Introduction. 3
1. Ballet before 1900 4
1.1. The origin of ballet as a court performance. 4
1.2. Ballet in the Age of Enlightenment. 5
1.3. Romantic ballet. 7
2. Ballet 20th century. 9
2.1. Russian Ballet S.P. Diaghilev. 9
2.2. Ballet in the USA.. 10
3. World ballet. 12
3.1. Great Britain. 12
3.2. Soviet Russia and other countries.. 13
3.3. France. 14
Germany. 15
Conclusion. 16
List of used literature... 18
Ballet is a type of theatrical art where the main means of expression is the so-called “classical” (historically established, subject to a strict code of rules) dance; a scenic work belonging to this art form.
The plot of the ballet is presented in the libretto (script). Based on the libretto, music is written that expresses the emotional and semantic content of the work, then dance and pantomime scenery and costumes are created. A screenwriter, composer, choreographer and artist take part in the creation of the ballet. There are also ballets without a plot, where the choreography expresses exclusively the content of the music. Often the ballet uses music that was not originally intended by the composer for dance (Scheherazade by Rimsky-Korsakov, Carnival by Schumann, etc.). Dance is the main component of a ballet performance. Ballet includes classical dances and character dances, ballroom, folk, and in some cases acrobatic and rhythmic-plastic dances. There are performances based only on classical or only on character dance, but in modern Western ballet.
Ballet originated at the princely courts of Italy during the Renaissance and, as its popularity grew and performance techniques improved, it spread throughout Europe, and later conquered North and South America, Asia and Australia.
Throughout most of the 18th century. ballet developed mainly in Italy; at the beginning of the 19th century France, and later Russia, became famous for ballet troupes. In the 20th century ballet occupied a strong place on the stages of the USA (especially in New York), Great Britain and the Soviet Union.
The purpose of the essay is to trace the history of the emergence and development of ballet as a form of theatrical art.
The task is to study and analyze the literature on the topic of the essay.
1. Ballet before 1900
1.1. Origins of ballet as a court performance
At the end of the Middle Ages, Italian princes paid great attention to magnificent palace festivities. Dance occupied an important place in them, which gave rise to the need for professional dance masters.
The skill of the early Italian dance teachers impressed the noble French who accompanied the army of Charles VIII when he entered Italy in 1494, laying his claim to the throne of the Kingdom of Naples. As a result, Italian dance masters began to be invited to the French court. The dance flourished during the era of Catherine de' Medici, wife of Henry II (reigned 1547–1559) and mother of Charles IX (reigned 1560–1574) and Henry III (reigned 1574–1589). At the invitation of Catherine de' Medici, the Italian Baldasarino di Belgioioso (in France he was called Balthazar de Beaujoyeux) staged court performances, the most famous of which was called the Queen's Comedy Ballet (1581) and is generally considered the first ballet performance in the history of musical theater. During the reign of three French kings - Henry IV (1533-1610), Louis XIII (1601-1643) and Louis XIV (1638-1715) - dance teachers distinguished themselves both in the field of ballroom dance and in those forms that developed in within the framework of court ballet. In England in the same era, i.e. During the reign of Elizabeth I, a similar process took place, which found expression in the productions of the so-called. masks at court in Whitehall. In Italy, the technique of professional dance continued to be enriched, and the first works on dance appeared (Il Ballarino by Fabrizio Caroso, 1581 and Le Gratie d'Amore by Cesare Negri, 1602).
In the middle of the 17th century. There has been a departure from the strict forms inherent in court ballet. Ballet dancers now performed on a stage raised above the level of the hall and separated from the audience, as was the case, for example, in the theater built by Cardinal Richelieu at the beginning of the 17th century. This Italian-style theater was located in his palace and had a proscenium, which provided additional opportunities for creating stage illusion and spectacular effects. This is how a purely theatrical form of dance was developed.
During the reign of Louis XIV, court ballet performances reached special splendor both in Paris and in the Palace of Versailles. The "Sun King" appeared, among others, as the Sun in the Ballet of the Night (1653).
Many of the features of ballet dancing that have survived to this day are explained by the origin of ballet and the style of behavior of its first performers - courtiers trained in noble manners. All nobles were familiar with the art of fencing, and many of its techniques were used in dancing: for example, “turning out”, i.e. a position of the legs in which they are turned outward from the hip to the foot. The required positions of the legs, head and arms in ballet also resemble those of fencers.
In 1661, Louis XIV created the Royal Academy of Music and Dance, which united 13 leading dance masters who were called upon to maintain dance traditions.
1.2. Ballet in the Age of Enlightenment
In the 18th century Both styles of dance - noble and virtuosic - developed rapidly. In the field of theatrical dance, masters emerged who formed their own individual style. Along with Dupre, there was the brilliant Gaetan Vestris (1729–1808), the highly technical Pierre Gardel (1758–1840) and the innovator Auguste Vestris (1760–1842), distinguished by his unusual appearance and phenomenal elevation (i.e. the ability to jump high). Simpler and lighter clothes, which came into fashion on the eve of the French Revolution, gave greater freedom to perform pirouettes and lifts (special jumping movements), and the fascination with them became universal, which irritated adherents of tradition.
However, even more significant for the development of ballet than the growth of technology was the new attitude towards this art generated by the Enlightenment. There was a separation of ballet from opera, and a new type of theatrical performance appeared, where dance and pantomime were the means of expression. Jean Georges Noverre (1727–1810) was the most significant choreographer of this movement, not only an innovative practitioner, but also the author of very convincing publications. His Letters on Dance and Ballets (1760) laid the aesthetic foundations of the art of ballet, and many of his statements remain relevant today. Noverre became famous as the director of many ballets d'action, “effective ballets” (that is, ballets with a plot) in Stuttgart in the 1760s, and in 1776 he was invited as a choreographer to the Paris Opera. Having overcome considerable difficulties, he managed to approve the ballet as an independent form of performance in this famous opera house.
Ballet began to spread throughout Europe. By the middle of the 18th century. Princely courts everywhere sought to imitate the luxury of Versailles; at the same time, opera houses were opened in many cities, so that dancers and dance teachers, of whom there were more and more, easily found employment. Not only in France, but also in other countries, choreographers proposed innovations that were important for the development of ballet. In Austria, Franz Hilferding (1710–1768) was one of the first to create productions in which the plot was presented through facial expressions and dance. The Italian teacher, Gennaro Magri, published a detailed textbook on theatrical dance, as it became in the last years before the fall of the old regime in France.
When the revolution of 1789 broke out, ballet had already established itself as a special art form. The public became accustomed to the conventions of stage facial expressions, and dance, under the influence of the ideas of the Enlightenment, freed itself from the artificiality that Noverre fought against. Ballet was no longer perceived as a phenomenon of court life.
Russian influence was manifested in the fact that Charles Louis Didelot, who had previously worked as a choreographer in St. Petersburg, was invited to stage his most famous ballet Flora and Zephyr (music by K.A. Kavos) at the Paris Opera. Returning to St. Petersburg and working there for several years, Didelot left the theater a legacy of not only a huge new repertoire, including ballets based on Russian themes, such as The Prisoner of the Caucasus (music by Kavos, 1823), but also a high level of teaching in the ballet school, which would later become recognized as the best in the world.
In the 1790s, under the influence of modern fashion, women's ballet costume became much lighter and looser, so that the lines of the body were visible underneath; At the same time, they abandoned shoes with heels, replacing them with light, heelless shoes.
1.3. Romantic ballet
By the time peace was established in Europe (1815), a new generation had grown up with little interest in the past. What was inherent in the previous era was forgotten, a new aesthetics of romanticism was born, which spread to all arts. Romanticism not only destroyed old forms that seemed outdated and out of place, but sought new sources of inspiration. Young romantic artists turned to supernatural and exotic phenomena; they were attracted by the culture of distant countries and hoary antiquity. The first manifestations of Romanticism were particularly impressive, and ballet was influenced by it longer than many other forms of theatrical art.
Many ideas about the art of ballet were completely changed under the influence of Maria Taglioni (1804–1884). Appearing in La Sylphide (1832), choreographed by her father, she opened the stage for a new type of ballet heroine: the ethereal guest from the other world. Her dancing had a grace that contributed to the creation of this ideal being. Although Taglioni was not the first to stand on her fingers, as historians have repeatedly erroneously asserted, she managed to turn what was just a trick before her into an expressive means of conveying the special properties inherent in elusive, ethereal images.
The music of most ballets of the Romantic era was written by composers who specialized in light genres. The most significant among them was A. Adam, the author of the music of Giselle and the Corsair. Ballet music in those days was written to order, and it was not assumed that this was a serious enough work to be performed in concerts; the passages intended for dance were melodic, and their construction was simple, while the music should only accompany the episodes, creating the general mood of the performance.
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Introduction
Ballet (French ballet, from Latin ballo - I dance) is a type of stage art, the main means of expression of which are inextricably linked music and dance.
Most often, a ballet is based on some kind of plot, dramatic concept, libretto, but there are also plotless ballets. The main types of dance in ballet are classical dance and character dance. An important role here is played by pantomime, with the help of which the actors convey the feelings of the characters, their “conversation” with each other, and the essence of what is happening. Modern ballet also widely uses elements of gymnastics and acrobatics.
1. The birth of ballet
Ballet originated in Italy during the Renaissance (XVI century), initially as a dance scene united by a single action or mood, an episode in a musical performance or opera. Borrowed from Italy, court ballet blossomed in France as a magnificent ceremonial spectacle. The musical basis of the first ballets (The Queen's Comedy Ballet, 1581) was folk and court dances that were part of the ancient suite. In the second half of the 17th century, new theatrical genres appeared, such as comedy-ballet, opera-ballet, in which a significant place was given to ballet music and attempts were made to dramatize it. But ballet became an independent form of stage art only in the second half of the 18th century thanks to reforms carried out by the French choreographer J. J. Nover. Based on the aesthetics of the French Enlightenment, he created performances in which the content is revealed in dramatically expressive plastic images, and established the active role of music as “a program that determines the movements and actions of the dancer.”
2. Further development of ballet
The further development and flowering of ballet occurred in the era of romanticism.
Modern ballet costume (costume of the Sugar Plum Fairy from the play “The Nutcracker”).
Back in the 30s of the 18th century. French ballerina Camargo shortened her skirt (tutu) and abandoned heels, which allowed her to introduce skids into her dance. By the end of the 18th century. the ballet costume becomes much lighter and freer, which greatly contributes to the rapid development of dance technique. Trying to make their dance more airy, performers tried to stand on their toes, which led to the invention of pointe shoes. In the future, the finger technique of female dance is actively developing. The first to use pointe dancing as a means of expression was Maria Taglioni.
The dramatization of ballet required the development of ballet music. Beethoven, in his ballet “The Works of Prometheus” (1801), made the first attempt at symphonizing a ballet. The romantic direction was established in Adam's ballets Giselle (1841) and Corsair (1856). Delibes' ballets Coppélia (1870) and Sylvia (1876) are considered the first symphonized ballets. At the same time, a simplified approach to ballet music emerged (in the ballets of C. Pugna, L. Minkus, R. Drigo, etc.), as melodic music, clear in rhythm, serving only as an accompaniment for dance.
Ballet penetrates into Russia and begins to spread even under Peter I in the beginning. XVIII century In 1738, at the request of the French dance master Jean-Baptiste Lande, the first ballet dance school in Russia was opened in St. Petersburg (now the Vaganova Academy of Russian Ballet).
The history of Russian ballet begins in 1738. It was then, thanks to the request of Mr. Lande, that the first school of ballet art in Russia appeared - the now world-famous St. Petersburg Academy of Dance named after Agrippina Yakovlevna Vaganova. The rulers of the Russian throne have always cared about the development of dance art. Mikhail Fedorovich was the first of the Russian tsars to introduce a new position of dancer into the staff of his court. It was Ivan Lodygin. He had to not only dance himself, but also teach this craft to others. Twenty-nine young men were placed at his disposal. The first theater appeared under Tsar Alexei Mikhailovich. Then it was customary to show a stage dance between acts of a play, which was called ballet. Later, by special decree of Emperor Peter the Great, dancing became an integral part of court etiquette. In the 30s of the eighteenth century, noble youth were obliged to learn dancing. In St. Petersburg, ballroom dancing became a compulsory discipline in the Gentry Cadet Corps. With the opening of the summer theater in the Summer Garden, and the winter theater in the wing of the Winter Palace, cadets begin to participate in ballet dances. The dance teacher in the corps was Jean-Baptiste Lande. He understood perfectly well that the nobles would not devote themselves to ballet art in the future. Although they danced in ballets on par with professionals. Lande, like no one else, saw the need for the Russian ballet theater. In September 1737, he submitted a petition in which he was able to justify the need to create a new special school where girls and boys of simple origin would learn choreographic art. Soon such permission was given. Twelve girls and twelve slender boys were selected from the palace servants, whom Lande began to teach. Daily work brought results, the public was delighted with what they saw. From 1743, Lande's former students began to be paid salaries as ballet dancers. The school very quickly managed to provide the Russian stage with excellent corps de ballet dancers and magnificent soloists. The names of the best students of the first cohort remain in history: Aksinya Sergeeva, Avdotya Timofeeva, Elizaveta Zorina, Afanasy Toporkov, Andrei Nesterov
The national identity of Russian ballet began to take shape at the beginning of the 19th century thanks to the work of the French choreographer Sh.L. Didlo. Didelot strengthens the role of the corps de ballet, the connection between dance and pantomime, and asserts the priority of women's dance.
A real revolution in ballet music was made by Tchaikovsky, who introduced into it continuous symphonic development, deep figurative content, and dramatic expressiveness. The music of his ballets “Swan Lake” (1877), “Sleeping Beauty” (1890), “The Nutcracker” (1892) acquired, along with symphonic music, the ability to reveal the inner flow of the action. Embody the characters of the characters in their interaction, development, struggle. In choreography, Tchaikovsky's innovation was embodied by choreographers Marius Petipa and L. I. Ivanov, who laid the foundation for the symphonization of dance. The tradition of symphonizing ballet music was continued by Glazunov in the ballets “Raymonda” (1898), “The Young Lady Servant” (1900), and “The Seasons” (1900).
The beginning of the 20th century was marked by innovative searches, the desire to overcome stereotypes and conventions of academic ballet of the 19th century. In his ballets, Bolshoi Theater choreographer A.A. Gorsky strove to achieve consistency in the development of dramatic action, historical authenticity, tried to strengthen the role of the corps de ballet as a mass character, and to overcome the separation of pantomime and dance. M. M. Fokin made a major contribution to Russian ballet art by significantly expanding the range of ideas and images in ballet, enriching it with new forms and styles. His productions of the ballets “Chopiniana”, “Petrushka”, “Firebird” and others for the “Russian Seasons” brought fame to Russian ballet abroad. The miniature “The Dying Swan” (1907) created by Fokin for Anna Pavlova gained worldwide fame. In 1911-13, on the basis of the “Russian Seasons”, the permanent troupe “Diaghilev’s Russian Ballet” was formed. After Fokine left the troupe, Vaslav Nijinsky became its choreographer. His most famous production was the ballet “The Rite of Spring” to the music of Stravinsky.
ballet Tchaikovsky romanticism stage
3. Modern dance
Modern dance is a direction in the art of dance that appeared at the beginning of the 20th century as a result of a departure from the strict norms of ballet in favor of the creative freedom of choreographers.
Ballet was inspired by free dance, the creators of which were interested not so much in new dance techniques or choreography, but in dance as a special philosophy that could change life. This movement, which arose at the beginning of the twentieth century (Isadora Duncan is considered its founder), served as the source of many trends in modern dance and gave impetus to the reform of ballet itself.
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The most beautiful of all arts, ballet, tells stories of love and death in a language understandable to all people on Earth. Enduring values, repeated crimes and miracles of faith, oath and duty find their expression in dance. “In the beginning there was the Word,” says the Bible, but Maya Plisetskaya objects: “In the beginning there was a gesture!” The art of silent movement does not require human language or translation. The beauty of the body in movement, the body as an instrument for creating art, now themselves serve as “plots” for plotless dances. Ballet is impossible without the technique of classical dance, without the nature of the body, without sacrifice and unconditional love, without sweat and blood. And yet ballet is a perfect movement that makes you forget about everything petty and earthly.
A brief history of Russian ballet.
The first ballet performance in Russia took place on Maslenitsa on February 17, 1672 at the court of Tsar Alexei Mikhailovich in Preobrazhenskoye. Before the start of the performance, the actor portraying Orpheus came on stage and sang German couplets, translated to the Tsar by a translator, in which the wonderful properties of the soul of Alexei Mikhailovich were extolled. At this time, on both sides of Orpheus stood two pyramids decorated with banners and illuminated with multi-colored lights, which, after Orpheus’ song, began to dance. Under Peter I, dancing in the modern meaning of the word appeared in Russia: minuets, country dances, etc. were introduced. He issued a decree according to which dancing became the main part of court etiquette, and noble youth were obliged to learn dancing. In 1731, the Land Noble Corps was opened in St. Petersburg, which was destined to become the cradle of Russian ballet. Since the graduates of the corps in the future were expected to occupy high government positions and needed knowledge of social manners, the study of fine arts, including ballroom dancing, was given a significant place in the corps. On May 4, 1738, the French dance master Jean Baptiste Lande opened the first ballet dance school in Russia - “Her Imperial Majesty’s Dancing School” (now the Vaganova Academy of Russian Ballet).
In specially equipped rooms of the Winter Palace, Lande began training 12 Russian boys and girls. The students were recruited from children of simple origin. Education at the school was free, the students were fully supported. Ballet received further development in Russia during the reign of Elizabeth Petrovna. Among the cadets of the Ground Corps, Nikita Beketov excelled in dancing. Moreover, Beketov, who later became Elizabeth’s favorite, enjoyed the special favor of the empress, who herself dressed the young man, who excellently performed female roles. In 1742, the first ballet troupe was created from students of the Lande school, and in 1743, fees began to be paid to its participants. On August 1, 1759, on the empress’s name day and on the occasion of the victory over the Prussian troops at Frankfurt, the ballet-drama “Refuge of Virtue” was solemnly staged, which was a huge success.
During the reign of Catherine II, ballet in Russia gained even greater popularity and was further developed. On the occasion of her coronation, a luxurious ballet “Joyful Return to the Arcadian Shepherds and Shepherdesses of the Goddess of Spring” was given in the Moscow palace, in which the most noble nobles participated. It is known that the heir to the throne, Pavel Petrovich, often danced in ballet performances at the court theater. Since the era of Catherine II, a tradition of serf ballets has appeared in Russia, when landowners started troupes made up of serf peasants. Of these ballets, the ballet of the landowner Nashchokin enjoyed the greatest fame.
In 1766, the choreographer and composer Gasparo Angiolini, who was discharged from Vienna, added a Russian flavor to ballet performances - he introduced Russian melodies into the musical accompaniment of ballet performances, which surprised everyone and gained universal praise. At the beginning of the reign of Paul I, ballet was still in fashion. It is interesting that under Paul I, special rules for ballet were issued - it was ordered that there should not be a single man on stage during the performance, the roles of men were danced by Evgenia Kolosova and Nastasya Berilova.
This continued until Auguste Poirot arrived in St. Petersburg. During the reign of Alexander I, Russian ballet continued its development, reaching new heights. Russian ballet owes its success at this time, first of all, to the invited French choreographer Carl Didelot, who arrived in Russia in 1801. Under his leadership, dancers such as Maria Danilova and Evdokia Istomina began to shine in Russian ballet. At this time, ballet in Russia achieved unprecedented popularity. Derzhavin, Pushkin and Griboedov sang the ballets of Didelot and his students - Istomin and Teleshova. The Emperor loved ballet performances and almost never missed a single one. In 1831, Didelot left the St. Petersburg stage due to a conflict with theater director Prince Gagarin. Soon a star began to shine on the St. Petersburg stage European ballet Maria Taglioni.
She made her debut on September 6, 1837 in the ballet La Sylphide and delighted the public. Such lightness, such chaste grace, such extraordinary technique and facial expressions have never been shown by any of the dancers. In 1841, she said goodbye to St. Petersburg, having danced more than 200 times during this time.
In 1848, Taglioni’s rival, Fanny Elsler, famous for her grace and facial expressions, came to St. Petersburg. Following her, Carlotta Grisi visited St. Petersburg, who made her debut in 1851 in “Giselle” and had great success, showing herself to be a first-class dancer and an excellent mimic actress. At this time, choreographers Marius Petipa, Joseph Mazilier and others consistently staged luxurious ballets and, by attracting talented artists, tried to put forward ballet performances, which were beginning to cool down thanks to Italian opera. Among the ballet critics of that time was Vissarion Belinsky, who wrote articles about Taglioni, Guerino and Sankovskaya. During the reign of Alexander II, the promotion of domestic talents began in Russian ballet. A number of talented Russian dancers graced the ballet stage. Although great economy was observed in ballet productions, the experience of Mariyca Petipa made it possible to stage elegant ballet performances at low financial costs, the success of which was greatly facilitated by the excellent decorations of the artists. During this period of development of Russian ballet, dancing took precedence over plasticity and facial expressions.
During the reign of Alexander III, ballets were given at the Mariinsky Theater twice a week - on Wednesdays and Sundays. The choreographer was still Marius Petipa. At this time, foreign ballerinas were touring in St. Petersburg, including Carlotta Brianza, who was the first to perform the role of Aurora in the ballet “The Sleeping Beauty” by Pyotr Tchaikovsky. The leading dancers were Vasily Geltser and Nikolai Domashev. In the 20th century - A. V. Shiryaev, 1904 A. A. Gorsky, 1906 Mikhail Fokin, 1909. At the beginning of the 20th century, the custodians of academic traditions were artists: Olga Preobrazhenskaya, Matilda Kshesinskaya, Vera Trefilova, Yu. N. Sedova, Agrippina Vaganova , Olga Spesivtseva. In search of new forms, Mikhail Fokin relied on modern fine art.
Anna Pavlova. Invitation to the Dance aka Invitation to the valse.
The choreographer’s favorite stage form was the one-act ballet with laconic continuous action and a clearly defined stylistic coloring. Mikhail Fokine owns the following ballets: “Pavilion of Armida”, “Chopiniana”, “Egyptian Nights”, “Carnival”, 1910; "Petrushka", "Polovtsian Dances" in the opera "Prince Igor". Tamara Karsavina, Vaslav Nijinsky and Anna Pavlova became famous in Fokine's ballets. The first act of the ballet “Don Quixote”, to the music of Ludwig Minkus, reached contemporaries in the edition of Alexander Gorsky.
Russian ballet of the twentieth century.
Galina Ulanova in the ballet "Giselle."
Pas de deux from the ballet "Swan Lake" by Tchaikovsky.
Russian ballet of the 21st century.
Pas de deux from the ballet "Corsair" by Adana.
Pas de deux from the ballet "Don Quixote" by Minkus.
Pas de deux from the ballet "La Bayadère" by Minkus.
Adagio and pas de deux from the ballet "Giselle" by Adam.
The first choreographic performance in Russia was “The Ballet of Orpheus”, shown in the “comedy mansion” of Tsar Alexei Mikhailovich in his estate - the village of Preobrazhenskoe near Moscow (February 13, 1675?). From the 1st half of the 18th century. ballet was introduced by choreographers and dance teachers from Italy and France. Possessing its rich dance folklore, Russia turned out to be very fertile ground for the development of ballet theater. Comprehending the science taught by foreigners, the Russians, in turn, introduced their own intonations into the foreign dance. In the 1730s. in St. Petersburg, ballet scenes in court opera performances were staged by J.-B. Lande and A. Rinaldi (Fossano). In 1738, the St. Petersburg Ballet School opened (now the St. Petersburg Academy of Dance named after A. Ya. Vaganova), the creator and director of which was Lande. In 1773 in the car wash. The educational home opened a ballet department - the forerunner and foundation of the Moscow Choreographic School. One of his first teachers and choreographers was L. Paradise. By the end of the 18th century. serf troupes began to develop in the estates of the Sheremetev counts near Moscow (Kuskovo, Ostankino), etc. By that time, St. Petersburg and Moscow had court and public theaters. Major foreign composers, choreographers and many others worked there. Russian performers-A. S. Sergeeva, V. M. Mikhailova, T. S. Bublikov, G. I. Raikov, N. P. Berilova. Since the 1760s. rus. ballet developed in the general mainstream of the theater of classicism. The ideal of the aesthetics of classicism was “ennobled nature,” and the norm of a work of art was strict proportionality, expressed in the form of three unities—place, time and action. Within the framework of these normative requirements, the center of action became a person, his fate, his actions and experiences, dedicated to one goal, marked by a single all-consuming passion. The genre of heroic-tragedy ballet corresponded to the basic principles of classicism. The exponent of the aesthetics of ballet classicism in the West was J. J. Nover, who considered a ballet performance as an independent artistic whole, with a strong plot intrigue, logically and consistently developed action, with heroes - bearers of strong passions. In the 2nd half of the 18th century. in St. Petersburg, ballets were staged by the Austrian F. Hilferding, the Italians G. Canziani, G. Angiolini, who sometimes used Russian plots (for example, “Semira” based on the tragedy of A. P. Sumarokov, staged by Angiolini and with his music, 1772) . These performances, with their sharp conflicts and detailed action, were new on the Russian stage. Among others, the Italian G. Solomoni worked in Moscow, promoting the ballets of Novera, who staged “Vain Precaution” choreographed by J. Dauberval (performed under the title “The Deceived Old Woman,” 1800).
The heyday of Russian ballet in the 18th and 19th centuries.
At the turn of the 18th-19th centuries. Russian ballet entered its heyday. Domestic composers appeared - A. N. Titov, S. I. Davydov and Russified foreign composers - K. A. Kavos, F. E. Scholz. Russian dancer and choreographer I. I. Valberkh outlined the path to the synthesis of Russian performing style with dramatic pantomime and virtuoso dance technique of Italian ballet, as well as with the structural forms of the French school. The principles of sentimentalism were established in his art. The leading genre was melodramatic ballet. The events of the Patriotic War of 1812 caused the flourishing of divertissement ballets: in St. Petersburg they were staged by Walberch, in Moscow by I. M. Abletz, I. K. Lobanov, A. P. Glushkovsky. The soloists were: in St. Petersburg E. I. Kolosova, in Moscow - T. I. Glushkovskaya, A. I. Voronina-Ivanova. In the 1800-20s. In St. Petersburg, the work of choreographer C. Didelot began. A continuator of the traditions of Novera and Dauberval, Didelot staged ballets on mythological subjects (Zephyr and Flora, 1808; Cupid and Psyche, 1809; Acis and Galatea, 1816) and heroic-historical themes (The Hungarian Hut, or Famous Exiles "F. Venua, 1817 "Raoul de Créquy, or Return from the Crusades" by Kavos and T.V. Zhuchkovsky, 1819). In collaboration with Kavos, he put forward the principle of programming, based on the unity of the musical and choreographic dramaturgy of a ballet performance. In his pre-romantic ballets, ensembles of solo and corps de ballet dances interacted in complex ways. Didelot's heroic-tragedy ballets revealed the action through the means of psychologized pantomime and abounded in contrasting dramatic positions. His comedic ballets had a variety of expressive means (“The Young Milkmaid, or Nicetta and Luca” by F. Antonolini, 1817; “Return from India, or the Wooden Leg” by Venua, 1821). In 1823, Didelot staged a ballet based on A. S. Pushkin’s poem “The Prisoner of the Caucasus, or the Shadow of the Bride.” E. I. Kolosova, M. I. Danilova, A. I. Istomina, E. A. Teleshova, A. S. Novitskaya, Auguste (A. Poirot), N. O. Golts became famous in his performances.
In Moscow, from 1806, the ballet troupe of the private theater of M. Meddox came under the jurisdiction of the Directorate of Imperial Theaters. Until 1812, minor choreographers were replaced here several times. After the expulsion of the French from Moscow, the ballet school and troupe were headed by Didelot’s student, choreographer A.P. Glushkovsky. A follower of Walberg and Didelot, Glushkovsky in his edition transferred the St. Petersburg repertoire to the Moscow stage, primarily Didelot’s ballets, staged anacreontic ballets and melodrama ballets, used the plots of A. S. Pushkin (“Ruslan and Lyudmila, or the Overthrow of Chernomor, the Evil Wizard” Scholz, 1821) and V. A. Zhukovsky (“Three Belts, or Russian Cendrillon” by Scholz, 1826). Glushkovsky prepared the washers. ballet troupe, in which Voronina-Ivanova, T. I. Glushkovskaya, V. S. and D. S. Lopukhins danced, to create a romantic repertoire.
In the 1st third of the 19th century. Russian ballet art has reached creative maturity and has emerged as a national school. Most precisely, the peculiarity of the performing art of Russian dancers was defined by A. S. Pushkin when he described the dance of his contemporary A. I. Istomina as “a flight filled with the soul.” Ballet has occupied a privileged position among other types of theater. The authorities paid close attention to it and provided it with government subsidies. In 1825, the Bolshoi Theater was opened in Moscow, and the ballet troupe received a technically equipped stage and at the same time the leading dancer, teacher, and choreographer of the pre-romantic direction F. V. Gyullen-Sor. By the beginning of the 1830s. both Moscow and St. Petersburg ballet troupes performed in well-equipped theaters. Russian ballet was organically adopted by those born in the West. Europe romanticism. By the mid-30s. The performances were distinguished by their splendor and harmony, high school of skill and coherence of the ensemble.
Themes of romanticism and realism
The conflict between dreams and reality—the main one in romantic art—renewed the themes and style of artistic creativity. In the ballet theater, two types of romantic art emerged. The first asserted the incompatibility of dreams and reality in a generalized lyrical plane, where fantastic images dominated - sylphs, wilis, naiads. The other gravitated towards tense life situations and sometimes contained motives for criticizing reality (at the center of various, often exotic events was a hero-dreamer entering the fight against evil). Among the figures of the first branch are the choreographer F. Taglioni and the dancer M. Taglioni; the second is choreographer J. Perrot and dancer F. Elsler. Both directions were united by a new, aesthetically promising relationship between dance and pantomime. The dance came to the fore and became the culmination of the dramatic action. Romantic art was clearly manifested in performance, especially by E. I. Andreyanova, E. A. Sankovskaya, T. Guerino. The repertoire of the Russian theater includes all the most famous romantic ballets of Western Europe. Europe: “La Sylphide”, “Giselle”, “Esmeralda”, “Corsair”, “Naiad and the Fisherman”, “Katarina, the Robber’s Daughter”. In the 1860s, the collapse of romantic performance began in Russia. In the years when Russian literature and art acquired a realistic orientation, ballet remained a court theater with an abundance of extravaganza effects and divertissement numbers. At the same time, A. Saint-Leon enriched the vocabulary of both classical and character dance, expanding the capabilities of expanded dance ensembles, preparing the achievements of M. I. Petitpas. At the same time, K. Blazis improved the dancers’ technique at the Moscow ballet school. The poetic heights of ballet art were preserved by M. N. Muravyova, P. P. Lebedeva, N. K. Bogdanova, V. F. Geltser.
Historically, it was the Russian ballet that was to revive the art of ballet in a new quality. Choreographer M. I. Petipa began his creative activity in the canons of the outdated aesthetics of romanticism. But he continued the process of enriching dance that began in this era. In his ballets to the music of the staff composers of the imperial theaters C. Pugni (King Candaulus, 1868) and L. Minkus (La Bayadère, 1877), the meaningful basis and culmination of the action were masterfully developed classical dance ensembles, where the themes of the corps de ballet were developed and contrasted and solo dance, dance motifs and characteristics collided. Thanks to Petipa, the aesthetics of the “grand” or academic ballet emerged - a monumental spectacle built according to the norms of script and musical dramaturgy, and the external action was revealed in pantomime staging, and the internal - in the canonical structures of classical dance. Petipa's search was completed in his collaboration with P. I. Tchaikovsky (The Sleeping Beauty, 1890; Swan Lake, 1895) and A. K. Glazunov (Raymonda, 1898; The Seasons, 1900), whose the scores became the pinnacle of ballet symphonism in the 19th century. The work of choreographer L. I. Ivanov, Petipa's assistant (The Nutcracker, 1892; scenes of swans in Swan Lake, 1895), already foreshadowed the new imagery of dance of the early 20th century. E. O. Vazem, E. P. Sokolova, V. A. Nikitina, P. A. Gerdt, N. G. Legat, M. F. Kshesinskaya, A. I. Sobeshanekaya, A. V. Shiryaev, O. I. Preobrazhenskaya, C. Brianza, P. Legnani, V. Zucchi. 
By the beginning of the 20th century. Russian ballet took a leading place in the world ballet theater. The choreographer-reformer M. M. Fokin updated the content and form of the ballet performance, creating a new type of performance - a one-act ballet, subordinated to the end-to-end action, where the content was revealed in the indissoluble unity of music, choreography, scenography (“Chopiniana”, “Petrushka”, “ Scheherazade"). A. A. Gorsky (“Gudula’s Daughter” based on the novel “Notre Dame Cathedral” by V. Hugo, 1902; “Salammbô” based on the novel by G. Flaubert, 1910) also advocated the integrity of the ballet action, the historical authenticity of the style, and the naturalness of plasticity. The main co-authors of both choreographers were not composers, but artists (they were also sometimes the authors of the script). Fokin's performances were designed by L. S. Bakst, A. N. Benois, A. Ya. Golovin, N. K. Roerich; Gorsky - K. A. Korovin. The reforming choreographers were influenced by the art of the American dancer A. Duncan, a promoter of “free” dance. However, along with the obsolete, something valuable was rejected - the generalization of musical and choreographic images. But something new was also found - ballet entered the context of the artistic movements of its time. Since 1909, S. P. Diaghilev organized tours of the Russian ballet in Paris, known as the Russian Seasons. They revealed to the world the composer I. F. Stravinsky and choreographer Fokine (The Firebird, 1910; Petrushka, 1911), dancer and choreographer V. F. Nijinsky (The Afternoon of a Faun, 1912; The Rite of Spring, 1913) and others, attracted famous musicians and artists to the ballet theater.
Diaghilev's Russian seasons abroad
With the beginning of the Russian seasons abroad, organized by Diaghilev, Russian ballet existed both in Russia and in Europe. After October 1917, when many artists emigrated, Russian ballet developed especially intensively abroad. Throughout the 1920s-40s. Russian artists (A. P. Pavlova with her troupe), choreographers (Fokine. L. F. Myasin, B. F. Nijinska, J. Balanchine, B. G. Romanov, S. M. Lifar) led the groups (“Balle Russe de Monte Carlo", "Original Ballet Russe", "Russian Romantic Theater" and many others), created schools and troupes in many countries of Europe and America, having a huge influence on world ballet. For many years, preserving the Russian repertoire and the traditions of the Russian school of dance, these groups were simultaneously influenced by the art of the regions where they worked, and gradually assimilated to it.
In Russia after 1917, ballet remained a major center of national art. Despite the emigration of a number of prominent figures in the ballet theater, the school of Russian ballet survived and promoted new performers. The pathos of movement towards a new life, revolutionary themes, and most importantly, the scope for creative experimentation inspired ballet masters and allowed them to dare. At the same time, the traditions of their predecessors and the academicism of performing culture were preserved. The head of the Bolshoi Theater troupe, Gorsky, reworked ballets of the classical heritage, creating his own stage editions (Swan Lake, 1920; Giselle, 1922). Headed in the 1920s. Petrograd troupe F.V. Lopukhov, an expert on the classical heritage, talentedly restored the old repertoire. Lopukhov staged the first dance symphony “The Greatness of the Universe” (1922), allegorically depicted the revolution (“Red Whirlwind”, 1924), and turned to the tradition of folk genres (“Pulcinella”, 1926; “The Tale about the Fox ...”, 1927).
Intensive creative work and the search for new forms took place both outside academic theaters and within their walls. During these years, various areas of dance art developed. The studios of Duncan, L. I. Lukin, V. V. Maya, I. S. Chernetskaya, L. N. Alekseeva, N. S. Poznyakov, the workshop of N. M. Foregger, “Heptakhor”, “Young Ballet” opened M. Balanchivadze, “Dramballet” studio. Of particular importance was the work of K. Ya. Goleizovsky, who innovatively developed the genre of pop-choreographic miniatures and staged ballets both at the Moscow Chamber Ballet studio and at the Bolshoi Theater (“Joseph the Beautiful”, 1925, Experimental Theater - a branch of the Bolshoi Theater). By the mid-20s. The period of experiments in all Russian art, in particular choreographic, ended with the closure of a number of studios and campaigns in the press for a return to the traditions of Russian culture of the 19th century.
Socialist realism and its end
This was the beginning of the formation of the official method of socialist realism in the choreographic theater, where performances in which the form of the “grand ballet” of the 19th century came to the fore. combined with new content (“Red Poppy”, 1927). Official requirements for realism and accessibility of art led to the predominance on stage of performances created in the genre of the so-called drama ballet. Ballets of this type are multi-act, usually based on the plot of a famous literary work, built according to the laws of a dramatic performance, the content of which was presented through pantomime and figurative dance. The most famous masters of this genre were R. V. Zakharov (“The Bakhchisaray Fountain”, 1934; “Lost Illusions”, 1935) and L. M. Lavrovsky (“Prisoner of the Caucasus”, 1938; “Romeo and Juliet”, 1940). V. I. Vainonen (“Flames of Paris”, 1932) and V. M. Chabukiani (“Laurencia”, 1939) strived for greater danceability within the drama ballet. In the 1930s a new school of performance was formed, which was characterized, on the one hand, by lyricism and psychological depth (in the works of G. S. Ulanova, K. M. Sergeev, M. M. Gabovich), on the other, by a heroic manner of dance, expression and dynamics (in the works of M. T. Semenova and many male dancers, in particular Chabukiani, A. N. Ermolaev). Among the leading artists of the late 20s - early 30s. also T. M. Vecheslova, N. M. Dudinskaya, O. V. Lepeshinskaya.
In the 1930s Ballet theater in Russia developed intensively. New opera and ballet theaters with ballet troupes were opened in Leningrad (Maly Opera Theatre), Moscow (Moscow Art Ballet - later the Theater named after K. S. Stanislavsky and Vl. I. Nemirovich-Danchenko) and many other cities of Russia. However, despite the successes, the monopoly of one direction in the ballet theater led to an artificially cultivated uniformity. Many types of performances have disappeared from theatrical use, in particular, one-act productions, including plotless and symphonic ballets. Dance forms and dance language became impoverished, since the performances used exclusively classical dance and only in some cases folk-characteristic dance. As a result of the fact that all searches outside of drama ballet were declared formalistic, Lopukhov, after the devastating criticism of D. D. Shostakovich’s ballet “The Bright Stream”, Goleizovsky, L. V. Yakobson and some others lost the opportunity to stage ballets in leading ballet companies or were pushed onto the stage. All representatives of non-academic movements, free plastic and rhythmic dance stopped their production work. But in the late 1940s - early 1950s. a crisis came for the officially supported drama ballet. Choreographers committed to this direction made futile attempts to preserve it, enhancing the entertainment value of performances with the help of stage effects (for example, the flood scene in Zakharov's The Bronze Horseman, 1949). Nevertheless, performing skills and its traditions were preserved. During these years, M. M. Plisetskaya, R. S. Struchkova, V. T. Bovt, N. B. Fadeechev appeared on the stage. The turning point came at the end of the 1950s, when a new generation of choreographers emerged. The first to embark on the path of innovation were Leningrad choreographers Yu. N. Grigorovich (“Stone Flower”, 1957; “Legend of Love”, 1961; later “Spartak”, 1968) and I. D. Belsky (“Coast of Hope”, 1959; “ Leningrad Symphony”, 1961), who built the performance on the basis of musical and dance dramaturgy, revealing its content in dance. Close to this generation of choreographers N.D. Kasatkina and V.Yu. Vasilev, O.M. Vinogradov. In those same years, Lopukhov and Goleizovsky returned to creativity and created a number of new productions; previously forgotten genres were revived - one-act ballet, poster ballet, satirical ballet, ballet symphony, choreographic miniature, the themes of the ballet performance expanded, and the vocabulary was enriched. In this process of renewal, L. played a significant role. V. Yakobson. The choreographer tirelessly searched for new means of artistic expression and used the imagery of other arts in ballet. A new generation of performers appeared on the ballet stages of Russia, and in the first years of their work they became allies of the new wave of choreographers: M. N. Baryshnikov, N. I. Bessmertnova, V. V. Vasiliev, I. A. Kolpakova, M. L. Lavrovsky, M.-R. E. Liepa, N. R. Makarova, E. S. Maksimova, R. X. Nureyev, A. E. Osipenko, A. I. Sizova, Yu.V. Solovyov, N. I. Sorokina, N. V. Timofeeva. After the intensive rise of ballet art in the 1960s and early 1970s. there was a slowdown in its development, when little new or significant was created on the main stages, many productions were epigone. Nevertheless, experimental work did not stop during these years, when M. M. Plisetskaya, V. V. Vasiliev, N. N. Boyarchikov, G. D. Aleksidze, D. A. Bryantsev created performances.
In the late 80s - early 90s. The number of tours abroad by both ballet troupes of the largest opera and ballet theaters and small groups specially created for commercial purposes has increased significantly. Since the 1970s. Russian artists, feeling their lack of demand in the outdated and poor repertoire of theaters, began to increasingly work abroad. Nureyev was the first to stay abroad, followed by Makarova and Baryshnikov; Later, when this practice was legalized, Grigorovich, Vinogradov, as well as Plisetskaya, Vasiliev and others began to work abroad, sometimes staging performances and even leading ballet troupes in the USA and Europe. Russian dancers of the younger generation work in many foreign groups.
The history of ballet begins during the Renaissance in Italy. It grew out of the ceremonial performances staged for aristocrats by their servants: musicians and dancers at court. At that time, ballet was like an inexperienced young man of eighteen: awkward, but with fire in his eyes. It developed extremely quickly. Like the same young man who was first allowed into the workshop and called an apprentice.
At that time, ballet fashion was completely different: costumes corresponded to the times, tutus and pointe shoes simply did not exist, and the audience had the opportunity to participate in it at the end of the performance.
This is interesting! At the time of the birth of ballet in Italy, there were hardly more than five choreographers. The notes of only three specialists have survived to this day, one of whom became the “godfather of ballet”: in his notes, Domenico da Piacenza called the dances ballo. Having strengthened, the word was transformed into balli and balletto, began to be used by other dance lovers and was finally assigned to ballet as an art.
Catherine de Medici becomes a significant figure in the history of the development of ballet. From Italy she brings this art to France and arranges a spectacle for invited guests. For example, ambassadors from Poland were able to see a grand production called Le Ballet des Polonais.
It is believed that the truly closest thing to modern ballet was the masterpiece Ballet Comique de la Reine, which kept the audience in suspense for more than five hours. It was installed in 1581.
17th century
The 17th century is a new stage in the development of ballet. Separated from simple dance, it became an independent art, which was passionately supported by Louis XIV. For him, Mazarin ordered a choreographer from Italy who staged ballets with the participation of the king.
In 1661, Louis created the First Academy of Dance, which taught ballet art. The first choreographer of Louis XIV, Monsieur Lully, took the reins of the first ballet school into his own hands. Under his leadership, the Dance Academy improved and set the tone for the entire ballet world. He did everything possible to transform ballet from a young and inexperienced youth with fire in his eyes into a stately handsome man who is known and respected everywhere. In 1672, with his support, a dance academy was founded, which to this day is known throughout the world as the Paris Opera Ballet. Another court choreographer of Louis XIV, Pierre Beauchamp, worked on the terminology of dance.
1681 was another significant year in the history of ballet. For the first time, girls participated in Mr. Lully’s production. 4 beauties burst into the world of dance and paved the way for others. From this memorable moment, girls began to be involved in the ballet.
XVIII century
In the 18th century, ballet continued to win the hearts of lovers of graceful dance around the world. A huge number of productions, new forms of expressing one’s “I” on stage, fame is no longer in narrow court circles. The art of ballet came to Russia. In 1738, the Imperial Ballet School opened in St. Petersburg.
The closer the middle of the century came, the brighter the art of ballet became. Europe was fascinated by him, most high-ranking people were interested in ballet. Ballet schools opened everywhere. Ballet fashion also developed. The girls took off their masks, the styles of their clothes changed. Now the dancers wore light clothes, which allowed them to perform steps that had been impossible until that time.
19th century
At the beginning of the 19th century, ballet theory was actively developing. In 1820, Carlo Blasis wrote “An Elementary Treatise on the Theory and Practice of the Art of Dance.” The transition from quantity to quality begins, more and more attention is paid to details.
And the main thing that the beginning of the 19th century brings to ballet is dancing on your fingertips. The innovation was received with a bang and was taken up by the majority of choreographers.
In general, these hundred years have given a lot, a lot to the art of ballet. The ballet has turned into an unusually light and airy dance, like the summer wind that arises in the rays of the rising sun. Theory and practice moved hand in hand: many scientific works were published, which are still used in ballet teaching.
XX century
The twentieth century passed under the sign of Russian ballet. In Europe and America, by the beginning of the century, interest in ballet was fading, but after the arrival of masters from Russia, love for the art of ballet flared up there again. Russian actors organized long tours, giving everyone the opportunity to enjoy their skills.
The revolution of 1917 could not prevent the development of ballet. By the way, the ballet tutu we are used to appeared around the same time, and the performances became more profound.
In the 20th century, ballet is an art not only for aristocrats and noble houses. Ballet becomes available to the general public.
XXI Century
In our time, ballet remains the same magical art, in which, with the help of dance, they can talk about all human emotions. It continues to develop and grow, changing along with the world and without losing its relevance.
