Ballet Sources for your Essay

Ballet and Gender Girly Boys


The body line for all of these reasons is, however, relatively simple: Women's bodies are culturally supposed to be looked at, and so the fact that ballet puts them on display is nothing unusual. Indeed, the ways in which female dancers' bodies are displayed on the stage is arguably only marginally different than the ways in which they are always being displayed whenever women are in a public space controlled by men (Ramsay, 1995, p

Ballet and Gender Girly Boys


Audiences in Nijinsky's era rejected the legitimacy of masculinity in ballet; that is, they reject the possibility that true masculinity could ever be evident in the bodies of male dancers. Travesty performances, in which gender was treated with as much scorn and derision as race was in black-face performances (which come somewhat later than the travesty performances, but only just) were a society-wide affirmation that only certain gender expressions were acceptable and that the ones performed on the stage of classical dance would be considered acceptable to the audience at large (Garafola, 1999)

Ballet and Gender Girly Boys


Audiences in Nijinsky's era rejected the legitimacy of masculinity in ballet; that is, they reject the possibility that true masculinity could ever be evident in the bodies of male dancers. Travesty performances, in which gender was treated with as much scorn and derision as race was in black-face performances (which come somewhat later than the travesty performances, but only just) were a society-wide affirmation that only certain gender expressions were acceptable and that the ones performed on the stage of classical dance would be considered acceptable to the audience at large (Garafola, 1999)

Ballet and Gender Girly Boys


Audiences in Nijinsky's era rejected the legitimacy of masculinity in ballet; that is, they reject the possibility that true masculinity could ever be evident in the bodies of male dancers. Travesty performances, in which gender was treated with as much scorn and derision as race was in black-face performances (which come somewhat later than the travesty performances, but only just) were a society-wide affirmation that only certain gender expressions were acceptable and that the ones performed on the stage of classical dance would be considered acceptable to the audience at large (Garafola, 1999)

Ballet and Gender Girly Boys


We (the general societal "we") do not like to be reminder of the ways in which we fail to match the ideal, which often turns into a condemnation of those perfect bodies on the stage. This dismissal or even condemnation of the balletic body is far more stringent in terms of the male body for a number of reasons, some of what are examined here (Kendrick, 1987)

Ballet and Gender Girly Boys


The second is that he was performing at an historical moment when so many aspects of society, including perhaps especially gender, were vulnerable to challenge. There has traditionally been an almost necessarily jealousy in the ballet audience that finds its outlet in a dismissal of those dancers' bodies, especially in the case of male dancers (Kopelson, 1997)

Ballet History Ballet Is a


Ballet as we know it today was greatly influenced by the French. It was the French Pierre Beauchamp who developed the five positions of the feet, still used today as the basis for all ballet moves (Mcgee, 2006)

National Ballet of China History


In its 40-year history, the National Ballet of China has staged Chinese and Western classical and contemporary pieces, all of which have created strong and deep impact in the audiences that attended the performances (CCTV 2005). In particular, "Raise the Red Lantern" in 2003 was a breakthrough in merging pas de deux with Chinese elements, such as the Peking opera (Howard)

Russian Music History or Russian Ballet History


The list of people associated with the Ballets Russes reads like a "Who's Who" list of the art world: George Balanchine, Michel Fokine, Tamara Karsavina, Leonide Massine, and Tamara Toumanova, among many others. His designers included Picasso and Matisse, and those who composed for him included Debussy, Milhaud, Ravel, and Stravinsky (Cochran)

Russian Music History or Russian Ballet History

External Url: http://www.dmu.ac.uk

In 1899, together with some friends, Diaghilev founded an art journal called Mir Iskusstva (World of Art), which continued to be published until 1905. Also that year, Diaghilev joined the administration of the Imperial Theatres as artistic advisor and produced a number of ballets and operas (Fowler and Atkinson "A Tribute to Serge Diaghilev")

Russian Music History or Russian Ballet History

External Url: http://www.dmu.ac.uk

In 1899, together with some friends, Diaghilev founded an art journal called Mir Iskusstva (World of Art), which continued to be published until 1905. Also that year, Diaghilev joined the administration of the Imperial Theatres as artistic advisor and produced a number of ballets and operas (Fowler and Atkinson "A Tribute to Serge Diaghilev")

Russian Music History or Russian Ballet History


Third, Diaghilev had the uncanny ability to spot talent; he was first and foremost a showman with the ability to gauge exactly what his audiences wanted to see. Although his ballets may seem old-fashioned to us now, they were very different and exotic for their time, and for that reason alone, were very influential on the future and history of ballet (Souche)

Russian Music History or Russian Ballet History


Under his direction, the ballet became a full-length, evening-long story, combining mimed scenes and set dances. His best-known works are The Sleeping Beauty (1890) and Swan Lake, co-choreographed with Lev Ivanov and set to the music of Peter Tchaikovsky (Tsiounis)

Ballet Shoes

Year : 2007

Ballet mécanique

Year : 1924

Bullet Ballet

Year : 1998

Ballet 422

Year : 2014

Ballet Boys

Year : 2014

Ballet Adagio

Year : 1972

Etoiles: Dancers of the Paris Opera Ballet

Year : 2001