History on how "Classical Ballet" (how we know it now) came around.
George Balanchine developed one final category of tutu styles, known as the powderpuff tutu. It is similar to the Classic tutu, but does not have hooping, and contains fewer layers of tulle, making it softer and more flowing than the traditional Pancake tutu.
George Balanchine, born Georgi Melitonovitch Balanchivadze in St. Petersburg, Russia, is regarded as the foremost contemporary choreographer in the world of ballet. At the age of nine, he was accepted into the ballet section of St. Petersburg's rigorous Imperial Theater School, and, with other young students, was soon appearing on the stage of the famed Maryinsky Theater in such spectacles as The Sleeping Beauty (his favorite). He graduated with honors in 1921 and joined the corps de ballet of the Maryinsky, by then renamed the State Theater of Opera and Ballet.
In 1970, U.S.News and World Report attempted to summarize Balanchine's achievements: "The greatest choreographer of our time, George Balanchine is responsible for the successful fusion of modern concepts with older ideas of classical ballet. Balanchine received his training in Russia before coming to America in 1933. Here, the free-flowing U.S. dance forms stimulated him to develop new techniques in dance design and presentation, which have altered the thinking of the world of dance. Often working with modern music and the simplest of themes, he has created ballets that are celebrated for their imagination and originality. His company, the New York City Ballet, is the leading dance group of the United States and one of the great companies of the world. An essential part of the success of Balanchine's group has been the training of his dancers, which he has supervised since the founding of his School of American Ballet in 1934.
Balanchine himself wrote, "We must first realize that dancing is an absolutely independent art, not merely a secondary accompanying one. I believe that it is one of the great arts. . . . The important thing in ballet is the movement itself. A ballet may contain a story, but the visual spectacle . . . is the essential element. The choreographer and the dancer must remember that they reach the audience through the eye. It's the illusion created which convinces the audience, much as it is with the work of a magician." Balanchine always preferred to call himself a craftsman rather than a creator, comparing himself to a cook or cabinetmaker (both hobbies of his), and he had a reputation throughout the dance world for the calm and collected way in which he worked with his dancers and colleagues.
Showing posts with label SDP 002 History of Ballet. Show all posts
Showing posts with label SDP 002 History of Ballet. Show all posts
Sunday, 9 May 2010
Where did tutu come from?
Where did "Tutu" come from?
The origins of the term “tutu” are not as elegant, beautiful and romantic as the garment itself. In fact the term tutu seems to have stemmed from a vulgarity.
Legend has it that the term tutu originally came from a slang word used by commoners who attended ballet performances in the mid-1700s. Typically the rich elite would sit on the upper levels of the ballet theatres and look down on the performances, while the working-class, common folk would sit on the floors below the stage and look up at the dancers as they performed. Unfortunately ballerinas in the 18th century were not blessed with the new-fangled undergarments we now have today, which meant that often during performances the crowd sitting below the stage got more out of the performance than they bargained for.
Tutu was a name given to the area that was often seen by the commoners under the ballerinas’ skirts. So, in fact, the word tutu was intended as a slang word similar to “crotch." Though designers eventually figured out a way to eliminate this embarrassing costuming problem, the name tutu stuck.
Though the first tutu was merely a skirt cut just above the ankles to reveal a dancer’s feet, these skirts eventually migrated north.As ballet became more and more popular two types of tutu emerged: the long romantic version and the shorter, more provocative style (now often called the Classic tutu).
The first romantic tutu is often attributed to the famous virtuoso ballerina Marie Taglioni. In 1800s Taglioni became known as the first ballerina to dance “en pointe”.The tutus worn by Taglioni were often cut to below the knee to reveal the intricacies of her famous legwork. These romantic tutus were delicate, feminine and were made of material that allowed Taglioni to move about freely floating through the air and executing the precise movements that gave her cult status.
To this day the romantic tutu is still made to be long and flowing, giving the ballerina a weightless, ethereal appearance.As ballet continued to become more popular connoisseurs of the art form demanded to see more when it came to the intricate dance movements that dancers performed. Again the tutu shrank. The style of tutu commonly referred to as “classic” is a short, stiff skirt that juts out horizontally from a ballerina’s hipbones exposing her legs entirely. The classic tutu is often worn with a leotard, which hugs the dancers body.
Both romantic and classic tutus are designed to give ballerinas a light, airy look, making look as if they are floating when they move across the stage. Although the tutu has evolved significantly, tutus today still serve the same purpose as those designed two hundred years ago.
The origins of the term “tutu” are not as elegant, beautiful and romantic as the garment itself. In fact the term tutu seems to have stemmed from a vulgarity.
Legend has it that the term tutu originally came from a slang word used by commoners who attended ballet performances in the mid-1700s. Typically the rich elite would sit on the upper levels of the ballet theatres and look down on the performances, while the working-class, common folk would sit on the floors below the stage and look up at the dancers as they performed. Unfortunately ballerinas in the 18th century were not blessed with the new-fangled undergarments we now have today, which meant that often during performances the crowd sitting below the stage got more out of the performance than they bargained for.
Tutu was a name given to the area that was often seen by the commoners under the ballerinas’ skirts. So, in fact, the word tutu was intended as a slang word similar to “crotch." Though designers eventually figured out a way to eliminate this embarrassing costuming problem, the name tutu stuck.
Though the first tutu was merely a skirt cut just above the ankles to reveal a dancer’s feet, these skirts eventually migrated north.As ballet became more and more popular two types of tutu emerged: the long romantic version and the shorter, more provocative style (now often called the Classic tutu).
The first romantic tutu is often attributed to the famous virtuoso ballerina Marie Taglioni. In 1800s Taglioni became known as the first ballerina to dance “en pointe”.The tutus worn by Taglioni were often cut to below the knee to reveal the intricacies of her famous legwork. These romantic tutus were delicate, feminine and were made of material that allowed Taglioni to move about freely floating through the air and executing the precise movements that gave her cult status.
To this day the romantic tutu is still made to be long and flowing, giving the ballerina a weightless, ethereal appearance.As ballet continued to become more popular connoisseurs of the art form demanded to see more when it came to the intricate dance movements that dancers performed. Again the tutu shrank. The style of tutu commonly referred to as “classic” is a short, stiff skirt that juts out horizontally from a ballerina’s hipbones exposing her legs entirely. The classic tutu is often worn with a leotard, which hugs the dancers body.
Both romantic and classic tutus are designed to give ballerinas a light, airy look, making look as if they are floating when they move across the stage. Although the tutu has evolved significantly, tutus today still serve the same purpose as those designed two hundred years ago.
History of Tutu
History of the Ballerina Tutu
The ballerina tutu has been called one of the greatest costume inventions of all time. It is just that, a brilliant “invention”--unlike any garment otherwise known.
Anatomy of a Ballerina Tutu
A ballet tutu presents major construction challenges:
· The ballet tutu must be beautiful—yet durable.
· The ballet tutu must fit like a glove—yet allow a full range of freedom in movement.
So, some really brilliant costumers developed a way to piece together different elements to overcome both of these challenges.
Ballet Tutu Bodice
The ballet tutu bodice can use from 6 to 15 panels of fabric. Some of these pieces are cut on the bias which gives fabric some stretch. The ballet tutu bodice is a separate piece of the ballet costume attached at the waistline or high on the hip; sometimes it's put together just with elastic tabs to allow for movement.
The Tutu Basque
The ballet tutu basque is the piece that sits from the waist to high on the hip. It can be continuous with the bodice or a separate, tight fitting fabric “band.”
The Tutu Skirt
The ballet tutu skirts determine the shape of the tutu and generally define the style: Romantic, Classical or Bell. These different tutu styles will be explained in the next section.
Ballet Tutu History and Styles
The Romantic Tutu Skirt
The first ballet tutu is credited as appearing in Paris in 1832 on Marie Taglioni in La Sylphide. Her tutu skirt (see right) was cut above the ankle to show her famous legwork. This first ballet tutu style was dubbed, "The Romantic Tutu”. This romantic style occurred during the “Romantic” period in ballet costume history.
Romantic Tutus are long, floating and ethereal. They are usually 3 – 5 layers of soft tulle.
There are 2 types of Romantic Tutu. In the first type of Romantic Tutu, the skirt begins at the waist. The second type of Romantic Tutu is a dropped waist version. The skirt begins at the high hip and is called a Romantic Tutu with Basque.
http://www.classacttutu.com/
The Classical Tutu Skirt
Historically, after the Romantic Tutu, came the Classical Tutu. The Classical Tutu was born from the viewers’ request to see more of the intricate movements that dancers were starting to perform. The Classical Tutu skirt jutted out horizontally from the dancer’s hips and showed more of the leg. This style of ballerina tutu was first worn by the Italian ballerina Virginia Zucci in the 1880s. This first Classical tutu ended just above the ballerina’s knees and looked more like the current Bell tutu skirt or even Romantic tutu skirt.
http://www.classacttutu.com/
As the years went by the Classical Tutu skirt shrank to show more and more of the feet and legs. Today, there are two main styles of what is known as the “Classical” Tutu: the very flat Pancake / Platter / Plate or Russian design-this ballet tutu skirt goes by many different names! and the softer Powderpuff or “Balanchine” style of Classical Tutu.
The tutu skirt ruffles on Classical Tutus are placed on knickers. The pancake style Classical Tutu has a wide, flat tutu skirt, is hooped, and is tightly tacked. It is made of stiff tutu netting.
Hooping is stiff petticoat wire inserted into a casing in one of the central ruffle rows. Hooping aids in keeping the tutu’s flat, stiff shape.
http://www.classacttutu.com/
Powderpuff Classical Tutu Skirt
The “Powderpuff” style of Classical Tutu has a softer look. It is not hooped, has a shorter skirt and is tacked more loosely. It can be made of softer tulle (like the romantics) or a combination of net and tulle.
Bell Tutu Skirt
Another ballet tutu fashion is the Bell Tutu. The Bell Tutu is named for its bell like shaping and is combines features of the Romantic and Classical tutu skirts. The Bell Tutu has shorter, more numerous tutu skirt layers than the Romantic and longer and less numerous tutu skirt layers than the Classical Tutu. The Bell has no hoop and is very loosely tacked. It can be made of softer tulle like the Romantic or net like the Classical or a combination of both. Like the Classical Tutu, it has ruffles that are stitched onto the knickers.
http://www.classacttutu.com/
The ballerina tutu has been called one of the greatest costume inventions of all time. It is just that, a brilliant “invention”--unlike any garment otherwise known.
Anatomy of a Ballerina Tutu
A ballet tutu presents major construction challenges:
· The ballet tutu must be beautiful—yet durable.
· The ballet tutu must fit like a glove—yet allow a full range of freedom in movement.
So, some really brilliant costumers developed a way to piece together different elements to overcome both of these challenges.
Ballet Tutu Bodice
The ballet tutu bodice can use from 6 to 15 panels of fabric. Some of these pieces are cut on the bias which gives fabric some stretch. The ballet tutu bodice is a separate piece of the ballet costume attached at the waistline or high on the hip; sometimes it's put together just with elastic tabs to allow for movement.
The Tutu Basque
The ballet tutu basque is the piece that sits from the waist to high on the hip. It can be continuous with the bodice or a separate, tight fitting fabric “band.”
The Tutu Skirt
The ballet tutu skirts determine the shape of the tutu and generally define the style: Romantic, Classical or Bell. These different tutu styles will be explained in the next section.
Ballet Tutu History and Styles
The Romantic Tutu Skirt
The first ballet tutu is credited as appearing in Paris in 1832 on Marie Taglioni in La Sylphide. Her tutu skirt (see right) was cut above the ankle to show her famous legwork. This first ballet tutu style was dubbed, "The Romantic Tutu”. This romantic style occurred during the “Romantic” period in ballet costume history.
Romantic Tutus are long, floating and ethereal. They are usually 3 – 5 layers of soft tulle.
There are 2 types of Romantic Tutu. In the first type of Romantic Tutu, the skirt begins at the waist. The second type of Romantic Tutu is a dropped waist version. The skirt begins at the high hip and is called a Romantic Tutu with Basque.
http://www.classacttutu.com/
The Classical Tutu Skirt
Historically, after the Romantic Tutu, came the Classical Tutu. The Classical Tutu was born from the viewers’ request to see more of the intricate movements that dancers were starting to perform. The Classical Tutu skirt jutted out horizontally from the dancer’s hips and showed more of the leg. This style of ballerina tutu was first worn by the Italian ballerina Virginia Zucci in the 1880s. This first Classical tutu ended just above the ballerina’s knees and looked more like the current Bell tutu skirt or even Romantic tutu skirt.
http://www.classacttutu.com/
As the years went by the Classical Tutu skirt shrank to show more and more of the feet and legs. Today, there are two main styles of what is known as the “Classical” Tutu: the very flat Pancake / Platter / Plate or Russian design-this ballet tutu skirt goes by many different names! and the softer Powderpuff or “Balanchine” style of Classical Tutu.
The tutu skirt ruffles on Classical Tutus are placed on knickers. The pancake style Classical Tutu has a wide, flat tutu skirt, is hooped, and is tightly tacked. It is made of stiff tutu netting.
Hooping is stiff petticoat wire inserted into a casing in one of the central ruffle rows. Hooping aids in keeping the tutu’s flat, stiff shape.
http://www.classacttutu.com/
Powderpuff Classical Tutu Skirt
The “Powderpuff” style of Classical Tutu has a softer look. It is not hooped, has a shorter skirt and is tacked more loosely. It can be made of softer tulle (like the romantics) or a combination of net and tulle.
Bell Tutu Skirt
Another ballet tutu fashion is the Bell Tutu. The Bell Tutu is named for its bell like shaping and is combines features of the Romantic and Classical tutu skirts. The Bell Tutu has shorter, more numerous tutu skirt layers than the Romantic and longer and less numerous tutu skirt layers than the Classical Tutu. The Bell has no hoop and is very loosely tacked. It can be made of softer tulle like the Romantic or net like the Classical or a combination of both. Like the Classical Tutu, it has ruffles that are stitched onto the knickers.
http://www.classacttutu.com/
Wednesday, 24 March 2010
History of Dance
History of Dance
Dress for the street was very different from the ballroom, for both men and women.
Taglioni's white muslin dress from La Syliphide designed by Eugene Lami, became the 19th century romantic ballet costume. Fashionable of the period demanded dresses made in this ethereal-looking style and adorned with ribbons
Taglioni
Romantic Ballet-Why it was loved?
In the 19th Century, as more people became employed in factories and the industrial age expanded, the romantic ballet offered a brief interlude of fantasy. It transported audiences to a time in the distant past or to a faraway land, a fantastic place under the sea, a haunted forest-some where away from the realities of war, economic upheavals and the drudgery of life.
Classic Ballet-Why did it change after being so popular?
Classic music, art, and ballet have much in common and yet many differences. What makes each art form classic? In the second half of 19th Century, visual arts styles went through romnticism, realism, impressionism, symbolism, and post impressionism movements. Music for most of the 19th Century, however, remained in a romantic period from the late works of Ludwig vab Beethoven to the impressionist composers such as Claude Dubussy and Maurice Ravel. For ballet the last quarter of the 19th century became the classical era in Russia: Swan Lake is te prototype of a classic ballet.
Marius Petipa took elements from a romanticism and expanded and wove them into fantasy plot lines, point work, and partnering. His legacy of ballets has survived and been reconstructed, re staged, and re envisioned by great ballet companies and artists through out the world.
Importing European stars of technical prowess and commissioning music to match his choreography. Petipa sculpted ballet into a classic form. His resources were prodigious, with highly trained dancers and the finest sector, costumes, and music at his command. His works were performed in one of the worlds greatest theatres and the production expenses were underwritten by the czar.
Ballets expanded in extravagance to become entire evening of entertainments. They featured dazzling ballet technique and national dancers interwoven into a dramatic story told through stylises mime scenes, all supported by beautiful music, expensive costumes and elaborate scenery.
Sunday, 21 March 2010
History of Ballet Dance
History of Ballet
1924:
The Dancing Times was still being edited by JS Richardson. The content is Very much about dance rather than ballet and many of the covers feature pictures from musical reviews or exotic dancers from overseas.
The dance was not an invidually recognised and popular style at this time, so they had to hype the coverd of music reviews by using exotic dancers from overseas to hope the attraction would be for the beautiful dancers and not the dance alone.
1928:
Queen Mary agreed to become the patroness of the Association of Operatic Dancing of Great Britain, which was founded by and had as its President Mme Adeline Geneée. This was seen as a significant move towards the establishment of a State ballet school.
Without the recognishion of Queen Mary operatic/ballet dancing may not have been such a popular style of performance.
1934:
An amazing year for British ballet with a home-grown company performing the first full length versions of Giselle, Nutcracker and Swan Lake.
20 years later the critic Richard Buckle wrote "No one can dance Giselle like Markova, and no one should try to. Hers is a personal and extraordinary interpretation which defies analysis and which it would be fatal to copy. She breaks every rule and gives one of the great performances of our day".
This says to me that this was a turning point to future ballet dancers, that times were changing and so should the standard of their dance.
The Vic-Wells unveiled their Giselle on 1st January 1934. 30th January, Casse-Noisette (Nutcracker), their largest production to date, was also led out by Markova and Stanley Judson, a former member of the Pavlova company.
1942:
Nearly all the male dancers were conscripted and off to war. Later it dawned on the government that ballet and dance could actually help the war effort best by properly entertaining troops and civilians and some more 'manpower' was found. Rapidly all the Sadler's Wells Ballet males went and only Robert Helpmann, of the originals, was left. Luckily he was exempted. Robert Helpmann produced 3 ballets for Sadler's Wells Ballet. Admirable considering he had never choreographed a thing for them previously-alongside dancing too.
Robert Helpmann's Hamlet was premiered on the 19th with designs by Leslie Hurry (and whose later designs for the Royal Ballet Swan Lake will be remembered by many)
1946:
On the 20th February there was a gala reopening of the Opera House with the King, Queen, both Princesses, Prime Minister (Attlee) and many other VIPs.
It was a new production of Sleeping Beauty with Fonteyn dancing Aurora. According to the Dancing Times “It was a great occasion and it marked the first appearance of a British company in ballet on a grand scale”.
1 Jul - 3 Aug: Ballet Rambert's first season at Sadler's Wells. Includes the first performance of a full length Giselle - based on Sergeyev/Maryinsky version but including Romantic Ballet details courtesy of Cyril Beaumont (president)
Richard Buckle claimed in the Observer (August 1953) that the production “proves Madame Rambert to have a deeper understanding of this masterpiece of Romantic Ballet than anyone else alive.”
1949:
The post-war ballet boom had reached its peak and was about to start declining - but at the start of the year ballet was still sufficiently popular for programmes to be presented in huge arenas and temporary theatres.
The event of this year was the Sadler's Wells Ballet's first visit to the USA. They opened in New York on October 9th with Sleeping Beauty and had a success which has passed into history.
Margot Fonteynhad a personal triumph in the States and moved from being the UK's favourite ballerina to being a world star.
"To watch the coordination of her head, arms and torso is to learn a lesson about the nature of art. The inclination of her neck and the exact curving of her arms from shoulder to finger-tips are Raphaelesque, (I am reminded that Leonardo wrote in his Notebooks 'it is the extremities that lend grace to the body')".{Richard Buckle}
The art of ballet was really get recognised and becoming bigger and bigger each year even with threats from war.
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