporary dance has created a dynamic and evolving art form that continues to challenge and inspire audiences around the world. This evolution reflects the broader cultural shifts of the twentieth and twenty-first centuries, as ballet adapts to new artistic sensibilities while maintaining its technical core.