well,, this is my last post in this blog.. i hope you enjoy reading this post.. thank's for always following my post.. well see you soon later.. ;) okk,now i will tell you about.... Romantic Ballet The Romantic ballet is defined primarily by an era in ballet in which the ideas of Romanticism in art and literature influenced the creation of ballets. The era occurred during the early to mid 19th century primarily at the Théâtre de l'Académie Royale de Musique of the Paris Opera Ballet and Her Majesty's Theatre in London. The era is typically considered to have begun with the 1827 début in Paris of the ballerina Marie Taglioni in the ballet La Sylphide, and to have reached its zenith with the premiere of the divertissement Pas de Quatre staged by the Ballet Master Jules Perrot in London in 1845. The Romantic ballet had no immediate end, but rather a slow decline. Arthur Saint-Léon's 1870 ballet Coppélia is considered to be the last work of the Romantic Ballet. Many of the works of the Romantic ballet focused on the conflict between man and nature, society and the supernatural, while others focused on bringing the exotic worlds of far off lands and national character into the ballets of the period. The era gave way to decline of the male dancer, while ballerina took centre stage. Furthermore, the development of pointework, although still at a fairly basic stage, profoundly affected people's perception of the ballerina. Many lithographs of the period show her virtually floating, poised only on the tip of a toe. This idea of weightlessness was capitalised on in ballets such as La Sylphide and Giselle and the famous leap apparently attempted by Carlotta Grisi in La Péri. Other features which distinguished Romantic ballet were the separate identity of the scenarist or author from the choreographer and the presence of specially written music as opposed to a pastiche typical of the ballet of the late 18th and early 19th centuries. The invention of gas lighting enabled gradual changes and enhanced the mysteriousness of many ballets with its softer gleam. Illusion became more diverse with wires and trap doors being widely used.

Cult of the Ballerina The Romantic era marked the rise of the ballerina as a central part of ballet, where previously men had dominated performances. Marie Taglioni became the prototypical Romantic ballerina, praised highly for her lyricism. The movement style for Romantic ballerinas was characterized by soft, rounded arms and a forward tilt in the upper body. This gave the woman a flowery, willowy look. Leg movements became more elaborate due to the new tutu length and rising standards of technical proficiency. Important Romantic ballerinas included, in addition to Marie Taglioni, Carlotta Grisi, the first "Giselle", Lucille Grahn, Fanny Cerrito, and Fanny Elssler. According to an article on answers.com the plots of many ballets were dominated by spirit women—sylphs, wilis, and ghosts—who enslaved the hearts and senses of mortal men and made it impossible for them to live happily in the real world. Design and Scenography Romantic tutu The costume for the Romantic ballerina was the Romantic tutu. This was a full, white, multi-layered skirt made of tulle. The ballerina wore a white bodice with the tutu. In the second acts of Romantic ballets, representing the spiritual realm, the corps de ballet appeared onstage in Romantic tutus, giving rise to the term "white act" or "ballet-blanc". The dancers wore pointe shoes to give the effect of floating. However, sometimes they decided to throw in extra sharp, sassy movements to portray the given concept or intent, often using high kicks and fast turns. Special effects Romantic ballets owed much to the new developments in theater effects, particularly gas lighting (limelight). Candles had been previously used to light theaters, but gas lighting allowed for dimming effects and other subtleties. Combined with the effects of the Romantic tutu, ballerinas posing en pointe, and the use of wires to make dancers "fly," directors used gas lighting to create supernatural spectacles onstage.

Contemporary Inside You

back to our theme again..
u must be waiting for this post..
now i'll tell you about this post..

Contemporary ballet is a form of dance which incorporates elements of both classical ballet and modern dance. It takes its technique and use of pointework from classical ballet, although it permits a greater range of movement that may not adhere to the strict body lines set forth by schools of ballet technique. Many of its concepts come from the ideas and innovations of 20th century modern dance, including floorwork, balletic movements and andturn-in of the legs.

History
George Balanchine is often considered to have been the first pioneer of contemporary ballet. Today the style he developed is known as neoclassical ballet, a style of dance between classical ballet and today's contemporary ballet. Balanchine used flexed hands (and occasionally feet), turned-in legs, off-centered positions and non-classical costumes (such as leotards and tunics instead of tutus) to distance himself from the classical and romantic ballet traditions. Balanchine also brought modern dancers in to dance with his company, the New York City Ballet; one such dancer was Paul Taylor, who in 1959 performed in Balanchine's piece Episodes. Balanchine also worked with modern dance choreographer Martha Graham, expanding his exposure to modern techniques and ideas. Also during this period, choreographers such as John Butler and Glen Tetley began to consciously combine ballet and modern techniques in experimentation.
One dancer who trained with Balanchine and absorbed much of this neo-classical style was Mikhail Baryshnikov. Following Baryshnikov's appointment as artistic director of the American Ballet Theatre in 1980, he worked with various modern choreographers, most notably Twyla Tharp. Tharp choreographed Push Comes To Shove for ABT and Baryshnikov in 1976; in 1986 she created In The Upper Room for her own company. Both these pieces were considered innovative for their use of distinctly modern movements melded with the use of pointe shoes and classically-trained dancers — for their use of "contemporary ballet".

Tharp also worked with the Joffrey Ballet company, founded in 1957 by Robert Joffrey. She choreographed Deuce Coupe for them in 1973, using pop music and a blend of modern and ballet techniques. The Joffrey Ballet continued to perform numerous contemporary pieces, many choreographed by co-founder Gerald Arpino.
Today there are many explicitly contemporary ballet companies and choreographers. These include Alonzo King and his company, Alonzo King's Lines Ballet; Nacho Duato and Compañia Nacional de Danza; William Forsythe, who has worked extensively with the Frankfurt Ballet and today runs The Forsythe Company; Dwight Rhoden and Desmond Richardson, who are Co-Founders of Complexions Contemporary Ballet; and Jiří Kilián, former artistic director of the Nederlands Dans Theatre. Traditionally "classical" companies, such as the Kirov Ballet and the Paris Opera Ballet, also regularly perform contemporary works.

Behind the Elegance

After telling you about La Sylphide,,
Now I will tell you about Tutu..
Tutu is the skirt which ballerina alwaays use it for dancing..
There're many kind of tutu..

well,,let me tell you now..
A tutu is a skirt worn as a costume in a ballet performance, often with attached bodice. It might be single layer, hanging down, or multiple layers starched and jutting out.

There are several types of ballet tutu:
1.Romantic Tutu: three quarter length bell shaped skirt made of tulle. The hemline falls between the knee and the ankle. The romantic tutu is free flowing to emphasise lightness, to suit the ethereal quality of the romantic ballets such as Giselle or La Sylphide. It is said to have been invented, or at least popularized, by Marie Taglioni, first in 1832 in La Sylphide.

2.Classical Tutu (bell): A very short, stiff skirt made with layers of netting with a slight bell shape and fitted bodice. It extends outwards from the hips and does not use a wired hoop. It is usually longer than a classical (pancake) tutu. These can be seen in the famous ballet paintings by Degas.


3.Classical Tutu (pancake): A very short, stiff skirt made with layers of netting that extends straight outwards (from the hips) in a flat pancake shape, and has a fitted bodice. The pancake style has more layers of net and usually uses a wire hoop and much hand tacking to keep the layers flat and stiff.

4.Balanchine/Karinska Tutu: also known as the "powder puff" is a very short skirt with no hoops, and fewer layers of netting than the pancake or classical styles. The skirt is loosely tacked to give a softer, fuller appearance. This style was designed originally for the ballet version of Georges Bizet's Symphony in C.

5.Platter Tutu: A tutu with a flat top that sticks straight out from the ballerina's waistline.

Sense of the Romance

La Sylphide
La Sylphide (The Sylph) is one of the world's oldest surviving romantic ballets. There were two versions of the ballet; the version choreographed by the Danish balletmaster August Bournonville (1805-1879) is the only version known to have survived.

Summary
Act 1
In the hall of a Scottish farmhouse, James Ruben, a young Scotsman, sleeps in a chair by the fireside. A sylph, or forest fairy, gazes lovingly upon him and dances about his chair. She kisses him and then vanishes when he suddenly wakes. James rouses his friend Gurn from sleep, and questions him about the sylph. Gurn denies having seen such a creature and reminds James that he is shortly to be married. James dismisses the incident and promises to forget it.
James' bride-to-be, Effie, arrives with her mother and bridesmaids. James dutifully kisses her, but is startled by a shadow in the corner. Thinking his sylph has returned, he rushes over, only to find the witch, Old Madge, kneeling at the hearth to warm herself. James is furious with the disappointment.
Effie and her friends beg Old Madge to tell their fortunes, and the witch complies. She gleefully informs Effie that James loves someone else and she will be united with Gurn. James is furious. He forces Madge from the hearth and throws her out of the house. Effie is delighted that James would tangle with a witch for her sake.
Effie and her bridesmaids hurry upstairs to prepare for the wedding, and James is left alone in the room. As he stares out the window, the sylph materializes before him and confesses her love. She weeps at his apparent indifference. James resists at first, but, captivated by her ethereal beauty, capitulates and kisses her tenderly. Gurn, who spies the moment from the shadows, scampers off to tell Effie what has happened.
When the distressed Effie and her friends enter after hearing Gurn's report, the sylph disappears. The guests assume Gurn is simply jealous and laugh at him. Everyone dances. The sylph enters during the midst of the revelry and attempts to distract James.
As the bridal procession forms, James stands apart and gazes upon the ring he is to place on Effie's finger. The Sylph snatches the ring, places it on her own finger, and, smiling enticingly, rushes into the forest. James hurries after her in ardent pursuit. The guests are bewildered with James' sudden departure. Effie is heartbroken. She falls into her mother's arms sobbing inconsolably.

Act 2
In a fog shrouded part of the forest, Madge and her companion witches dance grotesquely about a cauldron. The revellers add all sorts of filthy ingredients to the brew. When the contents glow, Madge reaches into the cauldron and pulls a diaphanous, magic scarf from its depths. The cauldron then sinks, the witches scatter, the fog lifts, and a lovely glade is revealed.
James enters with the sylph who shows him her charming, woodland realm. She brings him berries and water for refreshment but avoids his embrace. To cheer him, she summons her ethereal sisters who shyly enter and perform their airy dances. The young Scotsman is delighted and joins the divertissement before all flee for another part of the forest.
Meanwhile, the wedding guests have been searching the woodland for James. They enter the glade. Gurn finds his hat, but Madge convinces him to say nothing. Effie enters, weary with wandering about the forest. Madge urges Gurn to propose. He does and Effie accepts his proposal.
When they all have left, James enters the glade. Madge meets him, and tosses him the magic scarf. She tells the young farmer the scarf will bind the sylph to him so she cannot fly away. She instructs him to wind the scarf about the sylph's shoulders and arms for full effect. James is ecstatic. When the sylph returns and sees the scarf, she allows James to place it around her trembling form.
As James embraces the sylph passionately, her wings fall off, she shudders, and dies in James' arms. Sorrowfully, her sisters enter and lift her lifeless form. Suddenly, a joyful wedding procession led by Effie and Gurn crosses the glade. James is stunned. Madge directs his gaze heavenward; he sees the sylph borne aloft by her sisters. James collapses. Madge exults over his lifeless body. Evil has triumphed.


before that..
so sorry if this blog isn't perfect like before..
i'm too busy with our school program..
yepp!!
PENSI 2012!!
Theme: Teenagers' Lifestyle
Come and join us in SMAK Kolese Santo Yusup Malang..
there's our guest star,,wanna know who?? so,, come~ ^^

Characterictic of Her

well,,
this session i want to tell you about our legendary ballerina..
her names is Anna Pavlova
well,,this is her biography..

Anna Pavlova
Anna Pavlova (February 12 [O.S. January 31] 1881 – January 23, 1931) was a Russian ballerina of the late 19th and the early 20th century. She is widely regarded as one of the finest classical ballet dancers in history and was most noted as a principal artist of the Imperial Russian Ballet and the Ballets Russes of Sergei Diaghilev. Pavlova is most recognised for the creation of the role The Dying Swan and, with her own company, became the first ballerina to tour ballet around the world.
Victor Dandré, her manager and companion, may have been her husband (she deliberately clouded this issue).

this is her photo..

The Rising of Neoclassical Ballet

Now,,
Back to our concept..
you have already known about history of ballet,and everything about it..
Now i want to tell you more,,it's about "Neoclassical Ballet"..
Yes,,get ready of it..
please enjoy,,

Neoclassical Ballet~
Neoclassical ballet is like Balanchine. Lines are elongated, and the square, although important, is distorted at times. Also, movements go out of the typical classical ballet vocabulary. Balanchine experimented with different geometrical shapes. Some of his ballet had a story line, others didn't, and some were choreographed around an idea, or just the music.
Neoclassical ballet is the style of 20th century classical ballet exemplified by the works of George Balanchine. It draws on the advanced technique of 19th century Russian Imperial dance, but strips it of its detailed narrative and heavy theatrical setting. What is left is the dance itself, sophisticated but sleekly modern, retaining the pointe shoe aesthetic, but eschewing the well upholstered drama and mime of the full length story ballet.

Standing with Your Own Proud

Wearing a pointe shoes is one of your pride..
Not many of lady can use this shoes,,
Lucky!! That u were born to be a lady,cause there's no men can use this shoes..

                     Standing or Dancing with this shoes,,isn't as easy as you think,,
                     really you will feel the suffered,but you'll proud and feel the truth soul of Ballet..
                     you can get this shoes if you have already gotten a high level..
                     that level is pre intermediate level,,
                     pre intermediate level is a level after grade 8 (romantic level),,

Now,,in this chance..
I want to tell you about this beautiful shoes..
which every ballerina usually want it..


A pointe shoe is a type of shoe worn by ballet dancers when performing pointework. Pointe shoes developed from the desire for dancers to appear weightless and sylph-like and have evolved to enable dancers to dance on the tips of their toes (i.e., en pointe) for extended periods of time. They are manufactured in a variety of colors, most commonly in shades of light pink.




History of Pointe Shoe

Women began to dance in ballet in 1681, twenty years after King Louis XIV of France ordered the founding of the Académie Royale de Danse. At that time, the standard women's ballet shoe had heels. Mid-18th century dancer Marie Camargo of the Paris Opéra Ballet was the first to wear a non-heeled shoe, enabling her to perform leaps that would have been difficult, if not impossible, in the more conventional shoes of the age. After the French Revolution, heels were completely eliminated from standard ballet shoes. These flat-bottomed predecessors of the modern pointe shoe were secured to the feet by ribbons and incorporated pleats under the toes to enable dancers to leap, execute turns, and fully extend their feet.

The first dancers to rise up on their toes did so with the help of an invention by Charles Didelot in 1795. His "flying machine" lifted dancers upward, allowing them to stand on their toes before leaving the ground. This lightness and ethereal quality was well received by audiences and, as a result, choreographers began to look for ways to incorporate more pointework into their pieces.

As dance progressed into the 19th century, the emphasis on technical skill increased, as did the desire to dance en pointe without the aid of wires. When Marie Taglioni first danced La Sylphide en pointe, her shoes were nothing more than modified satin slippers; the soles were made of leather and the sides and toes were darned to help the shoes hold their shapes. Because the shoes of this period offered no support, dancers would pad their toes for comfort and rely on the strength of their feet and ankles for support.

The next substantially different form of pointe shoe appeared in Italy in the late 19th century. Dancers like Pierina Legnani wore shoes with a sturdy, flat platform at the front end of the shoe, rather than the more sharply pointed toe of earlier models. These shoes also included a box—made of layers of fabric—for containing the toes, and a stiffer, stronger sole. They were constructed without nails and the soles were only stiffened at the toes, making them nearly silent.

Construction

1. Box 


The box is a hard enclosure within the front end of the shoe that encases and supports the dancer's toes. The front end of the box is flattened so as to form a platform upon which the dancer can balance, and fabric covers the exterior of the box for an aesthetically pleasing look. Some dancers take the satin off of their boxes to make the shoe less slippery





2. Sole

In most pointe shoes, the sole is constructed from a single piece of leather that is attached to the shoe with adhesive and reinforced by stitching along its edges. The sole overlaps and secures the unfinished edges of the shoe's exterior fabric. Pointe shoes may be manufactured with either scraped soles, which provide superior traction, or buffed soles, which have a smoother surface for reduced traction. Aesthetic appearance is of paramount importance for modern pointe shoes. To achieve an elegant appearance, the shoe's more decorative outer fabric is prominently featured, covering the maximum possible area of the shoe's visible surfaces.

3. Shank

Shanks are typically made from leather, plastic, cardstock, or layers of glue-hardened burlap. The flexibility of a shank is determined by its thickness and the type of material used. A shank's thickness may be consistent throughout or it may vary along its length to produce different strengths at select points. For example, slits may be cut across a shank at demi-pointe to enhance roll through. Also, a shank's thickness may transition at some point along its length in order to implement differing strengths above and below the transition. Standard pointe shoes typically have a full shank, in which the shank runs the full length of the sole, or fractional (e.g., half or three-quarter) length shanks.

4. Ribbons and Elastic Band

A pointe shoe employs two fabric ribbons and an elastic band to secure it to the foot. Most of the work of securing shoes to feet is done by the ribbons. The two ribbons wrap around the dancer'sankle in opposite directions, overlapping one another so as to form a cross at the front. The ends are then tied together in a knot, which is then tucked under the ribbon on the inside of the ankle to hide it from view. The ends of the ribbons are never tied in a bow, as a bow knot might not hold together reliably. The elastic band—which traverses the front of the ankle below the ribbons—keeps the heel of the shoe in place against the foot when the dancer is en pointe.

Accessories

Toe Spacers

Toe Pads

After a pointe shoe is broken in, it is common that the toe box still does not provide a comfortable fit for the dancer's en pointe foot. To mitigate the discomfort caused by the unyielding box, dancers will often wear toe pads, which are most often fabric-covered gel pads that encapsulate and cushion the toes. Also, gel toe spacers are sometimes inserted between the toes to provide cushioning and to adjust toealignments. But too much padding can be bad for the foot because if the box becomes too tight it can create deformation of the toes, corns, blisters, and even cause injury.

In addition to or in lieu of toe pads, some dancers may apply tape to their toes to reduce chafing and the likelihood of blisters. Lambswool is also used for this purpose by stretching it and wrapping it around the toes; after several such uses the lambswool becomes dense and custom fitted to the dancer's foot.

Colors of the Pointe Shoes

Okk,,see u at the next post

it will more greatfull and more interesting

and make you,my readers want to know more and more..

see you soon..

keep your soul of dancing!!

^^

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Special edition..ValDay..

Valentine's Day..
it's identyc with couple..
then,,how's the single??
can't they celebrate val's day?
they can!!
cause val's day isn't just for a couple..val's day means..giving something to the people that u love..not just your girl/boyfriend..so,,celebrate it everyone..!!
all of u deserve to celebrate it!! *except u don't have people that u love,hhahaha..qidd..xD

so,,i just wanna say..

Happy Valentine Day

although it hasn't February,14th

hhehehe..

wish i can find my valentine..

hhaha..

truly,,when i write this blog..

i'm thinking about someone who will fill my heart..

who will deserve to accompany me..??

♥ ♥ ♥ ♥ ♥ 

Passion of the Modern Classique Ballet

Modern and Classic..
seem it's almost same..
but deep inside they're different..
although they're different..they have a unity..

well..this is some references..
Classical Ballet..

Classical Ballet is the most formal of the ballet styles, it adheres to traditional ballet technique. There are variations relating to area of origin, such as Russian ballet, French ballet, British ballet and Italian ballet. The Vaganova method, named after Agrippina Vaganova, the Cecchetti method, named after Enrico Cecchetti and the Bournonville method, named after Auguste Bournonville are Russian, Italian and Danish respectively and derive from the original French method.

Classical ballet is best known for its unique features and textures, such as pointe work,turn-out of the legs, and high extensions; its graceful, flowing, precise movements; and its ethereal qualities.

and this is the result of their difference..

Think of classical ballet as keeping your body like a box. You have a range of motion, but there is a line of what is acceptable, and what is not in classical ballet. There is a set technique such as Vaganova, Cechetti, R.A.D., and some people will consider Balanchine in there (but I don't agree. I think of him more as neoclassical) In addition, classical ballet usually conjures up images of Petipa ballets and the romantic ballet. 

For modern ballet, you still have that box, but now you're allowed to go out of it. You still return to the box, but the traditional ballet lines can be distorted and stretched in different ways. The hips do no always have to be directly under the shoulders and the arms can differ. Think the famous Forsythe ballet "In the Middle, Somewhat Elevated" 

okk..see u at the next blog..

i'm little dizzy when doing this blog..

cause i've many problems now..

but..still i've to be strong..!!

pray vo me..=')

thx..

Beginning from the Mystical of Italy and France

Classical Italy and Characteristiques France..

Italy..
Italian ballet is a term used to describe the training methods and aesthetic qualities seen in classical ballet in Italy.Italy has a long history with ballet, and it's widely believed that the earliest predecessor of the modern dance form originated in the Italian courts of the Renaissance, before becoming popularised in France.Today, Italian ballet recognised for two leading methods, the Cecchetti method, devised by Enricho Cecchetti and the training system of the La Scala Theatre Ballet School,the country's most prestigious professional ballet school. 



France..
French school of ballet,French style.. is characterized by an emphasis on precision, elegance, and sobriety.

Mega-star dancer & choreographer Rudolph Nureyev choreographed re-worked versions of the great academic classic ballet (such as "La Bayadère", "Swan Lake", "Romeo and Juliet", "Raymonda", "Cinderella", "The Sleeping Beauty"), and directed the Paris Opera Ballet. His artistic direction was extremely strong, and he formed and named a whole generation of young principals ("Etoiles"), called the Nureyev Babies. Since that time the French school has turned into the Nureyev school, with his very idiosyncratic style, based on all the steps that Nureyev himself excelled at. Great speed and quantity of steps, necessitating the music to be played slower are characteristic of his style. This influence lasts from the 1980s to the 2000s, when it's just starting to wane, as the Nureyev Babies retire. 

 

 Don't u know why men join ballet??it's because..

Louis XIV had founded the Académie Royale de Danse in 1661 in France, when, at the time, ballet dance was restricted to men.

okk all..

see u in the next post..^^