The Styles of Eighteenth Century Ballet


Book Description

The current notion of ballet history holds that the theatrical dance of the eighteenth century was simple, earthbound, and limited in range of motion scarcely different from the ballroom dance of the same period. Contemporary opinion also maintains that this early form of ballet was largely a stranger to the tours de force of grand jumps, multiple turns, and lifts so typical of classical ballet, owing to a supposed prevailing sense of Victorian-like decorum. The Styles of Eighteenth-Century Ballet explodes this utterly false view of ballet history, showing that there were in fact a variety of different styles of dance cultivated in this era, from the simple to the remarkably difficult, from the dignified earthbound to the spirited airborne, from the gravely serious to the grotesquely ridiculous. This is a fascinating exploration of the various styles of eighteenth-century dance covering ballroom and ballet, the four traditional styles of theatrical dance, regional preferences for given styles, and the importance of caprice, dance according to gender, the overall voluptuous nature of stage dancing, and finally dance notation and costume. Fairfax takes the reader on an in-depth journey through the world of ballet in the age of Mozart, Boucher, and Casanova.




The Cambridge Companion to Ballet


Book Description

A collection of essays by international writers on the evolution of ballet.




Apollo's Angels


Book Description

NEW YORK TIMES BESTSELLER • NAMED ONE OF THE BEST BOOKS OF THE YEAR BY THE NEW YORK TIMES BOOK REVIEW, LOS ANGELES TIMES, SAN FRANCISCO CHRONICLE, AND PUBLISHERS WEEKLY For more than four hundred years, the art of ballet has stood at the center of Western civilization. Its traditions serve as a record of our past. Lavishly illustrated and beautifully told, Apollo’s Angels—the first cultural history of ballet ever written—is a groundbreaking work. From ballet’s origins in the Renaissance and the codification of its basic steps and positions under France’s Louis XIV (himself an avid dancer), the art form wound its way through the courts of Europe, from Paris and Milan to Vienna and St. Petersburg. In the twentieth century, émigré dancers taught their art to a generation in the United States and in Western Europe, setting off a new and radical transformation of dance. Jennifer Homans, a historian, critic, and former professional ballerina, wields a knowledge of dance born of dedicated practice. Her admiration and love for the ballet, as Entertainment Weekly notes, brings “a dancer’s grace and sure-footed agility to the page.”




Leonide Massine and the 20th Century Ballet


Book Description

The great Russian choreographer Leonide Massine was the most important figure in modernist ballet in the 1930s, known for works such as Gaite Parisienne and The Three-Cornered Hat. His versatility and scope made his choreography the most representative of the century. Whatever period he portrayed, his style flowed freely and unselfconsciously. His character ballets dealt not with stereotypes but individuals, and his symphonic ballets proved how great music could be employed without demeaning it. Like his mentor Diaghilev, he strove to bring music, painting, and poetry to his ballets. Massine was responsible for the first resolutely abstract ballet and the first true fusions of ballet and modern dance. This work provides a biography of Massine and a detailed analysis of his major ballets, including those for Diaghilev's Ballets Russes, the Ballet Russe de Monte Carlo and American Ballet Theatre. The work integrates biographical study with an examination of Massine's works from an array of perspectives. By examining the music and composers, set design, and literary sources, it places the work in the larger context of the dance, opera, major visual art movements, literature and theater of the period. Analyses of ballets include synopses, scenery and costumes, music, choreography, critical survey and summary. The work concludes with an epilogue summarizing Massine's impact on the development of ballet in the twentieth century, and includes both informal and performance photographs.




Theories of Ballet in the Age of the Encyclopédie


Book Description

"In Enlightenment Europe, a new form of pantomime ballet emerged, through the dual channels of theorization in print and experimentation onstage. Emphasizing eighteenth-century ballet's construction through print culture, 'Theories of Ballet in the Age of the Encyclopédie' follows two parallel paths--stand-alone treatises on ballet and dance, and encyclopedias--to examine the shifting definition of ballet over the second half of the eighteenth century. Bringing together the 'Encyclopédie' and its 'Supplément', the 'Encyclopédie méthodique', and the 'Encyclopédie d'Yverdon' with the works of Jean-Georges Noverre, Louis de Cahusac, and Charles Compan, this volume traces how the recycling and recombining of discourses about dance, theatre, and movement arts directly affected the process of defining ballet. At the same time, it emphasizes the role of textual borrowing and compilation in disseminating knowledge during the Enlightenment, examining the differences between placing borrowed texts into encyclopedias of various types as well as into journal formats, arguing that context has the potential to play a role equally important to content in shaping a reader's understanding, and that the 'Encyclopédie méthodique' presented ballet in a way that diverged radically from both the 'Encyclopédie' and Noverre's 'Lettres sur la danse'."--Page 4 of printed paper wrapper.




The Oxford Handbook of Topic Theory


Book Description

Topics are musical signs developed and employed primarily during the long eighteenth century. Their significance relies on associations that are clearly recognizable to the listener with different genres, styles and types of music making. Topic theory, which is used to explain conventional subjects of musical composition in this period, is grounded in eighteenth-century music theory, aesthetics, and criticism, while drawing also from music cognition and semiotics. The concept of topics was introduced into by Leonard Ratner in the 1980s to account for cross-references between eighteenth-century styles and genres. As the invention of a twentieth-century academic, topic theory as a field is comparatively new, and The Oxford Handbook of Topic Theory provides a much-needed reconstruction of the field's aesthetic underpinnings. The volume grounds the concept of topics in eighteenth-century music theory, aesthetics, and criticism. Documenting the historical reality of individual topics on the basis of eighteenth-century sources, it traces the origins of topical mixtures to transformations of eighteenth-century musical life, and relates topical analysis to other methods of music analysis conducted from the perspectives of composers, performers, and listeners. Focusing its scope on eighteenth-century musical repertoire, The Oxford Handbook of Topic Theory lays the foundation for further investigation of topics in music of the nineteenth, twentieth, and twenty-first centuries.




The Grotesque Dancer on the Eighteenth-century Stage


Book Description

Italian ballet in the eighteenth century was dominated by dancers trained in the style known as "grotesque"—a virtuoso style that combined French ballet technique with a vigorous athleticism that made Italian dancers in demand all over Europe. Gennaro Magri’s Trattato teorico-prattico di ballo, the only work from the eighteenth century that explains the practices of midcentury Italian theatrical dancing, is a starting point for investigating this influential type of ballet and its connections to the operatic and theatrical genres of its day. The Grotesque Dancer on the Eighteenth-Century Stage examines the theatrical world of the ballerino grottesco, Magri’s own career as a dancer in Italy and Vienna, the genre of pantomime ballet as it was practiced by Magri and his colleagues across Europe, the relationships between dance and pantomime in this type of work, the music used to accompany pantomime ballets, and the movement vocabulary of the grotesque dancer. Appendices contain scenarios from eighteenth-century pantomime ballets, including several of Magri’s own devising; an index to the step-vocabulary discussed in Magri’s book; and an index of dancers in Italy known to have performed as grotteschi. Illustrations, music examples, and dance notations also supplement the text.




History of Dance


Book Description

History of Dance, Second Edition, offers readers a panoramic view of dance from prehistory to the present. The text covers the dance forms, designs, artists, costumes, performing spaces, and accompaniments throughout the centuries and around the globe. Its investigative approach engages students in assignments and web projects that reinforce the learning from the text, and its ancillaries for both teachers and students make it easy for students to perceive, create, and respond to the history of dance. New to This Edition History of Dance retains its strong foundations from the first edition while adding these new and improved features: • An instructor guide with media literacy assignments, teaching tips, strategies for finding historical videos, and more • A test bank with hundreds of questions for creating tests and quizzes • A presentation package with hundreds of slides that present key points and graphics • A web resource with activities, extensions of chapter content, annotated links to useful websites, and study aids • Developing a Deeper Perspective assignments that encourage students to use visual or aesthetic scanning, learn and perform period dances, observe and write performance reports, develop research projects and WebQuests (Internet-based research projects), and participate in other learning activities • Experiential learning activities that help students dig deeper into the history of dance, dancers, and significant dance works and literature • Eye-catching full-color interior that adds visual appeal and brings the content to life Also new to this edition is a chapter entitled “Global Interactions: 2000–2016,” which examines dance in the 21st century. Resources and Activities The web resources and experiential learning activities promote student-centered learning and help students develop critical thinking and investigative skills.Teachers can use the experiential learning activities as extended projects to help apply the information and to use technology to make the history of dance more meaningful. Three Parts History of Dance is presented in three parts. Part I covers early dance history, beginning with prehistoric times and moving through ancient civilizations in Greece, Crete, Egypt, and Rome and up to the Renaissance. Part II explores dance from the Renaissance to the 20th century, including a chapter on dance in the United States from the 17th through 19th centuries. Part III unfolds the evolution of American dance from the 20th century to the present, examining imported influences, emerging modern dance and ballet, and new directions for both American ballet and modern dance. Chapters Each chapter focuses on the dancers and choreographers, the dances, and significant dance works and literature from the time period. Students will learn how dance design has changed through the ages and how new dance genres, forms, and styles have emerged and continue to emerge. The chapters also include special features, such as History Highlight sidebars and Time Capsule charts, to help students place dancers, events, and facts in their proper context and perspective. Vocabulary words appear at the end of each chapter, as do questions that prompt review of the chapter’s important information. The text is reader-friendly and current, and it is supported by the national standards in dance, arts education, social studies, and technology education. Through History of Dance, students will acquire a well-rounded view of dance from the dawn of time to the present day. This influential text offers students a foundation for understanding and a springboard for studying dance in the 21st century.




The Code of Terpsichore


Book Description




Dance, Human Rights, and Social Justice


Book Description

Dance, Human Rights, and Social Justice: Dignity in Motion presents a wide-ranging compilation of essays, spanning more than 15 countries. Organized in four parts, the articles examine the regulation and exploitation of dancers and dance activity by government and authoritative groups, including abusive treatment of dancers within the dance profession; choreography involving human rights as a central theme; the engagement of dance as a means of healing victims of human rights abuses; and national and local social/political movements in which dance plays a powerful role in helping people fight oppression. These groundbreaking papers_both detailed scholarship and riveting personal accounts_encompass a broad spectrum of issues, from slavery and the Holocaust to the Bosnian and Rwandan genocides to the Israeli-Palestinian conflict; from First Amendment cases and the AIDS epidemic to discrimination resulting from age, gender, race, and disability. A range of academics, choreographers, dancers, and dance/movement therapists draw connections between refugee camp, courtroom, theater, rehearsal studio, and university classroom.