Dance 200 - Dance200 LaSylphide Formofrebellion 1832debuted

Info iconThis preview shows pages 1–7. Sign up to view the full content.

View Full Document Right Arrow Icon
Dance 200 18:01 La Sylphide Form of rebellion  1832- debuted  nothing like it in dance before now you have a prima ballerina (one person taking on this role) One wealthy person funding the entire ballet Upset the established dance of the time, voice of the new generation “as potent of expression of their angst of their unkempt hair…” reflected wealth not nobility  introduced dance world to the Romantics possibilities: outward thinking Movement Vocabulary Sylph (fairy) Floating Graceful Delicate-untouchable Upright  Airy Sparkly  Madge (witch)
Background image of page 1

Info iconThis preview has intentionally blurred sections. Sign up to view the full version.

View Full DocumentRight Arrow Icon
Abrupt Rugged Heavy Hunched over (low) Peasant Dirty (forth tones) Narrow (secretive, magical, mysterious) Act 1 Social time, children were involved here Act 2 Slyph brings James gifts, gives him a butterfly and birds nest and leaves Audience was no longer for the aristocratic but instead the bourgeoisie  Giselle 1841 famous romantic ballet besides La Sylphide  Choreographed by Perrot Coppelia 1870 choreographed Arthur st leon prima ballerina Guiseppina Bozzachi
Background image of page 2
story: swannie pretends to be a doll who Dr. Coppelia thinks has come to life Dr. Coppelia Elongated Leaps/running Powerful Joyous/happy Transitional Precision  Confident (very big moves) Support Swannie Controllable  Grounded  Legs Sustained Strength Doll (testing her) La Sylphide Prima Ballerina at that time was Marie Taglioni Known for her leaps, jumps and grace **Ballets were known to highlight the prima ballerinas talents
Background image of page 3

Info iconThis preview has intentionally blurred sections. Sign up to view the full version.

View Full DocumentRight Arrow Icon
18:01 Mass Media and News are becoming relevant
Background image of page 4
18:01 Recognition of human equality Telephone (Graham Bell) and Electricity were introduced  Women playing the role of something supernatural After Giselle in 1850s/end of Romantic period ballet in general was in decline in Europe Ballet in czarist Russian Gave attention to it and then so did people Classicism is about the form not the theme Symmetry, order, harmony Changes from romantic to classic Pointe work is developed significantly Technology of the box in the shoe with increased understanding of physical needed for  pointe, it develops Higher leg gestures Partnering with pointe work Lifts  Classical Emphasis on form Clarity Balance (in overall structure and visual design) Symmetry Order
Background image of page 5

Info iconThis preview has intentionally blurred sections. Sign up to view the full version.

View Full DocumentRight Arrow Icon
18:01 Harmony Transition for Romantic to Classical Movement Vocabulary Gestures and aerial work Partnering and equilibrium Classical Tutu Tutu shows off leg (length of leg) and the pointe shoe
Background image of page 6
Image of page 7
This is the end of the preview. Sign up to access the rest of the document.

Page1 / 14

Dance 200 - Dance200 LaSylphide Formofrebellion 1832debuted

This preview shows document pages 1 - 7. Sign up to view the full document.

View Full Document Right Arrow Icon
Ask a homework question - tutors are online