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

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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.