![]() ![]() From these sources we learn how theatrical pas, the entrées for one or more dancers, were structured as well as the ballet vocabulary employed. The complete choreographic notes and the music for Gardel's famous pas de deux are among other valuable theatrical dance materials compiled between 18. The RDB also has retained a version of the Pas de Vestale, a pas de deux created by Gardel in 1807 for the opera La Vestale. A local balletmaster, having obtained the score, could devise his own choreography of a well-known ballet, perhaps based on his memory of a Paris production, while maintaining the integrity of the ballet by conforming to the details of the storyline.įollowing this tradition, August Bournonville, using a newly commissioned score, rechoreograhed Filippo Taglioni's ballet La Sylphide for the Royal Danish Ballet in 1836, a version which remains a staple of the company's repertory. were indicated in the score but without details of steps. ![]() Pas de deux, pas de trois, pas de cinq, etc. Dancing mostly occurred in extended divertissements, often associated with celebratory scenes. Thus, as in the preceding century, most dancers in the 19th century continued to regard Paris as the locus of superior dance training, performances, and productions.īallets continued to be viewed as danced dramas, the term "ballet-pantomime" replacing the earlier term, "ballet d'action." Rehearsal scores, répétiteurs, contained detailed information for the mimed gestures and expressions, allied closely to the musical notes and phrases in the score. By 1799, the ballet was officially recognized as a separate but vital entity at the Opéra. Pierre Gardel, balletmaster at the Paris Opéra from 1787 to 1827, successfully maintained the ballet enterprise through the tumultuous years of the French revolution and its aftermath. During those years important aspects of Baroque dance were preserved the content of the ballet class as we know it today was established and dancers were trained and prepared for the technical challenges ushered in by the two most important productions of the Romantic ballet era- La Sylphide (Paris, 1832) and Giselle (Paris, 1841). The first four decades of the 19th century represent a vital period in the history of ballet. ![]()
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