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Dance History II: Oral Presentation

La Sylphide

Chelsea Stembridge

on 27 November 2012

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Transcript of Dance History II: Oral Presentation

La Sylphide Presented by Joanna Carter, Lindsey Horrigan,
and Chelsea Stembridge The Plot and Scottish Romanticism La Sylphide: Style and Steps Styles and Steps The Otherworldly versus the Natural Elements of the Romantic Ballet Costumes and steps of the sylphs versus the Scots August Bournonville Jean-Madeleine Schneitzhoeffer- French composer, composed the original score for La Sylphide. Danish ballet master and choreographer, and dancer who is considered a key figure to the golden age of Danish Romanticism.
Bournonville had intended to revive Taglioni’s version of the ballet, but the Paris Opera demanded too high a price for Schneitzhoeffer's score.
In light of this, he mounted his own production of the ballet based on the original libretto.
Some accused Bournonville of plagiarism, but for others it was clear that his version was overall superior. Marie Taglioni One of the most celebrated ballets of the Romantic ballet era.
Spent her childhood training with her father’s old dancing master, Coulon, in Paris.
After returning from Paris, her father was not happy with the progress she made, so he created a vigorous training method for her.
Marie’s debut took place on July 23rd, 1827 at the Opera, where she performed a pas arranged by her father, which was inserted into the ballet La Sicilien. i.Italian dancer and choreographer
ii.Married dancer Sophie Karsten, and together they had two children, Marie and Paul Taglioni, who also became dancers.
iii.Created La Sylphide to showcase his daughter, Marie Taglioni. Filippo Taglioni Romanticism in Scotland Late 1700's-Mid 1800's Romanticism Dancers, Choreographers, and Composers Adolphe Nourrit- created the libretto for La Sylphide. Other Important Names La Sylphide first premiered on March 12, 1832 at the Salle de Peletier at the Paris Opera.
Marie performed alongside Joseph Mazilier who created the role of James in the ballet.
Joseph Mazilier was a 19th century French dancer, choreographer, and ballet master, and is most noted for his ballets Paquita and Le Corsaire. Severin Løvenskiold Norwegian composer, composed the score for August Bournonville’s version of La SylphideLøvenskiold was only 19 years old when he was commissioned to compose the music for Bournonville. Lucile Grahn Internationally renowned Danish ballerina, and a popular dancer during the Romantic ballet era.
Was a slight, ethereal creature who was as stubborn as a mule.
Grahn began studying at a young age under the tutelage of August Bournonville, and she official debuted in 1834 at the theater and took the leading role as Astrid in Bournonville’s Vlademar in 1835.
Grahn dreamed of dancing with the Paris Opera, and this caused a major rift between her and Bournonville. The success of La Sylphide, from the perspective of Romanticism The ballet was a striking example of the unrest and discord that came as a shock to the Romantic Period.
La Sylphide is founded upon Romanticisms’ fundamental idea of the duality of existence.
La Sylphide was the unrestricted dream, poetic fantasy materialized in the image of the winged virgin has brought an international recognition to ballerina Marie Taglioni, and continues to captivate audiences worldwide. La Sylphide has changed through the ages as different choreographers like Taglioni, Bournonville, and Pierre Lacotte have set their own versions. Fillipo Taglioni’s version focused mainly on his daughter’s dancing, lifting Marie herself to a sylph-like status.
Bournonville’s version gave more jumps and opportunities to the dancer of James, while still highlighting feminine beauty.
Bournonville’s version has outlived Taglioni’s, but it owes it much; to Bournonville, Marie Taglioni was “the sylph.” Men “were noted for the strength and breadth of elevated movement.”
Women had ballon “characterized by lightness and delicacy crowned with lovely arm carriage.”
Ideal women’s body types were different then. The Romantic Aesthetic
Lifted Told stories through mime
Involved many poses and tableaus
Character/national dances
An “atmosphere of mystery and reverie” Pantomime Tableaux National Dance An air of Reverie The Woman in White The archetype of the ghostly woman in white would reappear in ballets like Giselle, Swan Lake, Don Quixote, and La Bayadère. Conclusion Bournonville’s ballet La Sylphide was modeled after Filippo Taglioni’s, and owed much to the grace and artistry of Marie Taglioni. Bournonville’s work, however, has outlasted the original, and it lives on today as a piece of history, exemplifying the key themes of the Romantic Era in its choreography and structure. The Story of La Sylphide -Romanticism was an age of artistic, literary, and intellectual escapism -It was a revolt against rationalism and the Enlightenment -A longing for individuality “...a new and restless spirit, seeking violently to burst through old and cramping forms, and nervous preoccupations with perpetually changing inner states of consciousness, a longing for the unbounded and the indefinable, for perpetual movement and change, an effort to return to the forgotten sources of life, a passionate effort at self-assertion, both individual and collective, a search after means of expressing an unappeasable yearning for unattainable goals.” -Isaiah Berlin Alexander Nasmyth -The "Father of Scottish ladscape art" -Helped to shift the view of the highlands from a hostile and barbaric place to a beautiful, wild, mysterious land with a romantic air of adventure. 1758-1840 1771-1832 Walter Scott -Historical novelist from Edinburgh -literary movement: Romanticism -portrayed the highlands as wild and dramatic -wrote Ivanhoe, Waverly, Guy Mannering, The Antiquary... After retiring from dancing in 1847, Marie taught social dance to children and society ladies.Choreographed one work entitled Le Papillion for her student Emma Livry, who is most well remembered for dying in 1863 when her costume was set alight by a gas lamp. Cult of the Ballerina During this time, Marie Taglioni was becoming incredibly popular, along with other ballerinas including Carlotta Grisi and Lucile Grahn. Little girls looked to ballerinas such as Marie Taglioni as shining role models, and industries capitalized on that, creating merchandise such as Taglioni paper dolls
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