- Description
Jennifer Homans on her book 'Apollo’s Angels: A History of Ballet'
- Keywords:
- history
- Apollo’s Angels
- modern
- classical
- ballet
- intellectual
- dance
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PapersInn 03/08/2011 01:04 AM Report
Agree with Vaganova views.Thanks
vaganova 01/02/2011 12:17 AM Report
In a nutshell, her perspective is too NY centric. As a former ballet dancer, I was a bit dismayed.
She starts with the origins of ballet in the court of Louis XIV, mentions a few people in between (Taglioni, Diaghelev) and then fast forwards to the NY scene. She misses developments that went on over a couple of hundred years: contributions by the French, the Danes, the English, and huge strides by the Russians....NOT at The Bolshoi, as she cites, but rather at the Imperial Mariinsky Theatre, which was the home of opera and ballet. It was renamed The Kirov, during the Soviet years. It only happens to be the well-spring of Nutcracker, Sleeping Beauty, and Swan Lake. All those ballets, all those AMAZING dancers, musicians, teachers, etc. I have had that training...it’s hard but impeccable.
She never even so much as mentions Vaganova, who codified the whole Russian system.
She mentions Marius Petipas, as "the choreographer" of Swan Lake. It was Lev Ivanov who did the white acts (Acts 2 & 4). He was an unknown and he made history. Petipas choreographed Acts 1 & 3. Lev Ivanov’s work is what made it so famous.
Balanchine is neo-classical, not classical. I think he did some brilliant ballets, but there were many other contributors.
Also, there has been speculation/talk in NY...."is ballet dying". Well, it's suffering...particularly because this country worships and obsesses on sports, pop-culture and business, yet neglects funding for the arts. The socialized countries in Europe have a robust and vibrant scene. Cuba has a very strong ballet company. But in this country, there is such a slander and warning against anything hinting at government funding, calling it socialism, like it is a four letter word. The attempts to reform our health care system is the first instance of that.
PhilAgEd 12/31/2010 03:00 PM Report
What I think is silly is the lack of appreciation of REMant of the physical discipline it takes to become an accomplished ballet dancer. He(?) could say the same thing about football players, baseball players, hockey players, and so on, but such observations would be equally inane. Try to get to know some of these dancers. Making leaps and pirouettes and other moves look graceful takes years of work, enormous concentration and training, and a constant sense of how those moves look from the audience's perspectives.
REMant 12/30/2010 01:59 PM Report
While I think this must be a pretty good history, she spreads a fairly wide net. The French are indeed central to it, and it is based on court dances, which we are still familiar with in many country music applications, or perhaps it should be vice versa, because I feel certain the country dances came before the mannered approach, just as folk music predates classical. But dance has always had some sort of demonstrative quality, from birds on up, not unlike songs and Greek choruses, or even drama and novels and the static arts. Mores are morals, not morals, mores. The French insistence on having ballets stuck into operas remains in the dance sequences in Broadway shows like Oklahoma. The Russians no doubt picked ballet up from the French as they did so much else. I don't think modern dance much different. The steps are different, but not the intent. What I think is silly is that from any normal distance the dancers look like fleas no matter how hard they try.