2.8: Neoclassical Ballet
- Page ID
- 288661
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\(\newcommand{\avec}{\mathbf a}\) \(\newcommand{\bvec}{\mathbf b}\) \(\newcommand{\cvec}{\mathbf c}\) \(\newcommand{\dvec}{\mathbf d}\) \(\newcommand{\dtil}{\widetilde{\mathbf d}}\) \(\newcommand{\evec}{\mathbf e}\) \(\newcommand{\fvec}{\mathbf f}\) \(\newcommand{\nvec}{\mathbf n}\) \(\newcommand{\pvec}{\mathbf p}\) \(\newcommand{\qvec}{\mathbf q}\) \(\newcommand{\svec}{\mathbf s}\) \(\newcommand{\tvec}{\mathbf t}\) \(\newcommand{\uvec}{\mathbf u}\) \(\newcommand{\vvec}{\mathbf v}\) \(\newcommand{\wvec}{\mathbf w}\) \(\newcommand{\xvec}{\mathbf x}\) \(\newcommand{\yvec}{\mathbf y}\) \(\newcommand{\zvec}{\mathbf z}\) \(\newcommand{\rvec}{\mathbf r}\) \(\newcommand{\mvec}{\mathbf m}\) \(\newcommand{\zerovec}{\mathbf 0}\) \(\newcommand{\onevec}{\mathbf 1}\) \(\newcommand{\real}{\mathbb R}\) \(\newcommand{\twovec}[2]{\left[\begin{array}{r}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\ctwovec}[2]{\left[\begin{array}{c}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\threevec}[3]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\cthreevec}[3]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\fourvec}[4]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\cfourvec}[4]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\fivevec}[5]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\cfivevec}[5]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\mattwo}[4]{\left[\begin{array}{rr}#1 \amp #2 \\ #3 \amp #4 \\ \end{array}\right]}\) \(\newcommand{\laspan}[1]{\text{Span}\{#1\}}\) \(\newcommand{\bcal}{\cal B}\) \(\newcommand{\ccal}{\cal C}\) \(\newcommand{\scal}{\cal S}\) \(\newcommand{\wcal}{\cal W}\) \(\newcommand{\ecal}{\cal E}\) \(\newcommand{\coords}[2]{\left\{#1\right\}_{#2}}\) \(\newcommand{\gray}[1]{\color{gray}{#1}}\) \(\newcommand{\lgray}[1]{\color{lightgray}{#1}}\) \(\newcommand{\rank}{\operatorname{rank}}\) \(\newcommand{\row}{\text{Row}}\) \(\newcommand{\col}{\text{Col}}\) \(\renewcommand{\row}{\text{Row}}\) \(\newcommand{\nul}{\text{Nul}}\) \(\newcommand{\var}{\text{Var}}\) \(\newcommand{\corr}{\text{corr}}\) \(\newcommand{\len}[1]{\left|#1\right|}\) \(\newcommand{\bbar}{\overline{\bvec}}\) \(\newcommand{\bhat}{\widehat{\bvec}}\) \(\newcommand{\bperp}{\bvec^\perp}\) \(\newcommand{\xhat}{\widehat{\xvec}}\) \(\newcommand{\vhat}{\widehat{\vvec}}\) \(\newcommand{\uhat}{\widehat{\uvec}}\) \(\newcommand{\what}{\widehat{\wvec}}\) \(\newcommand{\Sighat}{\widehat{\Sigma}}\) \(\newcommand{\lt}{<}\) \(\newcommand{\gt}{>}\) \(\newcommand{\amp}{&}\) \(\definecolor{fillinmathshade}{gray}{0.9}\)Everything old is new again (and again). This revisiting of classicism is imbued with modernist sensibilities and an ever-evolving ballet technique. After two World Wars, society is changing in many ways. People are feeling expendable (due to the expansion of capitalism and casualties war) and fairy tales are no longer providing the escape it once afforded. From the turn of the century on through George Balanchine’s early years directing the New York City Ballet, modern dance impacts the world of concert dance. Both styles use symphonic music over the 3-4 Act ballet musical structure– supporting the mixed bill model; an exploration of Greek stories and characters with a focus on psychology; and dances completely devoid of plot with focus placed on choreography complementing or providing physical representation to the musical composition.
Most often associated with choreographer George Balanchine, neoclassical ballets are known for their minimalist costuming and set design. This sleek sophisticated style allowing technique, choreography, and abstract storylines to shine through. With dance and music once again working in tandem, Balanchine pushes boundaries of technique and the speed of dance. There are even instances of neoclassical ballets performed without pointe shoes.
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*Note the use of rehearsal clothing as costuming– minimizing the barriers/distractions between the audience and the dance.
Check out Balanchine's Apollo (1928), Concerto Barocco, (1941), and Agon, (1957). Other noted choreographers of this time include Frederick Ashton, Kenneth MacMillan, Jerome Robbins, and Anthony Tudor.
Caroline Hamilton delves into the emergence of the ballet leotard:
In the 1960 s, the leotard became more common as practice wear. The leotard was created by 19th-century French acrobat Jules Léotard. Up until the 1960s, leotards were worn mainly by circus performers and gymnasts.
...The 1960s saw the invention of a stretch fabric that would not bag and lose shape. Spandex, known under the brand name Lycra, was patented in 1958 and released to the public in 1961. It was initially used in the underwear industry but eventually made its way into dancewear, revolutionizing first practice wear and then stage costumes. (September 2020)
Takeaways:
Neoclassical ballet, in concert with the modern art movement, takes a huge swing away from the ornate trappings of classicism. The stripping away of voluminous costumes and elaborate set pieces provides access to highly refined technical dancing.