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Introduction

The emergence of ballet in the courts of Europe

Ballet as an adjunct to opera.

The establishment of the ballet d’action
The age of Gardel
Ballet as an aspect of Romanticism
The Imperial Russian Ballet
The era of the Ballets Russes
Russian ballet in the Soviet era
The growth of national ballet companies in Europe and North America
The East-West divide
The institutional environment
Ballet and the public
Choreographers
Ballet in the cultural milieu

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Table Of Contents

ballet , theatrical dance in which a formal academic dance technique—the danse d’école—is combined with other artistic elements such as music , costume, and stage scenery. The academic technique itself is also known as ballet. This article surveys the history of ballet.

History through 1945

Ballet traces its origins to the Italian Renaissance , when it was developed as a court entertainment. During the 15th and 16th centuries the dance technique became formalized. The epicentre of the art moved to France following the marriage of the Italian-born aristocrat Catherine de Médicis to Henry II of France. A court musician and choreographer named Balthasar de Beaujoyeulx devised Ballet comique de la reine (1581; “The Queen’s Comic Ballet”), which inaugurated a long tradition of court ballets in France that reached its peak under Louis XIV in the mid-17th century.

As a court entertainment, the works were performed by courtiers; a few professional dancers were occasionally participants, but they were usually cast in grotesque or comic roles. The subjects of these works, in which dance formed only a part alongside declamation and song, ranged widely; some were comic and others had a more serious, even political, intent. Louis XIII and his son Louis XIV frequently performed in them; the younger Louis was in time regarded as the epitome of the noble style of dancing as it developed at the French court.

Eventually, developments at the French court pushed the arts aside, and the court ballet disappeared. But Louis XIV had established two academies where ballet was launched into another phase of its development: the Académie Royale de Danse (1661) and the Académie Royale de Musique (1669). The Académie Royale de Danse was formed to preserve the classical school of the noble dance. It was to last until the 1780s. By then its purpose essentially had been abrogated by the music academy, the predecessor of the dance school of the Paris Opéra .

The Académie Royale de Musique was to become incalculably significant in the development of ballet. The academy was created to present opera, which was then understood to include a dance element; indeed, for fully a century ballet was a virtually obligatory component of the various forms of French opera. From the beginning, the dancers of the Opéra (as the Académie was commonly known) were professional, coming under the authority of the ballet master. A succession of distinguished ballet masters (notably Pierre Beauchamp , Louis Pécour, and Gaétan Vestris ) ensured the prestige of French ballet, and the quality of the Opéra’s dancers became renowned throughout Europe.

The growing appeal of ballet to an increasingly broad public in Paris was reflected in the success of opéra-ballets , of which the most celebrated were André Campra ’s L’Europe galante (1697; “Gallant Europe”) and Jean-Philippe Rameau ’s Les Indes galantes (1735; “The Gallant Indies”). These works combined singing , dancing, and orchestral music into numbers that were unified by a loose theme.

In the early years the most accomplished dancers were male, and it was not until 1681 that the first principal female dancer, Mlle La Fontaine , appeared. Gradually she and her successors became nearly as well-known and respected as male dancers such as Michel Blondy and Jean Balon . From the 1720s, however, with the appearance of Marie Sallé and Marie-Anne Camargo , the women began to vie with the men in technique and artistry. The retirement of Sallé and Camargo in turn coincided with the debut of one of the most celebrated dancers of all time, Gaétan Vestris , who became regarded in his prime as the epitome of the French noble style; he played an important part in establishing ballet as an independent theatrical form.

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A Brief History of Ballet

Scroll through a brief ballet history from its where ballet originated in the 15th-century Italian renaissance courts to what ballet dance looks like in the 21st century.

Origin of Ballet

Ballet originated in the Italian Renaissance courts of the 15th century. Noblemen and women were treated to lavish events, especially wedding celebrations, where dancing and music created an elaborate spectacle. Dancing masters taught the steps to the nobility, and the court participated in the performances. In the 16th century, Catherine de Medici — an Italian noblewoman, wife of King Henry II of France and a great patron of the arts — began to fund ballet in the French court. Her elaborate festivals encouraged the growth of ballet de cour, a program that included dance, decor, costume, song, music and poetry. A century later, King Louis XIV helped to popularize and standardize the art form. A passionate dancer, he performed many roles himself, including that of the Sun King in Ballet de la nuit . His love of ballet fostered its elevation from a past time for amateurs to an endeavor requiring professional training.

By 1661, a dance academy had opened in Paris, and in 1681 ballet moved from the courts to the stage. The French opera Le Triomphe de l’Amour incorporated ballet elements, creating a long-standing opera-ballet tradition in France. By the mid-1700s French ballet master Jean Georges Noverre rebelled against the artifice of opera-ballet, believing that ballet could stand on its own as an art form. His notions — that ballet should contain expressive, dramatic movement that should reveal the relationships between characters — introduced the ballet d’action , a dramatic style of ballet that conveys a narrative. Noverre’s work is considered the precursor to the narrative ballets of the 19th century.

The 19th Century

Early classical ballets such as Giselle and La Sylphide were created during the Romantic Movement in the first half of the 19th century. This movement influenced art, music and ballet. It was concerned with the supernatural world of spirits and magic and often showed women as passive and fragile. These themes are reflected in the ballets of the time and are called romantic ballets. This is also the period of time when dancing on the tips of the toes, known as pointe work , became the norm for the ballerina. The romantic tutu, a calf-length, full skirt made of tulle, was introduced.

The popularity of ballet soared in Russia, and, during the latter half of the 19th century, Russian choreographers and composers took it to new heights. Marius Petipa’s The Nutcracker , The Sleeping Beauty and Swan Lake , by Petipa and Lev Ivanov, represent classical ballet in its grandest form. The main purpose was to display classical technique — pointe work, high extensions, precision of movement and turn-out (the outward rotation of the legs from the hip)—to the fullest. Complicated sequences that show off demanding steps, leaps and turns were choreographed into the story. The classical tutu, much shorter and stiffer than the romantic tutu, was introduced at this time to reveal a ballerina’s legs and the difficulty of her movements and footwork.

Ballet Today

In the early part of the 20th century, Russian choreographers Sergei Diaghilev and Michel Fokine began to experiment with movement and costume, moving beyond the confines of classical ballet form and story. Diaghilev collaborated with composer Igor Stravinsky on the ballet The Rite of Spring , a work so different —with its dissonant music, its story of human sacrifice and its unfamiliar movements — that it caused the audience to riot. Choreographer and New York City Ballet founder George Balanchine, a Russian who emigrated to America, would change ballet even further. He introduced what is now known as neo-classical ballet, an expansion on the classical form. He also is considered by many to be the greatest innovator of the contemporary “plotless” ballet. With no definite story line, its purpose is to use movement to express the music and to illuminate human emotion and endeavor. Today, ballet is multi-faceted. Classical forms, traditional stories and contemporary choreographic innovations intertwine to produce the character of modern ballet.

What’s Next?

Choreographers continue to create diverse styles of ballets, and ballet companies are giving dance audiences a wide range of experiences in the theater. What do you think will be the next phase for ballet?

Learn More!

Listen to an NPR interview with author Jennifer Homans about Apollo’s Angels: A History of Ballet , a book published in 2010.
Read more about types of ballet or ballet vocabulary
Or, check out the following at your local library or bookstore, or at Amazon.com:

Apollo’s Angels: A History of Ballet, by Jennifer Homans, 2010

Ballet: An Illustrated History , by Clement Crist and Mary Clark, 1992

Ballet and Modern Dance: A Concise History , by Jack Anderson, 1993

Ballet in Western Culture: A History of its Origins and Evolution, by Carol Lee, 1992

Experience ballet for yourself with classes for all ages , including adult beginning ballet classes. Or, introduce your little ones to ballet with Dance the Story at Home !

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Tracing Ballet's Cultural History Over 400 Years

Jenifer Ringer performs as the Sugarplum Fairy during a 2010 performance of "The Nutcracker" at Lincoln Center in New York. Paul Kolnik/AP Photo hide caption

Jenifer Ringer performs as the Sugarplum Fairy during a 2010 performance of "The Nutcracker" at Lincoln Center in New York.

This interview was originally broadcast on December 13, 2010 . Apollo's Angels is now available in paperback.

It is ballet season, which means many companies are performing The Nutcracker for the holidays and preparing their big shows for the winter months. Everywhere you turn these days, you can see toe shoes — but there is a deep and fascinating history to the art form that few people know.

In her new book Apollo's Angels , historian Jennifer Homans — a former professional ballet dancer herself — traces ballet's evolution over the past 400 years, and examines how changes in ballet parallel changing ideas about class structure, gender, costume, the ideal body and what the body can physically do. The book chronicles ballet's transition from the aristocratic courtier world in Europe through its place as a professional discipline in the Imperial Court of Russia, and finally as a technique performed on stages throughout the world.

Apollo's Angels

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Ballet's origins, Homans explains, grew out of the Renaissance court cultures of Italy and France. Dancers would perform at the royal courts — and then invite the audience members to participate.

"It was a dance that was done by courtiers and kings and princes at court in social situations," she says. "It was not a theatrical art set off from social life."

The first ballet dancers did not wear tutus or dance in satin shoes, but they did formalize the footwork patterns — known as first, second, third, fourth and fifth position — that are still used today.

"Louis XIV realized that if his art form was going to be disseminated throughout his realm and even to other European countries, he would have to find a way to write it down," Homans explains. "So he asked [choreographer] Pierre Beauchamp to write some these positions. The positions themselves are the grammars of ballet, they're the ABC's, the classical building blocks of ballet."

In ballet's early days, men were expected to perform the more extravagant and intricate footwork. It wasn't until years later, during the French Revolution, that female dancers became stars.

"During the French Revolution, the aristocratic male dancer was really discredited," she says. "The hatred and bitter animosity toward the aristocracy had direct consequences for ballet. Why should you have this aristocratic art? If you're going to take down the aristocracy, why not take down ballet, too?"

By the 1830s, men were actually reviled onstage, she says.

"They're thought to be a disgrace," she says. "Female dancers take the ideals that existed in the aristocratic art form and turned them into a feminine and spiritual ideal of which they are the masters. Then you get this image of the ballerina on toe, in these more romantic-era ballets of sylphs and unrequited love and the romantic themes that carried ballet into the 19th century."

Apollo's Angels was recently named one of the top five nonfiction books of the year by the New York Times Sunday Book Review . Jennifer Homans performed with the Chicago Lyrica Opera Ballet, the San Francisco Ballet and Pacific Northwest Ballet during her career as a professional ballet dancer. She is currently the dance critic for The New Republic, and teaches the history of dance at New York University, where she is a distinguished scholar-in-residence.

Jennifer Homans has danced with the Pacific Northwest Ballet and the Chicago Lyric Opera House. She has a Ph.D. in modern European history from New York University. Random House hide caption

Jennifer Homans has danced with the Pacific Northwest Ballet and the Chicago Lyric Opera House. She has a Ph.D. in modern European history from New York University.

Interview Highlights

On Apollo's relationship to dance

"From the earliest moments of ballet, the idea was to create some kind of Apollonian image — an ideal sort of body. Even the technique allowed you to modify your, perhaps, imperfect proportions. If you're too tall, maybe you would lower your arms a bit — maybe so you don't appear so high up."

On the fear of being dropped

"I never was thinking that, because within the flow of the movement, you have complete confidence in the partner that you're working with, and so those kinds of considerations are not to the fore. Now, if you're working with somebody you don't quite trust or there's a lift that's particularly difficult, then I think there can be a certain tension. And that's something you want to try to get rid of in a performance. One of the great ballerinas once told me, 'When you start to have a dialogue in your head while you're performing, that's when you know it's gone wrong.' In a way, you want to get rid of those words and enter a different way of existing for the time that you're onstage."

Learn Ballet History

Ballet is a relatively young art form, with the earliest recorded mention of ballet dating back to the 15th century, or about 400 years ago. This article delves into ballet history and how it developed.

Agripina Vaganova with her students, training according to the Vaganova method.

The origins of the term ‘ballet’ are uncertain, with some sources suggesting it derives from the Latin word ‘balle’ (meaning dancing) and others suggesting it comes from the French ‘balleto.’ However, it is clear that ballet originated in a specific place. In the following article, we will explore the history of the development and popularization of this elegant art form.

Origin – 16th century ballet history

It is known that ballet originated during the Renaissance in Italy. The first mention of the word “ballet” is attributed to the court dance teacher Domenico da Piacenza. It was he who first proposed to combine several dances into one, perform them with a solemn finale and call them ballet.

The progenitor of classical dance is those forms of dance that were performed by hired dance masters for the nobles and princes at their celebrations. It was at such events that the original choreographic forms, the splendor of the spectacle, and the elements of drama in dance performances were born. Who would have thought that the usual entertainment of sovereigns would over time turn into art that millions of people around the world enjoy today?

However, as a genre of art, the ballet took shape a little later. As we said earlier, ballet originated in Italy, but the first ballet production of The Queen’s Comedy Ballet was presented not in Italy, but in France in 1581 . It was staged at the court of Catherine Medici of Italy, wife of the French King Charles VIII.

It was she who brought fashion for curious court ballets to France. The production was directed by the famous Italian choreographer and violinist Baltazarini di Beljoyozo from Italy. Since then, the ballet has moved to a professional stage where it occupied a certain place in opera and dramatic productions .

Mid 17th – 18th centuries

During this period of ballet history, this classical dance form continued to evolve about a century later, with the coronation of Louis XIV in France on June 7, 1654. Louis XIV was not only a fan of ballet, but also participated in productions himself, performing in the “Cassandra Ballet” at the age of 12 in 1651.

He earned the nickname “Sun King” for his role as the Rising Sun in “The Royal Ballet of the Night”. In 1661, Louis XIV established the Royal Academy of Dance to preserve dance traditions, with 13 of the best dance masters appointed to the Academy. Pierre Boschant , a royal dance teacher, was appointed director and later defined the five main positions of classical dance.

Louis XIV made the ballet stand out during his reign as a separate form of performance, different from balls. It was then that the division of dancers into amateurs and professionals appeared.

Ballet history fact!

Before 1681 only men danced in ballet. The first ballerina was the legendary dancer La Fontaine.

Then costumes and music were more important during performances than the dance technics. Girls danced in high heels wearing heavy dresses and masks. The costume of a man, although it was a little lighter (hence the greater grace and ease of movement), was still far from the clothes in which you could dance easily and freely.

The first to free the dancers from the shackles of these inconvenient costumes was a real reformer in the world of ballet art – the French ballet master Jean Georges Nover . He banned masks and gave the actors the opportunity to wear light suits that did not stiffen movement. Each innovation made dance more meaningful, and dance technique – more complicated.

Towards the end of the 17th century, court ballet achieved some success: it was fully funded by the authorities, which used it to exalt their own greatness. Gradually, the ballet completely separated from the opera and turned into an independent art .

One of the successful followers of Noverre became Jean Doberval, who in 1789 staged the ballet “Futile Precaution” . A simple story about the unhappy love of a young peasant and a village girl was presented on stage. The absence of stories about the adventures of the gods, majestic masks and corsets made the production natural, and the dance free.

Dance class in opera 1872. Edgar Degas (1834-1917).

Romanticism – late 18th – early 19th centuries

The strongest influence on ballet history was the direction of romanticism, which erupted in the late 18th century. In a romantic ballet, the female dancer first began to wear pointe shoes. Maria Taglioni was the first to do so, completely changing the previous ideas about ballet. In the ballet “Sylphide” she represented a fragile creature from the other world. The success was overwhelming.

Romanticism brought into the ballet the image of an incorporeal spirit – a ballerina who hardly touches the earth. In the same period, the roles of dancers are changing. Men turned into moving statues, which existed only to support the ballerina. Then the rising stars of female ballet completely and successfully overshadowed men.

By the way, this situation was slightly corrected by the rise of the Nijinsky star from the Russian Ballet in the early 20th century. By this time, traditional for us ballet costumes, choreography, stage sets, props had already developed, in a word, everything had become almost what it is now. Eventually, it was a Russian ballet that started the revolution in ballet art.

Over time, the peak of the popularity of romantic ballet had already passed, and Paris, as the center of classical dance, began to fade away.

Russian ballet and its influence on world classical dance

The popularity of classical dance in Europe had an impact on ballet in Russia.

The first ballet school in Russia was opened in 1738 (now the Vaganova Academy of Russian Ballet). At the same time, Peter I made dancing the main part of court etiquette, so the court youth was obliged to learn dancing. Thus, for example, the dance became a compulsory lesson in the Schlyakhet Cadet Corps in St. Petersburg. Since then, cadets have started to participate in ballet dances.

The dance instructor in the corps was Jean-Baptiste Lande. He understood that the nobility would not devote their lives to the art of dance. Therefore, in September 1737, Lande filed a petition in which he justified the need for a new special school where girls and boys of simple origin would be trained in choreography. Soon, such permission was given. From that moment on the training and development of dancers, for whom the ballet was a real profession, began.

At the beginning of the 19th-century Russian ballet art reached creative maturity thanks to the work of French ballet master Charles-Frederic-Louis Didlot. Didlot strengthens the role of the corps de ballet, the connection between dance and pantomime, asserts the priority of female dance. Russian dancers have brought expressiveness and sublimity to the dance.

The music of the legendary composer P. Tchaikovsky was the impetus for a new stage in the ballet history of Russia. Swan Lake, staged to Tchaikovsky’s music in 1877, gave rise to the fact that music for ballet began to be taken seriously. It was in the composer’s work that the romantic ballet became established. Tchaikovsky paid special attention to music, transforming it from an accompanying element into a powerful instrument that helps the dance to subtly capture and reveal emotions and feelings. Before that, music was considered just an accompaniment to dance.

Dancers from Swan Lake coming onto stage

Andrew Bossi Long CC 2.0via Wikimedia Commons

20th century

The beginning of the 20th century is characterized by an innovative search, the desire to overcome stereotypes and conventions of the academic ballet of the 19th century. One of the main innovators of this period in Russia is Sergey Diaghilev. In 1908, the annual performances of Russian ballet dancers in Paris began, organized by Diaghilev. The names of dancers from Russia became known throughout the world. But the first in this row is the name of the incomparable Anna Pavlova. Also, under his leadership in 1911, the ballet company was first organized. You can find out more about some of ballet types & styles in our related articles.

In 1929 Diaghilev died. Over time, his troupe broke up. One of its members – George Balanchine – was developing ballet in the USA and founded the New York City Ballé company. He became one of the most influential choreographers of the 20th century . In his dances, Balanchine strove for classical completeness of form, for impeccable purity of style. In many of his works, there is virtually no plot of any kind. The choreographer himself believed that the plot in the ballet is absolutely irrelevant, the main thing being the music and the movement itself. Today Balanchine’s ballets are performed in all countries of the world. He had a decisive influence on the development of twentieth-century choreography, not breaking with tradition, but boldly renewing it.

Another protege of Diaghilev, Serge Lifar , led the Paris Opera Ballet Company and for a long time was the most influential figure in French ballet.

The second half of the 20th century

In the 1950s, the dramatic ballet was in crisis. Strengthening the entertainment and pomp of performances, choreographers made futile attempts to preserve the ballet genre. Until the end of the 1950s, there was a breakthrough.

Choreographers and dancers of a new generation revived the forgotten genres – one-act ballet, ballet symphony, choreographic miniature. And since the 1970s, ballet troupes have emerged that were independent of opera and ballet theaters. Their number is constantly growing, among them, there are studios of free dance and modern dance. But today the academic ballet and the school of classical dance are still relevant.

Who were the 8 main figures who influenced the history of ballet?

Catherine Medici; Louis XIV; Jean Georges Nover; Jean Doberval; Jean-Baptiste Lande; P. Tchaikovsky; Sergey Diaghilev; George Balanchine.

What is the history of ballet?

16th century – the origin of ballet, the first ballet production. Mid 17th century – the rise of ballet dancers into amateurs and professionals. The end of 17th century – ballet is favourite form of art and accesses funding. 18th century – abandoning lavish costumes, the dance becomes freer and more professional. The start of Russian ballet. 18th - early 19th centuries – the era of romanticism in ballet, the female dancer first began to wear pointe shoes. 1877 – to the music of Tchaikovsky's Swan Lake ballet was staged. 20th century - Sergei Diaghilev's ballets are becoming popular throughout the world. 1950s - the dramatic ballet was in crisis. 1970s - the rebirth of ballet as we know it today begin.

What monarch reigned during the rise of professionalism in ballet history?

Professionalism in ballet emerged in the 18th and 19th centuries. During this time, several monarchs reigned in various countries where ballet was popular, including: King Louis XIV of France, who was the patron of the Paris Opera Ballet and played a significant role in the development of ballet as a professional art form. Queen Victoria of the United Kingdom, who was a patron of the Royal Ballet and supported the development of classical ballet in England. Tsar Nicholas I of Russia, who was a patron of the Imperial Ballet in St. Petersburg and played a significant role in the development of Russian ballet. King Ludwig II of Bavaria, who was a patron of the Munich Opera Ballet and supported the development of ballet in Germany.

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The history of ballet begins around 1500 in Italy. Terms like “ballet” and “ball” stem from the Italian word “ballare,” which means “to dance.”

At first, the dancers wore masks, layers upon layers of brocaded costuming, pantaloons, large headdresses, and ornaments. Such restrictive clothing was sumptuous to look at but difficult to move in. Dance steps were composed of small hops, slides, curtsies, promenades, and gentle turns. Dancing shoes had small heels and resembled formal dress shoes rather than any contemporary ballet shoe we might recognize today.

The official terminology and vocabulary of ballet was gradually codified in French over the next 100 years, and during the reign of Louis XIV, the king himself performed many of the popular dances of the time. Professional dancers were hired to perform at court functions after King Louis and fellow noblemen had stopped dancing.

A whole family of instruments evolved during this time as well. The court dances grew in size, opulence, and grandeur to the point where performances were presented on elevated platforms so that a greater audience could watch the increasingly pyrotechnic and elaborate spectacles.

A century later, King Louis XIV helped to popularize and standardize the art form. A passionate dancer, he performed many roles himself, including that of the Sun King in Ballet de la nuit . His love of ballet fostered its elevation from a past time for amateurs to an endeavor requiring professional training.

From Italian roots, ballets in France and Russia developed their own stylistic character. By 1850 Russia had become a leading creative center of the dance world, and as ballet continued to evolve, certain new looks and theatrical illusions caught on and became quite fashionable. Dancing en pointe (on toe) became popular during the early part of the nineteenth century, with women often performing in white, bell-like skirts that ended at the calf. Pointe dancing was reserved for women only, and this exclusive taste for female dancers and characters inspired a certain type of recognizable Romantic heroine – a sylph-like fairy whose pristine goodness and purity inevitably triumphs over evil or injustice.

In the early twentieth century, the Russian theatre producer Serge Diaghilev brought together some of that country’s most talented dancers, choreographers, composers, singers, and designers to form a group called the Ballet Russes. The Ballet Russes toured Europe and America, presenting a wide variety of ballets. Here in America, ballet grew in popularity during the 1930’s when several of Diaghilev’s dancers left his company to work with and settle in the U.S. Of these, George Balanchine is one of the best known artists who firmly established ballet in America by founding the New York City Ballet. Another key figure was Adolph Bolm, the first director of San Francisco Ballet School.

Pointe Shoes

The Pointe Shoe is synonymous with ballet and ballerina’s around the world. While we might take them for granted as having always been a part of the long history of Ballet, the pointe shoe has gone through a very long and interesting history itself. It might surprise you to learn that the art of Ballet was established 200 years before the pointe shoe was developed and dancers rose up onto the tips of their toes to dance.

The Royal Academy of Dance, Académie Royale de Danse, was the first dance institution to be founded in the western world. It was established in France in 1661 as a Theatre, Dance and Opera institution by the French king, Louis XIV. Twenty years after it was founded, the first official Ballet productions went to stage.

This academy placed Ballet within the creative arts and distinguished it as it’s own form of dance and performance. While Ballet had been practiced in Europe prior to this time, it’s official birth place in France cemented French as the international language of Ballet. Ballet classes around the world are still directed and run in French.

The first Ballet shoes worn by the dancers of the Royal Academy of Dance were heeled slippers. These shoes were quite difficult to wear and prohibited any jumps and a lot of technical movements. The heeled slipper did not stay around for very long. No one knows exactly when the heel was dropped and ballerinas wore non-heeled shoes, but the abandonment of the heel meant that the dancers could do far more than ever before. It is rumored that Marie Camargo of the Paris Opera Ballet may have been the first dancer to take the heels from the slippers.

The new flat bottomed slippers spread quickly throughout the Ballet community as dancers were liberated by the abandonment of the heel. The new flat bottomed slippers worn during the 18th century are much like the demi-pointe rehearsal and learning shoes worn by young ballerina’s in classes today. They were secured to the feet with ribbons around the ankle and were pleated under the toes for a better fit. The new slippers allowed for a full extension and enabled the dancer to use the whole foot.

The first dancers to rise up onto their toes did so with an invention by Charles Didelot in 1795. His “flying machine” lifted dancers upward, allowing them to stand on their toes before leaving the ground. This lightness and ethereal quality was so well received by audiences and, as a result, choreographers began to look for ways to incorporate more pointe work into their pieces.

As dance progressed into the 19th century, the emphasis on technical skill increased, as did the desire to dance en pointe without the aid of wires. Marie Taglioni is often credited as being the first to dance on pointe but like many things in the early history of Ballet, no one knows for sure.

In 1832, when Marie Taglioni first danced the entire La Sylphide en pointe, her shoes were nothing more than modified satin slippers; the soles were made of leather and the sides and toes were darned to help the shoes hold their shapes. Because the shoes of this period offered no support, dancers would pad their toes for comfort and rely on the strength of their feet and ankles for support.

The next substantially different form of pointe shoe appeared in Italy in the late 18th century with a modified toe area which was the beginning stages of what we now call the toe box. Dancers like Pierina Legnani wore shoes with a sturdy, flat platform at the front end of the shoe, rather than the more sharply pointed toe of earlier models.

The Italian school could now push technique to the limit in order to achieve dazzling virtuosic feats. These more sturdy toe areas were a Ballerina’s secret weapon, a closely guarded trade secret, for turning multiple pirouettes: spotting.

These shoes went on to included a box—made of layers of fabric—for containing the toes, and a stiffer, stronger sole. They were constructed without nails and the soles were only stiffened at the toes, making them nearly silent. As the Pointe Shoe developed, so did Ballet itself. As the shoes allowed dancers to do more and more, the dancers started to want more from their shoes.

The birth of the modern pointe shoe is often attributed to the early 20th-century Russian ballerina, Anna Pavlova, who was one of the most famous and influential dancers of her time. Pavlova had particularly high, arched insteps, which left her vulnerable to injury when dancing en pointe. She also had slender, tapered feet, which resulted in excessive pressure on her big toes. To compensate for this, she inserted toughened leather soles into her shoes for extra support and flattened and hardened the toe area to form a box.

The soft slippers used by these ballerinas were far different from the “blocked” toe shoes that eventually appeared in their earliest form in the 1880s. (Previously, dancers also spent far less time on pointe than ballerinas do today.)

Ballet dancers in the early part of this century also wore shoes that would seem unmanageably soft today. Tamara Karsavina was said to dance in toe shoes of Swiss goatskin, while the ballerina Pierozi reportedly wore only Moroccan leather. It was fundamental to the development of Ballet technique that the pointe shoes be stiffened and stronger to support longer balances and challenging pirouettes.

Today most toe shoes are fashioned of layers of satin stiffened with glue, with a narrow sole often made of leather.

Depending on the Ballet dancers experience and skill, a pair of Pointe shoes can last between 2 to 12 hours of dancing. If a dancer is attending a one hour pointe shoe class per week; her pointe shoes will last about three months. For a professional dancer, her shoes will last far less time. A Professional Ballerina can go through 100 and 120 pointe shoes in a single dancing year. Some pointe shoes will only last a single performance in a heavy duty role where the shoes are worked hard. Ballet Companies will often employ professional pointe shoe makers and fitters to work within the company producing and buying over 8,000 shoes during the dance year.

Even different ballet role demands different strengths and flexibility in their shoes. “For the technically and physically demanding role of the Black Swan in “Swan Lake,” a strong shoe with a lot of support is required, whereas the role of the sylph in “La Sylphide” has more jumps and less pirouettes, so a light, gentle shoe is needed.”

The pointe shoe has remained very much unchanged for the last 200 years. Recent developments and changes have begun to appear now within companies that produce Ballet wear such as Nike in conjunction with Bloch Dance wear have designed these shoes called Arc Angel by Guercy Eugene. These shoes have come from a need to protect and advance the support of Ballerina’s very important asset – their feet!

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Ballet: The Art and Science of Dance

Categories: Ballet Dance

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Published: Jun 13, 2024

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Historical evolution of ballet, technical aspects and training, the impact of ballet on participants and audiences.

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Ballet appeared as a distinctive form of dance in Italy sometimes before the sixteenth century. It initially involved movements, music and special effects that were integrated together. The first dance that was performed in France was organized by Balthasar de Beaujoyeux, a violinist and it was known as The Comic Queen Ballet (Lee, 40).

This became the production of the dance, the court ballet ( ballet de cour ), and an earlier and initial version of the current / modern ballet. This production influenced a sixteenth century entertainment known as masque in an English court that was characterized by dance interludes (Lee, 91). In 1588 Orchesographie became the first piece on ballet dancing.

The major ballet dance development occurred in the 17 th century in France. During the initial stages of this development at around 1610, the divertissements scenes came into being and resulted into the grand ballet . In 1661 and 1669 the Royal Ballet Academy and the Royal Music Academy respectively were founded by Louis XIV (Lee, 66).

The Royal Music Academy later transformed into the Paris Opera to later become the foremost National Ballet School in 1672 ( Lee, 71). The performances were mainly carried out by male dancers in which the female roles were played by boys in masks and wigs (Lee, 53).

The first ballet of a kind that incorporated trained female was the 1681 Triumph of Love that involved music by Lully. During this period until 1708, ballet continued to be a court display and involved drama or opera. This was followed by the first public performance commissioning of ballet (Lee, 58).

Afterwards, ballet was infused with new ideas which saw it develop as a distinct art. However, the court ballet maintained its historic conventions. It is during these times that they saw the beginning of the choreographic notes and the legendary themes.

A ballet school based in Italy brought in great influence that resulted in more elevated movements while the horizontal movements became less. The five classic positions of a dancer’s feet were developed by Beauchamps (Lee, 75). These positions form the strength of the dancer’s movement and stance.

There was a shift from earlier cumbersome costumes to newly designed ones that allowed for greater and unrestricted movement. Some of them include slippers, short tight skirt as well as heelless shoes. This style became popular from the second century courtesy of Duncan Isadora.

It was not until 18 th century when d’action principles were brought about in the letters on ballets and dancing by ballet master (Lee, 110). His intentions were to shape ballet in such a way that it tells story with music, dance and décor as aiding tools. He wanted more of a dance, facial and body expressions.

To emphasize on naturalism, Noverre abolished the use of mask at around 1773. This was followed by other major innovations by several artists as well as technical innovation within the field of dance movement due to the continued alteration of the ballet attire (Lee, 111).

This was followed by a romantic period which formally began in 1832 after the production of La Sylphide (Lee, 135). This ushered in a new epoch that was characterized by brilliant choreography that stressed on beauty and proficiency of the prima ballerina. Ballet dance adopted filmy and calf-length costumes.

The new ballet involved the conflicts of flesh and spirit, reality and illusion. Legendary themes were put an end to and their place taken by fairy tales and love stories. During this period, a dancing style commonly referred as sur les pointes became favored by many and by the end of this century, there was the emergence of tutu, a short and buoyant skirt that ensured the legs were free. Costume sets and the choreography stopped being interesting and the imaginative feel required in ballet had been lost (Lee, 151).

The modern ballet period followed. This has seen major development in countries such as Russia, Britain and the USA. The Russian ballet has greatly developed with figures such as Sergei Diaghilev being hailed for their contribution. Russian dancing has for some time now been to its highest level and boasts several top ballet companies (Lee, 301).

The British ballet has not been left behind and the period between 1918 and present day has witnessed several transformations (Lee, 278). In 1930, Ballet Club was founded while the now famous Royal Ballet was established a year later. Through Royal Ballet’s efforts, the world is slowly giving male dancers an added colorful showcase (Lee, 278).

In the USA, the American Ballet company was founded in 1934 which was followed by a first major school that helped to develop the talents of several famous American dancers (Lee, 312). Several companies have since then been created and via formal training and movement, choreographers from US have come up with new style of ballet that depends less on literary plot but more on electronic and modern rock music. The costuming and décor has been greatly simplified.

Works Cited

Lee, Carol Ballet in Western Culture: A History of Its Origins and Evolution. London: Rutledge, 2002.

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IvyPanda . 2018. "History and Development of Ballet." November 6, 2018. https://ivypanda.com/essays/history-and-development-of-ballet/.

1. IvyPanda . "History and Development of Ballet." November 6, 2018. https://ivypanda.com/essays/history-and-development-of-ballet/.

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The History and Evolution of Ballet

Mairead Kennedy

Prof. Ishiguro

Dance as Cultural Knowledge

12 December 2020

Ballet is a style of dance that is so commonly practiced today, however most people are unaware of its origins and its development overtime. In particular, the racial aspects of this dance are rarely discussed, despite how important they really are. Ballet started off as a dance that was extremely exclusive, and went through a lot to become more inclusive. The word ballet originated from the Italian word ballare, which translates to the verb dance in the english language. This is to show that the first ballet dance must have come from Italy. Despite the origin of the word, this dance style has been carried out to take over in many countries. Specifically in France, ballet became popular through the royal court under the rule of both King Henry II and Louis XIV. It was regarded as a dance made for highly respected individuals. Although there was a time when ballet was not allowed in the French court, it still found a way to disperse throughout the world with the help of education and the prominence of dance academies. Now that ballet has a place in various cultures, the difference in the bodies of people who perform this style of dance has made an impact on what the dance itself looks like. Ballet eventually made its way into Harlem, a neighborhood in New York City. This is an area that is recognized as a center for African American culture. Because of the origins of this dance and the meanings behind it, the concept of African Americans taking part seemed quite contradictory. Ballet was tied to ideas of superiority and the distinguishing of aristocracy from other social classes. During the time when the Dance Theatre of Harlem was opening, classical ballet, amongst many other activities, was not at all racially integrated. Ballet was known for exclusivity, which was something that black community in the United States was fighting against. However, the meaning behind this new dance company was to create a space for all people to have the opportunity to take part in the practice of ballet.

When King Henry II married Catherine de Medici, who was from Italy, she introduced ballet to the royal court in France. She was very fond of the dance, so she funded the court performances herself. At this point in time, ballet was not known across the world. This was still a dance that was only practiced by people who had money or were born into royalty. Eventually, the dance became more popular and was performed on stage, rather than just in the royal court. This was a step in the right direction for opening up opportunities for dancers. These stage performances made it much easier for the dance to gain popularity because it was more accessible to the common people. The more that people were exposed to ballet, the more likely it was to be brought to a new area in the world. Later on, when Louis XIV had control over the royal court, it was said that he was a part of bringing the dance into French culture. He was a performer himself, and actually longed to become a professional dancer of this style. It is even explained that “ballet as we know it today began at the precise moment when the Sun King arose, stepped down from his throne, and danced” (Shook 11). This gives some insight into just how important ballet was during this time period. Unfortunately, when Louis XIV was too old to continue his practice, ballet was then banned from the royal court. From this point on, it was up to the dance academies in Europe to pass along the dance style to the rest of the world. Ballet made its way to the United States long after these performances took place in the royal courts of France. This would be where the dance was changed into a more modern style, through the various inputs of different cultures.

The basic movements of ballet have been mostly stable throughout its evolution, yet there are aspects that have changed drastically over the years. It is important to understand that, “Classical ballet, like everything else in the human condition, evolves, and, as it evolves, mutates” (Shook 10). There was no chance that this dance form would stay stagnant in every respect, considering the extent to which is migrated around the globe. An important aspect to analyze would be the costume that the dancers wear during performance. Pointe shoes are now recognized as a part of ballet that distinguished it from all other dance styles. However, it is shocking to find that these shoes were not always worn during performances. Interestingly enough, early on in the development of the dance, ballerinas would actually wear heeled shoes when they performed. Overtime, it became really important for a dancer to show an emphasis of elevation and extension of their legs. This eventually led to the innovation of ballet shoes. At first, “Italian shoemakers developed reinforced pointe shoes with stiff boxes made from newspaper, flour paste and pasteboard” ( Guiheen 2020). This explains that the development of pointe shoes started off as just an idea that was attempted in a simple way. The innovation took a long time to make its way to the pointe shoes that are worn today. It was not until long after that the shoes became a necessary part of the dance itself. This goes to show that the dance was constantly changing to become what it is today. Whether it is in the costume of the dance or the opportunities that the dance presents, it is clear that ballet evolved for a long time with the help of the influence from countries across the world.

Another aspect that continued to change was the movement of the dancers’ bodies. At first, this style was only ever performed by white aristocrats in the royal court. It is easy to imply that these dancers all had similar body shapes and similar ways of moving. Dancers of the same race will tend to have similar anatomy. This is where the concept of the importance of integration of different races and cultures into ballet comes into play. For example, “an arabesque , while remaining just what it is, will look one way on a Russian body, different on an oriental body, or on the black bodies of the dancers of Dance Theatre of Harlem” (Shook 10). The meaning behind this quote is that all dancers will look different depending on the way that their body is shaped, and this tends to correlate with race and cultural origins. The important part to understand is that this should not determine whether or not a dancer is good at a certain dance. It may look different, but skill cannot be determined by the physical makeup of a body. Nowadays, this is likely an idea that most people do not regularly think about. This is because dance is now much more open to allowing all types of people to contribute their practice. However, it is important to realize that discrimination was extremely common in the world of dance, and this was not long ago. The 1900s in the United States was a place that experienced a large amount of racial division. There was “little opportunity for dancers of color to study and flourish in classical ballet”, because this was a dance style that was not open to them at the time (Djassi DaCosta Johnson). It is necessary to realize that without the input of African American dancers into the world of ballet, the dance would not be the same as it is to this day. Although the movements might appear differently when done by different groups of people, it is still ballet, and that is what now makes the dance so beautiful. For this reason, it can be understood that race should not determine whether or not one can be a skilled ballet dancer, or dancer of any style.

There were moments throughout the history of America that altered how society viewed dancers based off of the color of their skin. When looking at dance during the time of Civil Rights Movements, it is clear that there was discrimination specifically against black dancers. When the Dance Theatre of Harlem was founded in 1969 by Arthur Mitchell and Karel Shook, it became a place for all people to experience ballet, despite what they looked like or where they came from. The opening of the theatre was supposedly influenced by the death of Martin Luther King Jr.. During this time, Harlem was filled with violence and civil unrest due to the racism and social divide in the area. This area was not a safe place to be living, especially as a young person being surrounded by violence. Therefore, the Dance Theatre of Harlem was the perfect respite for all people to join and practice dance safely. In regards to Arthur Mitchell, it is noted that, “At the height of the civil rights movement, in a graceful moment of artistic resistance, he created a haven for dancers of all colors who craved training, performance experience and an opportunity to excel in the classical ballet world” (DaCosta Johnson 2020). The importance of this can be understood through just how beneficial it was to the community of Harlem, along with all colored dancers across the country. The development of the theatre was a brilliant idea that opened up a way to break down the segregation of race in the dance world.

Ballet was originally created as a dance to be done by the wealthy and respected people of the royal courts in Italy and France. As the dance was brought around the world, it picked up influences from a variety of cultures. In France, the dance was developed to become more popular outside of the royal courts. In Italy, pointe shoes were created which are now a large part of what makes ballet so unique. As ballet was practiced, there was more and more exposure that led to the dance being practiced across the entire world. Along the way, input from different cultures changed certain aspects of the dance. These influences led to changes in the way that the dancers dressed and moved. Movements became more about skill and less about similarity, as the bodies of the dancers were different in all parts of the world. It was understood that ballet was much more versatile than it was first set out to be. With the creation of the Dance Theatre of Harlem, classical ballet was able to be performed by all people. Opening up a place for all people, specifically black Americans in Harlem, to practice ballet was likely the most important development in ballet when discussing the equality of dancers. This was a huge step forward into ensuring that the color of one’s skin should not hinder opportunities in the dance world.

Works Cited

Djassi DaCosta Johnson, Djassi. “Our History.” Dance Theatre of Harlem , 2020, www.dancetheatreofharlem.org/our-history/.

Guiheen, Julia. The History of Pointe Shoes: The Landmark Moments That Made Ballet’s Signature Shoe What It Is Today . 11 Aug. 2020, www.pointemagazine.com/history-of-pointe-shoes-2646384074.html.

Shook, Karel. Elements of Classical Ballet Technique: As Practiced in the School of the Dance Theatre of Harlem . Dance Books, 1978.

Written by Mairead Kennedy

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Opera, whose name comes from the Italian word for a work, realizes the Baroque ambition of integrating all the arts. Music and drama are the fundamental ingredients, as are the arts of staging and costume design; opera is therefore a visual as well as an audible art. Throughout its history, opera has reflected trends current in the several arts of which it is composed. Developments in architecture and painting have manifested themselves on the operatic stage in the design of sets and costumes for specific performances, and opera has also affected the visual arts beyond the stage in such domains as the design and decoration of opera houses and the portraiture of singers and composers. A feature unique to opera, however, is the power of music, particularly that written for the several registers of the human singing voice, which is arguably the artistic means best suited to the expression of emotion and the portrayal of character.

From the Court to the Public Theater In its origins, opera, like every other type of spectacle, expressed noble prerogatives and was staged in courtly settings. In seventeenth-century Italy, the birthplace of the form, lavish entertainments featuring fireworks and sensational effects as well as instrumental music, singing, dances, and speeches were staged to celebrate princely weddings or to welcome regal guests. Although not operas in the modern sense, these integrated entertainments fostered collaboration among the arts and prompted the theoretical justifications upon which true opera—and ballet , whose early development runs parallel—was built. The Florentine Camerata, a group of composers and dramatists active in Florence around 1600, set out to revive the great traditions of the classical Greek stage , in which music and drama reinforced each other. Toward this end, they developed recitative, a type of sung speech featuring the solo voice and an unadorned vocal line expressive of the text. Early operas, largely based on mythological themes and peopled with noble characters, promoted aristocratic ideals.

Although music and drama were the essential features of opera, visual effects often dominated the court productions of the seventeenth and eighteenth centuries, and the designers of sets and theatrical machinery sometimes received greater acclaim than the composers who wrote the music. The audiences for court performances were part of the spectacle, since the convention of darkening the theater did not yet exist. Magnificently garbed and seated in orderly ranks, the spectators followed the action of the opera, which might last several hours, in a printed libretto, literally “a little book” produced for the occasion. Today the word libretto denotes the text of the opera, the drama that is set to music, but in the days of court opera, librettos were attractively illustrated and therefore involved the talents of draftsmen and engravers , who were also engaged to commemorate the festivities.

Although the spectacular emphasis of court performances continued as opera evolved, musical considerations guided its evolution. It was early noticed that music could express mood, define character, and enliven dramatic situations, sometimes more eloquently than verbal expression alone. Arias for solo voice might express a sentiment both musically and verbally; ensembles, choruses, and orchestral interludes likewise produced effective color. Claudio Monteverdi (1567–1643), who used recitative as well as lyrical solos, madrigals, and instrumental color in operas on a variety of classical themes, is considered the first genius of operatic composition, and his “favola in musica” Orfeo (1607) is often seen as the first true opera. Although Monteverdi spent the early part of his career writing for the dukes of Mantua, his last works were intended for the public opera houses of Venice, the first of which opened in 1637. The public became and still remains the primary audience for the opera, although court productions continued to be devised wherever courts existed.

Opera in the Age of Enlightenment By the end of the eighteenth century, opera was an international phenomenon, and both comic and serious genres flourished in France, England, and the Habsburg empire as well as in Italy, although Italian remained the standard language of the libretto. Decorative objects of the period suggest the popularity of opera outside a court context ( 17.190.1867 ). Painters, such as François Boucher and Antoine Watteau , continued to devise set designs, but focus shifted to the quality of the music, which rose very high. Under composers such as Jean-Philippe Rameau (1683–1764) and Georg Frideric Handel (1685–1759), the orchestra expanded to include woodwind instruments, horns, and drums in addition to the original strings . The castrato soprano voice was frequently given the hero’s part, and castrati were among the greatest stars of the period. The magnificently ornamented music written for such virtuoso singers thrilled audiences but also diminished the dramatic element of opera and provoked calls for reform. These were answered by Christoph Willibald von Gluck (1714–1787), whose Orfeo ed Euridice of 1762 recasts the time-honored operatic story of the artist whose song can thwart death itself.

The reinvigoration of opera at the end of the eighteenth century was assured by Wolfgang Amadeus Mozart (1756–1791), whose music for voices and orchestra is alive with dramatic purpose. In The Marriage of Figaro (1786), for example, exquisite melodies describe and enrich the personalities of the clever servant Figaro, his vivacious fiancée Susanna, the lovelorn Countess, the philandering Count, and the eager teenager Cherubino. The extremely effective libretto for this opera, written by Lorenzo Da Ponte (1749–1838), was based on a contemporary French play by Beaumarchais. Don Giovanni (1787), another collaboration between Mozart and Da Ponte, presents the last days of an unrepentant seducer and culminates in two unforgettable scenes in which the statue of a man whom he has murdered accepts an invitation to dinner and arrives to escort him to hell. Mozart’s last opera, a German comedy called The Magic Flute (1791), takes place in fantastic settings that still inspire experiments in set and costume design; two recent productions at the Metropolitan Opera in New York, for instance, were devised by the artists Marc Chagall and David Hockney.

The Flourishing of Opera in the Nineteenth Century In the nineteenth century, conditions were ripe for broadening the audience for opera and for changes in the form itself. Bourgeois taste displaced court concerns in the selection of dramatic subjects, while composers, singers, and theater impresarios vied for popular success. In France and Italy, broad cultural movements like Romanticism , Orientalism , and Realism manifested themselves in opera as in the visual arts, while the rise of nationalism produced vigorous new operatic traditions in Germany and Russia.

The Romantic movement of the early nineteenth century launched a burst of interest in the irrational, the otherworldly, the exotic, and the historical, all subjects admirably suited to operatic portrayal. For instance, Gaetano Donizetti’s (1797–1848) Lucia di Lammermoor (1835), based on a novel by Sir Walter Scott, includes such themes as ancestral enmity, star-crossed love, and the tragic death of the heroine—which, in this case, is preceded by a vocally demanding expression of madness. Similar concerns were paramount in the contemporary French opera, whose leading composer was the German-born Giacomo Meyerbeer (1791–1864). His Robert le Diable (1831), like the several other successful works that he created for the Paris Opéra, was staged with lavish effects, spectacular sets, choreographed dances, and huge onstage ensembles, that is, with all the hallmarks of French grand opera ( 29.100.552 ). The devil himself is a primary character in another example of the genre, Faust (1859), written by Charles Gounod (1818–1893). Because nineteenth-century operas were often based on earlier stage plays or literary works, Romantic subject matter prevailed in opera long after writers and painters had turned to other concerns. Georges Bizet (1838–1875), for example, based his Carmen (1875) on an early nineteenth-century novella by Prosper Mérimée and, like its source, the opera is full of the Spanish flavor that so appealed to French nineteenth-century audiences. The passion, violence, and impropriety so prominently featured in opera ran contrary to the ideals of contemporary bourgeois society, and artists’ portrayals of spectators, particularly women, watching from the privacy of their boxes suggest the constraints placed upon them as well as the attraction of opera’s cathartic subject matter.

High tragedy dominates the operas composed by Giuseppe Verdi (1813–1901), whose feeling for drama helped him produce wonderfully expressive music for chorus, ensembles, solo voices, and the orchestra. His first public success came with Nabucco (1842), in which a stirring chorus expresses the longing of captives for their homeland. The plots of Verdi’s operas involve moral conflict and powerful emotions: Rigoletto (1851) presents a court jester whose desire for revenge inadvertently leads to his own daughter’s death; Aida (1871) tells the story of an Ethiopian princess in love with an Egyptian general who represents her country’s enemy; Otello (1887), adapted from Shakespeare , concerns the hero’s fatal jealousy, which results in his undoing and the murder of his wife. Verdi’s operas are full of memorable scenarios, and the exotic settings invite set designers to explore the whole history of art. On stage, the triumphal parade in Aida can evoke the grandeur of pharaonic Egypt , and the arrival of the ambassadors in Otello may resemble a Venetian painting brought to life.

Verdi’s contemporary Richard Wagner (1813–1883) took a completely different approach to opera. His ideal was the Gesamtkunstwerk , or total work of art, in which drama, staging, and music would forge a powerful unity. Wagner realized these aims by controlling every aspect of his works, writing his own librettos and supervising set design as well as composing the music. In many ways, Wagner magnified the opera beyond any proportions it had attained before. He scored his works for a large orchestra, requiring herculean voices to complement it, and he raised in his dramas such profound themes as redemption through love and the rapport between humanity and the divine. His largest project, Der Ring des Nibelungen (1853–74), is a sweeping drama in four parts, each one longer than a standard Italian opera. The story of the Ring , based on Germanic mythology, presents many opportunities for visual spectacle, among them the Rhine Maidens swimming under water, the Valkyries riding in on winged horses, Siegfried’s combat with the dragon Fafner, Brünhilde asleep in the midst of magic flames, and the fall of Valhalla itself. Frustrated with the physical limitations of contemporary theaters, Wagner found the means to build a new house to his own specifications at Bayreuth in Bavaria, and here he departed from established convention by darkening the auditorium during performances and covering the orchestra pit so as to focus all attention on the stage.

The culmination of Wagner’s career in Germany coincided with the building of a new opera house in Paris, designed by Charles Garnier and opened in 1875. The prominent position of the Opéra within the new system of boulevards devised by Baron Haussmann during the Second Empire demonstrates the social importance of opera at the time, while the lavish ornament of the building makes it seem at once a temple and a palace. Among the artists involved in decorating the Opéra were Albert-Ernest Carrier-Belleuse, who designed bronze figures carrying candelabra for the grand staircase, and Jean-Baptiste Carpeaux , who contributed an animated marble group for the facade ( 11.10 ).

By the late nineteenth century, opera was viewed as the ultimate art form, suitable for portraying the grandest aspirations not only of heroic men and women but also of peoples and nations. The celebrated Russian opera Boris Godunov (1874), written by Modest Mussorgsky (1839–1881), dramatizes a stormy period in Russian history and gives special emphasis to the chorus of common people that crowd around the glittering world of the czar. Although Catherine the Great promoted Italian opera and even wrote some of her own librettos, Russian opera was largely an invention of the nineteenth century, a sign of social ferment as well as rising nationalism. The vigorous Russian literature of the period furnished rich material for such operas as Pyotr Tchaikovsky’s (1840–1893) Eugene Onegin (1879), based (like Boris Godunov ) on a work by Aleksandr Pushkin. Sergei Prokofiev’s (1891–1953) War and Peace and The Gambler were based on works by Tolstoy and Dostoevsky, respectively.

Although the great operatic composers devoted much of their attention to subjects tragic, awesome, or macabre, they also produced comic operas that are still staged and loved. Mozart’s operas contain much that is humorous, both musically and visually. Verdi scored a colossal failure with an early comic opera but ended his career with Falstaff (1893), based on the antics of the jolly Shakespearean knight. The comic operas of Gioacchino Rossini (1792–1868), such as The Barber of Seville (1816), are rife with tunes that brilliantly express fast-paced intrigue in hilarious situations. Even Wagner composed one masterpiece, Die Meistersinger von Nürnberg (1868), with a happy ending and a number of comic features. The setting is sixteenth-century Nuremberg, and the action revolves around a group of craftsmen-singers, foremost among them the shoemaker-poet Hans Sachs. The discussion of art that runs throughout the opera applies specifically to music but may also be extended to other genres; the artist Albrecht Dürer , presumably alive among the characters, is mentioned in the opera.

Opera and the Kinship of the Arts On occasion, the opera has magnified the lives of artists actual and fictional as well as the heroics of warriors, princes, and revolutionaries. The flamboyant sixteenth-century artist Benvenuto Cellini provided material for the eponymous opera (1838) by Hector Berlioz (1803–1869), which culminates in the casting of a bronze statue on stage. More recently, Paul Hindemith (1895–1963) wrote an opera, Mathis der Maler (1938), about the German Renaissance artist Matthias Grünewald, and Igor Stravinsky (1882–1971) composed a chamber opera, The Rake’s Progress (1951), inspired by the well-known cycle of satirical prints—and their painted prototypes—by William Hogarth. Artists are among the characters in two of Giacomo Puccini’s (1858–1924) most popular works: Cavaradossi, the leading man in Tosca (1900), is a painter, as is the sympathetic Marcello, companion to the poet Rodolfo, the tragic hero of La Bohème (1898).

Finally, portraits of singers demonstrate the complementary histories of art and opera. Andrea Sacchi’s portrait of Marcantonio Pasqualini (1614–1691) represents the castrato in a classical landscape that evokes the pastoral subjects of much seventeenth-century opera ( 1981.317 ). In a painting by François Hubert Drouais, the eighteenth-century singer Madame Charles Simon Favart (1727–1772) appears in fashionable attire rather than stage costume ( 17.120.210 ), but later portraits capture operatic characters as well as the singers who portrayed them. Gustave Courbet painted the Paris Opéra tenor Louis Gueymard (1822–1880) in the role of Robert, the complicated hero of Meyerbeer’s Robert le Diable ( 19.84 ), and Augustus Saint-Gaudens portrayed the soprano Eva Rohr in the costume of Marguerite from Gounod’s Faust ( 1990.317 ). Édouard Manet’s several portraits of the baritone Jean-Baptiste Faure (1830–1914) capture the singer’s piercing eyes and expressive face, which gave credibility to his portrayals of Mephistopheles and Hamlet ( 59.129 ).

Sorabella, Jean. “The Opera.” In Heilbrunn Timeline of Art History . New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/opra/hd_opra.htm (October 2004)

Additional Essays by Jean Sorabella

Sorabella, Jean. “ Pilgrimage in Medieval Europe .” (April 2011)
Sorabella, Jean. “ Portraiture in Renaissance and Baroque Europe .” (August 2007)
Sorabella, Jean. “ Venetian Color and Florentine Design .” (October 2002)
Sorabella, Jean. “ Art of the Roman Provinces, 1–500 A.D. .” (May 2010)
Sorabella, Jean. “ The Nude in Baroque and Later Art .” (January 2008)
Sorabella, Jean. “ The Nude in the Middle Ages and the Renaissance .” (January 2008)
Sorabella, Jean. “ The Nude in Western Art and Its Beginnings in Antiquity .” (January 2008)
Sorabella, Jean. “ Monasticism in Western Medieval Europe .” (originally published October 2001, last revised March 2013)
Sorabella, Jean. “ Interior Design in England, 1600–1800 .” (October 2003)
Sorabella, Jean. “ The Vikings (780–1100) .” (October 2002)
Sorabella, Jean. “ Painting the Life of Christ in Medieval and Renaissance Italy .” (June 2008)
Sorabella, Jean. “ The Birth and Infancy of Christ in Italian Painting .” (June 2008)
Sorabella, Jean. “ The Crucifixion and Passion of Christ in Italian Painting .” (June 2008)
Sorabella, Jean. “ Carolingian Art .” (December 2008)
Sorabella, Jean. “ Ottonian Art .” (September 2008)
Sorabella, Jean. “ The Ballet .” (October 2004)
Sorabella, Jean. “ Baroque Rome .” (October 2003)
Sorabella, Jean. “ The Grand Tour .” (October 2003)

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Stanford dance scholar examines how ballet challenged the Soviet regime

Through a study of one of the most innovative choreographers in russian history, stanford professor janice ross discovers how ballet served as a vehicle for political protest in the ussr..

From the royal courts of the Renaissance to modern-day theatres, classical ballet performances have continually delighted audiences.

But in 20th-century Soviet Russia, ballet took on another role, that of a powerful vehicle for political resistance and reform.

Through a study of Russian choreographer Leonid Yakobson (1904-1975), Janice Ross , a professor of theater and performance studies at Stanford, has discovered how Soviet ballet became a deeply politicized art form.

During some of the most repressive decades of Russian history, many of Yakobson’s ballets “celebrated re-invention and self-authorship – the freedom of the individual voice, as subject, practice and medium,” Ross said.

Yakobson, Ross said, “viewed ballet as a vital medium of national identification, important in shaping the contours of Soviet cultural life.”

Drawing from hitherto untapped source materials, Ross found that Yakobson’s productions alternately accommodated and challenged ideas endorsed by the Soviet regime.

The focus of Ross’ current book project, Yakobson created avant-garde ballets that favored idiosyncratic individuals and marginal identity over utopian societies and socialist realism.

Spartacus , which is about a slave who leads an uprising against the Romans, is one of Yakobson’s most enduring ballets. Originally choreographed for the Kirov in 1956, he restaged it for the Bolshoi’s 1962 American tour where it generated diverse political reactions, with Soviets embracing Spartacus as an emblem of Soviet heroism, while Leftist Americans rallied around the Kirk Douglas Spartacus film of the time as a vehicle for defying communism.

Ross offers an alternative reading from Yakobson’s perspective: “One of the subversive, radical things in Spartacus . . . is that he makes it a very intimate, personal tale. At the core of it is a tragic love story about loss and longing.”

A scholar of dance history, Ross first came across Yakobson’s name in scattered references from defecting Russian dancers such as Mikhail Baryshnikov and Natalia Makarova, who praised his artistic innovation.

In 2004 and again in 2012, Ross visited St. Petersburg and Moscow, where she explored Russian archival collections, many of which were not yet indexed or catalogued. She also interviewed many of Yakobson’s former dancers and those who had seen his productions, many of whom had immigrated to Israel following the dissolution of the Soviet Union.

The key to understanding Yakobson’s personal and professional life was Irina Yakobson, his widow, who gave Ross extant films, photographs, and writings pertaining to her husband’s work. Ross recently donated these items to Stanford University Libraries, which now holds the world’s largest archival collection of film footage and photographs of Yakobson’s ballets.

Performing on a political stage

Yakobson’s appreciation of ballet as a political vehicle was deeply rooted in Russian history. In Russia, ballet’s political aura harkens back to the czars, who first subsidized and institutionalized ballet. Russian ballet cultivated a style that accentuated the disciplined, synchronized movements of a large group of dancers, or corps de ballet . For Ross, this regimented physicality presents to viewers the Russian body politic as an idealized, “many as one” vision of society.

Despite being a product of the imperial age, ballet became an important political tool for the Bolsheviks in the early 20th century. For Vladimir Lenin and his confidants, ballet and cinema comprised the two most important art forms for furthering the revolution. Since dance is nonverbal, it could convey revolutionary messages to the masses more effectively than the written word.

For instance, Tchaikovsky’s ballet Swan Lake premiered in 1895, but, as Ross explains, it later mobilized a decidedly Soviet message: “Within that feminized exterior, is the disciplined body of the military corps, of the army corps. And it’s about order and cohesion and obedience. It’s this sort of imagined community. It’s where nationalism gets performed, again and again.”

Yakobson, Ross recounts, “comes of age through this great, glorious flowering of Russian art in the early part of the 20th century. And he’s there for its being closed down.”

As a young choreographer, Yakobson tried to adapt ballet to Soviet ideals. In the 1920s, he wrote about the need to renovate classical ballet, suggesting that the incorporation of acrobatic and gymnastic movements could help popularize the art form.

Yakobson’s essay “The New Ballet Association,” a dance manifesto of sorts, proclaimed that classical ballet had festered in “artistic stagnation” and “anti-creative quagmire.” Instead, he argued, ballet should modernize to communicate revolutionary thoughts.

But Yakobson was ahead of his time. “A lot of those early experiments fell by the wayside,” Ross says, and comprised “the first acts of censorship against him.”

In his first major ballet, The Golden Age (1930), Yakobson wedded wildly innovative movement to an anti-capitalist statement. Ironically, revolutionaries interpreted this ballet as reveling in the aristocratic decadence it allegedly denounced. Suspecting that Yakobson was nostalgic for the old regime, The Golden Age was promptly censored. This infamous debut colored his entire career.

Dancing on the edge

Growing increasingly skeptical of the revolutionary project, Yakobson struggled to maintain a safe balance between artistic freedom and state censorship. He gravitated toward abstract ballets, a sharp departure from the driving narratives of Soviet ballets.

In contrast to Swan Lake ‘s elaborate ensemble work, Yakobson did not choreograph corps de ballet pieces. Instead, he explored how dance could construct a story of the individual and, contrary to the Soviet scheme, the story could end in defeat.

Yakobson’s later works forged new possibilities of movement by incorporating Jewish themes.

Although Yakobson refrained from broadcasting his own Jewish identity in public, Ross has identified gestures and bodily caricatures in Yakobson’s work deriving from the Moscow State Yiddish Theater.

In Vestris (1969), a solo dance commissioned by Baryshnikov, Yakobson employed broken, tragic and aged gestures that typified oppressed Jews. One year later, Yakobson took a greater risk in Jewish Wedding (later renamed Wedding Cortège ). During a rehearsal of this ballet, the oversight committee (made up of Communist Party officials) objected to a crawling scene danced by the poor suitor of the bride. The committee ordered Yakobson to omit this movement, on the grounds that Soviet citizens do not crawl on their knees.

Interestingly, Yakobson’s struggle to create modernist, counter-cultural works revealed an interdependent relationship between himself and the regime.

In Ross’ analysis, the making of ballet in the Soviet Union had affordances and constraints. Ballet was valued and privileged as a tool for conveying critical meanings and manufacturing the idealized Russian body. “Ballet gave the artist a certain status. It was worth the struggle because this was such a valued arena. And so they needed Yakobson as well,” Ross said.

Contemporary Russian and American dancers continue to restage and perform Yakobson’s ballets. As Ross put it, they remember Yakobson not only for highlighting prohibited cultural identities and resisting propagandistic agendas, but also as an artist who “paved the way toward a flowering of new dance in the post-Soviet 1990s.”

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Collection Ballets Russes de Serge Diaghilev

Timeline of ballets russes.

Italian dancer, choreographer, and teacher Enrico Cecchetti is born on 21 June in Rome (d.1928). Cecchetti debuted at the Maryinsky Theatre in 1887, where he worked until 1902. Cecchetti joined the Ballets Russes in 1910 as a teacher and administrator, where he remained-except for a brief tour of the United States with Anna Pavlova in 1913-until 1918. While part of the Ballets Russes, he created roles in Schéhérazade, Petrouchka, The Firebird, Le Coq d'or, Les Femmes de Bonne Humeur, La Boutique Fantasque , and Pulcinella .

French historian, art historian, and poet Pierre de Nolhac is born on 15 December in Ambert (d.1936).

German musicologist and writer Louis Schneider is born (d.1934)

Prominent French Impressionist composer Claude Debussy (Achille-Claude Debussy, d.1918) is born on 22 August in Saint-Germain-en-Laye. In 1912 Debussy agreed to allow Diaghilev to use his Prélude à L'Après-midi d'un Faune (1893) for Vaslav Nijinsky's first choreography for the Ballets Russes. In 1913, Debussy was commissioned to compose the music for Nijinsky's second ballet, Jeux .

Aleksandr Golovin (Aleksandr Iakovlevich Golovin, d. 1930) is born on 2 [14] November in Moscow. Golovin designed the sets for Diaghilev's Paris 1908 production of Boris Godunov and collaborated with Nikolai Roerich on the opera Ivan the Terrible (1909). In 1910, he designed the sets and costumes for The Firebird (although Diaghilev later asked Léon Bakst to redesign three of the costumes). Golovin designed the costumes and collaborated with designer Konstantin Korovin on the sets for Diaghilev's 1911 production of Swan Lake .

Russian scenery and costume designer for the Ballets Russes Léon Bakst (Lev Samoilovich Rosenberg; d. 1924) is born on 27 April in Grodno. Bakst becomes one of the principal members of Diaghilev's original circle of artists, writers, and musicians, designing the scenery and/or costumes for nineteen Ballets Russes productions-more than any other artist.

French artist Henri Matisse (Henri-Emile-Benôit Matisse, d. 1954) is born in Le Cateau-Cambrésis. In 1920, Matisse created the décor for Massine's Le Chant du Rossignol , which was rechoreographed in 1925 by George Balanchine.

Russian-French painter and scenery and costume designer Alexandre Benois is born on 4 May in Saint Petersburg (Aleksandr Nikolaevich Benua, d. 1960). Benois created designs for seven productions by Serge Diaghilev and staged the 1924 opera Philémon et Baucis .

Amateur musician and life-long friend of Diaghilev, Walter Nouvel (Walter Feodorovich Nouvel, d.1949) is born. Nouvel was music critic for Diaghilev's Mir iskusstva and secretary to the Ballets Russes.

Serge Diaghilev (Sergei Pavlovich Diaghilev) is born 19 [31] March in Selishchev Barraks, Novgorod Province Russia (d.1929). The Ballets Russes de Serge Diaghilev erupted onto the cultural scene of Paris in 1909. For the next twenty years, the company cultivated an extraordinary group of emerging artists, composers, and choreographers, who collaborated to produce the first great ballet classics of the twentieth century. By pioneering innovations in choreographic practices, scene and costume design, and in the very concept of ballet music itself, the Ballets Russes expanded the dramatic and emotional potential of ballet. Some of the Ballets Russes's vanguard works that are still performed today include Les Sylphides, The Firebird, Petrouchka, L'Après-midi d'un Faune, Parade, Les Noces, Les Biches, Apollo , and Prodigal Son . The man behind this achievement was the Russian impresario and entrepreneur Serge Diaghilev, who had the wisdom, limitless imagination, shrewdness, and most importantly, the ruthlessness required to nourish an artistic enterprise that revolutionized the course of art, music, and dance. [See also, the operas and ballets produced by Diaghilev]

Matilda Kshessinska (Matil'da-Mariia Feliksovna Kshesinskaia, d.1971) is born at Ligovo, near Saint Petersburg. Generally accepted as the last great Russian ballerina of the imperial age, she danced with Diaghilev's Ballets Russes during the 1911/12 season and appeared in London, Monte Carlo, Vienna, and Budapest.

Fedor Chaliapin (Fedor Ivanovich Chaliapin, d.1938) is born in Kazan, Russia. Chaliapin joined the opera company at the Maryinsky Theatre in 1995 and by 1899 was also engaged at the Bolshoi Theatre in Moscow.

Dancer Vera Trefilova (Vera Aleksandrovna Trefilova, d.1943) is born on 8 October in Saint Petersburg. Trefilova joined the Ballets Russes in 1921 to dance in The Sleeping Princess . She remained with the company until 1926.

French poet and literary critic Fernand Gregh (d.1960) is born in Paris.

French writer Henry Bidou (d.1943) is born.

French music critic Robert Brussel (d.1940) is born.

English critic and expert on Russian composers Edwin Evans (d. 1945) is born in London.

Louis Laloy (d. 1944), French music critic and authority on Debussy, Ravel, and Stravinsky, is born.

French composer Henri Février (d. 1957) is born.

Seraphina Astafieva (Serafina Aleksandrovna Astaf'eva, d.1934) is born in Saint Petersburg, Russia. Astafieva danced with the Ballets Russes from 1909-1911. She opened a ballet school in London, where she taught famed British dancers Alicia Markova, Anton Dolin, and Margot Fonteyn.

French music critic, composer, and musicologist Jean Poueigh is born on 24 February in Toulouse (d.1958).

Russian dancer Ekaterina Geltser (Ekaterina Vasil'evna Geltser, d.1962) is born. She danced in Paris with Diaghilev's Ballets Russes in 1910.

Spanish composer Manuel de Falla is born on 23 November in Cádiz (d.1946). In 1917 De Falla composes one ballet for the Ballets Russes, Le Tricorne .

French writer Jules Bertaut (d. 1959) is born.

French writer Albert Flament is born (date of death unknown).

Sophia Fedorova (Sof'ia Vasil'evna Fedorova, d.1963) is born in Russia. Fedorova joined the Ballets Russes in 1909 and performed regularly with the company until 1913. Thereafter, she appeared from time-to-time with the Ballets Russes, making her last performance in 1928. Fedorova's repertory included roles in "Polovtisian Dances" from the opera Prince Igor; Cléopâtre , and Schéhérazade .

Artist Léopold Survage is born in Vilmanstrad, Finland (d.1968). Survage trained in Moscow and moved to Paris in 1908. His single contribution to the Ballets Russes was the set and costume designs and curtain for Stravinsky's opera Mavra .

Russian dancer and choreographer, Michel Fokine is born on 23 April [15 May] in Saint Petersburg, Russia (Mikhail Mikhailovich Fokin, d.1942). Fokine's L'Pavillon d'Armide was the opening ballet for Diaghilev's first Paris season in 1909. Fokine becomes the principal choreographer of the Ballets Russes when Diaghilev launches a permanent company in 1911. By producing more than twenty works for Diaghilev between 1909-1912 and 1914-1915, Fokine's choreographies established the base for the repertory of the Ballets Russes until it dissolved in 1929.

Russian ballet dancer and teacher, Lubov Egorova (Liubov' Nikolaevna Egorova, d. 1972) is born in Saint Petersburg.

French poet, writer, and art critic Guillaume Apollinaire (Wilhelm Albert Wlodzimierz Apolinalry Kostrowick, d. 1918) is born on 26 August.

Russian dancer and choreographer, Mikhail Mordkin (Mikhail Mikhailovich Mordkin, d. 1944) is born on 21 December [2 January 1881 old style] in Moscow. Mordkin joined Diaghilev for the first Paris season in 1909 where he danced in Le Pavillon d'Armide .

French artist André Derain is born on 10 June in Chatou, Yuelines, Île-de-France (d.1954). Derain created the sets, costumes, and curtain for the Ballets Russes productions of Le Boutique Fantasque (1919) and the sets and costumes for Jack-in-the-Box (1926).

Russian dancer Anna Pavlova (Anna Matveevna [later changed to Pavlovna] Pavlova, d.1931) is born on 31 January [12 February old style] in Saint Petersburg. Diaghilev invited Pavlova to appear with his enterprise in Paris in 1909 and she danced in Les Sylphides and Cléopâtra . She performed only once more with the Ballets Russes, during their 1911 London engagement. Partnered by Vaslav Nijinsky, she danced in Giselle; Le Pavillon d'Armide; Cléopâtra; Le Carnaval; L'Oiseau d'Or ; and in Petipa's Bluebird pas de deux from The Sleeping Beauty .

Mikhail Larionov (Mikhail Fedorovich Larionov, d. 1964) is born in Tiraspol, Bessarabia. Larionov, a Russian-French scenery and costume designer, collaborated with Diaghilev on five productions, including sets and costumes for Soleil de Nuit (1915); Kikimora (1916); and Le Renard (1922) and sets, costumes and curtain for Contes Russes (1917) and Chout (1921). His lifelong companion was the Russian artist Natalia Goncharova.

Spanish painter and set and costume designer, Pablo Picasso (Pablo Ruiz Picasso de Blasco, d.1973) is born in Málaga. His success and development as an artist is directly related to his work for Diaghilev's Ballets Russes. Between 1917 and 1927 he designed the sets and costumes for Parade (1917); Cuadro Flamenco (1921); and Mercure (1927); the sets, costumes, and curtain for Le Tricorne (1919); and Pulcinella (1920); and the curtain for Le Train Bleu (1924).

Natalia Goncharova (Natalia Sergeevna Goncharova, d.1962) is born on 4 June in Ladyzhino, Russia. One of the most important Russian women artists of the twentieth century, Goncharova designed the sets and costumes for Diaghilev's productions of Le Coq d'Or (1904); Les Noces (1923); and Night on Bare Mountain (1924). She also designed costumes for the ballet Contes Russes (1917). She collaborated with Alexandre Benois on the designs for Aurora's Wedding (1922) and Goncharova was responsible for designing the 1926 revival of The Firebird . Her lifelong companion was the Russian-French artist Mikhail Larionov.

Russian music critic, writer, and musicologist Boris de Schloezer is born (d.1969). Schloezer often wrote on the music of the Ballets Russes and was the author of books on composers Alexandre Scriabin and Igor Stravinsky.

French writer and dance critic Maurice Brillant is born (d.1953).

French illustrator George Barbier is born on 10 October in Nantes. One of Barbier's best-known works is Designs on the Dances of Vaslav Nijinsky with a foreward by Francis de Miomandre, and translated from the French by C.W. Beaumont, London, 1913.

Georges Braque is born on 18 May in Argenteuil, Val-d'Oise, France (d.1963). The famed artist designed two ballets for Diaghilev: the costumes, sets, and curtain for Les Fâcheux (1924) and the costumes and sets for Zéphire et Flore (1925).

Igor Stravinsky (Igor' Fedorovich Stravinskii, d.1971) is born in Oranienbaum, Russia. One of the most important composers of the twentieth century and a significant composer of ballet music, Diaghilev commissioned orchestrations from Stravinsky for the 1909 Paris season. Stravinsky's first composition for the Ballets Russes was The Firebird (1910), a work that inaugurated Stravinsky's international career. Other ballets, operas, and other compositions produced for Serge Diaghilev by Stravinsky included Petrouchka (1911); Le Sacre du Printemps (1913); Le Rossignol (1914; the work was staged as a ballet in 1920 under the name Le Chant du Rossignol ); Feu d'Artifice (1917); Le Renard (1922); Mavra (1922); Les Noces (1923); Oedipus Rex (1927); and Apollon Musagète (1928). Writer David Hamilton noted that Stravinsky "was widely recognized as the last representative of a long tradition of great composers of international stature."

Serge Grigoriev, rehearsal director for the Ballets Russes from 1909-1929, is born on 5 October in Tichvin, Russia (Sergei Leonidovich Grigor'ev, d. 1968). In 1909 Diaghilev engaged Grigoriev as a business manager and rehearsal director for the first Paris season. Grigoriev was a dancer with the company and created roles in Schéhérazade, Le Coq d'or , and La Boutique Fantasque . Grigoriev's notebooks and scrapbooks provide some of the best available documentation of this period. His memoirs, The Diaghilev Ballet 1909-1929 , were translated into English and published in 1953. Grigoriev was married to Ballets Russes dancer and ballet mistress, Lubov Tchernicheva. After Diaghilev's death in 1929, Grigoriev joined Col. W. de Basil's Ballets Russes de Monte Carlo, where he was employed as ballet master until 1948. Grigoriev's memoirs, which cover this era, have neither been translated nor published and are available on this website for the first time.

Ernest Ansermet, conductor for the Orchestre des Ballets Russes, is born on 11 November 1883 (d. 1969) in Vevey, Switzerland. Ansermet conducts the company's orchestra for the first time in December 1915 in a performance of Léonide Massine's ballet Le Soleil de Nuit . In 1916, he accompanies the company on its South American tour. Ansermet conducts the first performances of the ballets Pulcinella, Parade, Le Tricone , and Chout .

Maurice Utrillo (Maurice Valadon, d.1955) is born on 26 December in Paris. Utrillo created the sets and costumes for the ballet Barabau (1925).

Noted French writer and critic Fernand Divoire is born.

French painter, journalist, translator, and artistic consultant to Serge Diaghilev (1913-1929), Michel Georges-Michel is born in Paris (Georges Dreyfus, d.1985).

Russian dancer, actress, producer, and impresario Ida Rubinstein (Lidiia L'vovna Rubinstein, d.1960) is born in Kharkov. Rubinstein studied with Michel Fokine who choreographed the dances she planned to use for an independent production of Oscar Wilde's play, Salomé . Although the project did not come to fruition, Rubinstein did dance her version of the "Dance of the Seven Veils" at a performance in the Petersburg Conservatory. Serge Diaghilev was in attendance and contracted her to perform in the title role of Cléopâtre for his premiere Paris season in 1909. Her last performances with the Ballets Russes took place in 1910, when she appeared in Schéhérazade with Vaslav Nijinsky.

Russian-American dancer, teacher, and choreographer Adolph Bolm (Adol'f Rudol'fovich Bolm, d. 1951) in Saint Petersburg. Bolm joined the Ballets Russes in 1909 and was one of the company's prominent dancers until he resigned in 1917. He created roles in "Polovtsian Dances" from Prince Igor; Le Carnaval; The Firebird; Petrouchka; Daphnis et Chloë; and Thamar .

Music critic and writer W.J. Turner (Walter James Redfern Turner, d. 1946) was born on 13 October in Melbourne, Australia.

One of the most respected ballerinas of Diaghilev's Ballets Russes and famed interpreter of Michel Fokine's choreography, Tamara Karsavina (Tamara Platonovna Karsavina, d.1978) is born in Saint Petersburg. She created roles in The Firebird; Jeux; Le Tricorne; Pulcinella; Petrouchka; Thamar; Le Coq d'Or; Schéhérazade; Le Spectre de la Rose ; and Romeo and Juliet . Karsavina's Ballets Russes repertory also included Les Sylphides; Cléopâtre ; and Le Carnaval .

Artist Marie Laurencien is born (d.1956). Laurencien created the sets, costumes, and curtain for the ballet Les Biches (1926).

Constructionist sculptor Antoine Pevsner is born on 18 January (d.1962) in Orel, Russia. Along with his brother Naum Gabo, he designed the set and costumes for Diaghilev's production of the ballet La Chatte (1926).

American music critic Olin Downes is born on 27 January.

Vera Fokina (Vera Antonova, d.1958) is born in Russia. In 1905, Fokina married the well-known dancer/choreographer Michel Fokine. Fokina danced in many of her husband's ballets and created roles in Ballets Russes productions of Le Carnaval and The Firebird .

English composer, writer, and founder of the International Folk-Song and Folk-Lore Society Julia Chatterton is born (d.1936).

French musicologist and patron of contemporary art in all forms Henri Prunières is born on 24 May (d.1942).

Russian ballet and literary critic André Levinson (Andrei Iakovlevich Levinson, d. 1933) is born on 1 January in Saint Petersburg. Levinson published a considerable amount of dance criticism related to Diaghilev and his organization-much of it criticized what Levinson felt was Diaghilev's heavy emphasis on costumes, set designs, and music, rather than the dance.

Spanish painter and sculptor Juan Gris (José Victoriano González-Pérez, d.1927) is born on May 23 in Madrid. Gris provides costumes for the ballet The Gods Go A-Begging (1928) and the sets and costumes for the ballet Les Tentations de la Bergère (1924) and the opera Une Éducation Manquée (1924). Gris also creates the sets for a 1923 divertissement that was arranged by Diaghilev and performed in the Hall of Mirrors, Palace of Versailles.

English theater critic and manager, lyricist, and writer Herbert Farjeon (d.1945) is born.

Polish-British dancer, teacher, and company director Marie Rambert (Cyvia Rambam; Myriam Ramberg/Rambach, d.1982) is born in Warsaw on February 20. Rambert was an assistant teacher at Émile Jaques-Dalcroze's school in Dresden when she was discovered by Diaghilev. Diaghilev was looking for somebody to assist Nijinsky with the rhythms for his choreography in Igor Stravinsky's work, Le Sacre du Printemps . As well as assisting Nijinsky, she also danced in the Ballets Russes corps de ballet in works such as Schéhérazade and traveled to South America with the company in 1913.

Dancer Ludmilla Schollar (Liudmila Frantsevna Shollar, d.1978) is born on 15 March in Saint Petersburg, Russia. Schollar joined the Ballets Russes in 1909 and created roles in a number of Michel Fokine's ballets including Le Carnaval (1910); Schéhérazade (1910); Petrouchka (1911); and Jeux (1913). She returned to Saint Petersburg during World War I and rejoined the Ballets Russes in 1921, where she performed in The Sleeping Princess . She was dismissed from the company in 1925 as a result of a labor dispute.

Giorgio de Chirico is born on 10 July in Volos, Greece (d.1978). The noted artist designed the costumes and sets for Le Bal (1929).

French dancer and teacher Nicholas Zvereff is born in Moscow, Russia (d. 1965).

Ballets Russes librettist Jean Cocteau (d. 1963) is born on 5 July in Maisons-Lafitte, France. Between 1912 and 1927, Cocteau provides libretti or scenarios for the ballets Le Dieu Bleu, Parade, Le Train Bleu , and the opera Oedipus Rex .

Vaslav Nijinsky (Vatslav Fomich Nizhinskii, [1890?], d. 1950) is born on 12 March in Kiev, Ukraine. One of the most significant dance celebrities of the twentieth century, Nijinsky joins the Ballets Russes in 1909 and soon establishes himself an international star. Among the many artists associated with the Ballets Russes, only Nijinsky becomes a celebrity and a legend. As a dancer, he was admired for his outstanding ballet technique and dramatic onstage presence. As a choreographer, he created ground-breaking works for the Ballets Russes, including L'Après-Midi d'un Faune, Le Sacre de Printemps, Jeux , and Till Eulenspeigel .

American writer, editor, and arts promoter Arthur Harold Moss is born in New York City (d.1969).

French journalist and music critic Dominique Sordet is born (d.1945).

Diaghilev completes his secondary studies at the Perm gymnasium and makes his first trip to Europe.

Lubov Tchernicheva, Ballets Russes dancer, is born on 17 September (Liubov' Pavlovna Chernyshova, d.1976). Tchernicheva joins the Ballets Russes with her husband, Serge Grigoriev, in 1911. As a dancer whose repertory included more than twenty Ballets Russes works, in 1926 she took on the additional role of Ballet Mistress.

Constructionist sculptor Naum Gabo (Naum Neemia Pevsner, d. 1977) was born on 5 August in Bryansk, Russian. Along with his brother Antoine Persner, he designed the set and costumes for Diaghilev's production of the ballet La Chatte (1926).

Bronislava Nijinska (Bronislava Fominichna Nizhinskaia, d. 1972) is born on 8 January [27 December 1890] in Minsk Russia. She becomes one of the most remarkable figures in the development of twentieth-century choreography. Nijinska's work reflected a pioneering combination of classical ballet and choreographic innovation. She was the sister of Vaslav Nijinsky and joined the Ballets Russes as a dancer in 1909 and made principal dancer the next year. From 1921-1924, Nijinska was ballet mistress and chief choreographer for Diaghilev's Ballets Russes. During this period she choreographed nine ballets and numerous operas.

Artist Max Ernst (d.1976) is born in Brühl, Germany on 2 April. He creates the curtain for Romeo and Juliet (1926).

Russian-English ballet dancer and actress Lydia Lopokova (Lidiia Vasil'evna Lopukhova, d.1981) is born on 21 [9] October in Saint Petersburg. She joined Diaghilev's Ballets Russes in 1910 and received acclaim for her work in Le Carnaval and The Firebird , roles that she took on as Tamara Karsavina's substitute. Soon after, Lopokova left the Ballets Russes but returned in 1916, becoming its star ballerina. Except for a short period when she appeared on Broadway, she remained with Diaghilev until 1922. After 1922 she made guest appearances with the company.

Olga Khokhlova (Olga Stepanovna Khokhlova, d.1954) is born in Nizhyn, Ukraine. Because her father had connections that Diaghilev desired, Khokhlova had a short career as a dancer in the Ballets Russes. Not particularly respected as a dancer, she is known as the wife of Pablo Picasso, who met her while he was designing the ballet Parade .

Romola de Pulszky is born in Hungary (d.1978). As a teenager, de Pulszky saw Vaslav Nijinsky dance in Les Sylphides and was so enamored that she used her family's connections to convince Serge Diaghilev to let her travel as a ballet student with the Ballets Russes in 1913. Nijinsky and de Pulszky were married on 10 September 1913 in Buenos Aires, resulting in Nijinsky's dismissal from the Ballets Russes.

Musicologist, conductor, pianist, and critic Paul Collaer is born in Boon, Belgium (d.1989). Collaer wrote on numerous composers, including Johann Sebastian Bach, Darius Milhaud, and Béla Bartók.

French writer, music critic and editor, and editor of the prestigious La Revue musicale, Andre Coeuroy is born (date of death unavailable).

Catalan artist Joan Miró is born on 20 April in Barcelona (d.1983). Miró collaborated with Max Ernst to create the sets, costumes, and curtain for Romeo and Juliet (1926).

Polish dancer Stanislas Idzikowski (Stanislaw Idzikowski, d.1977) is born in Warsaw. He joined the Ballets Russes in 1914 and, except for a brief period, remained with Diaghilev until 1929. In addition to taking over a number of Vaslav Nijinsky's roles, Idzikowski created roles in Les Femmes de Bonne Humeur (1917); Contes Russes (1917); La Boutique Fantasque (1919); Le Tricorne (1919); Pulcinella (1920); The Sleeping Princess (1921); and Jack-in-the-Box (1926).

English writer A. Williams-Ellis (Annabel Williams-Ellis, d. 1978) is born.

Diaghilev publishes his first art criticism.

One of the first English dancers to work for Diaghilev, Lydia Sokolova (Hilda Munings, d.1974) is born on 4 March in Warstead, England. Sokolova performed with the Ballets Russes 1913-1922; 1923-1929. She created roles in Till Eulenspiegel (1916); Le Boutique Fantasque (1919); Le Tricorne (1919); Le Chant du Rossignol (1920 Massine version); Le Sacre du Printemps (Massine’s 1920 version); Le Biches and Le Train Bleu (both 1924); Romeo and Juliet (1926); and Le Bal (1929). Sokolova wrote about her years with the Ballets Russes in Memoirs Dancing for Diaghilev , edited by Richard Buckle (1960).

Russian dancer and teacher Felia Doubrovska (Felitsata Leont'evna Dluzhenevskaia, d. 1981) is born on 13 February in Saint Petersburg. Having fled Russia in 1920, except for the 1926-1927 season, she was a principal dancer with the Ballets Russes until 1929, creating roles in Les Noces, Apollon Musagète , and The Prodigal Son .

Dancer and choreographer Léonide Massine (Leonid Fedorovich Miasin; died in 1979) is born on 3 August in Moscow. Massine joined the Ballets Russes in 1914 as a dancer and was its chief choreographer from 1915-1920 Masssine continued the experiments in movement initiated by Michel Fokine but integrated character and ethnic influences into his choreographies, resulting in highly dramatic ballets. Some of his most notable choreographic works include Contes Russes, Parade, Le Tricorne, Pulcinella , and La Boutique Fantasque .

Anatole Vilzak (Anatolii Iosifovich Vil'tzak, d.1998 is born in Vilnius, Lithuania on 29 August. Along with his wife, dancer Ludmilla Schollar, Vilzak joined the Ballets Russes in 1921, quickly becoming one of the company's leading male dancers. His repertory included The Sleeping Princess; Aurora's Wedding; Les Sylphides, Schéhérazade; le Carnagal and Les Biches . He and Schollar were released from the Ballets Russes in 1925 due to a labor dispute.

Diaghilev organizes his first art exhibition at the Stieglitz Museum in Saint Petersburg.

Belgian composer and music critic Arthur Hoerée (d. 1986) is born in Brussels.

Diaghilev cofounds a journal, Mir iskusstva (The World of Art), with Léon Bakst and Alexandre Benois.

Italian composer Vittorio Rieti is born on 28 January in Alexandria, Egypt. Rieti composes two ballets for Serge Diaghilev: Barabau (1925) and Le Bal (1929).

Dancer Ninette de Valois (Edris Stannus, d.2001) is born in Blessingham, county Wicklow, Ireland on 6 June. De Valois joined the corps de ballet of the Ballets Russes in the fall of 1923. During her two-year tenure with the company, she danced in numerous ballets, including Aurora's Wedding; Les Biches; The Sleeping Beauty; Le Carnaval; L'Après-midi d'un Faune; Le Train Bleu; Les Fâcheux; Le Rossignol ; and Romeo and Juliet . De Valois is best-known for her role in founding the Royal Ballet.

French conductor Roger Désormière is born on 13 September (d.1963). Désormière conducts the Orchestre des Ballets Russes from 1925-1929.

Russian painter and stage designer Pavel Tchelitchev (Pavel Fedorovich Chelishchev, d.1957) is born on 21 September in Moscow. Tchelitchev created the set and costume designs for the ballet Ode (1928).

Diaghilev is appointed a special assistant to the director of the Imperial Theaters, Saint Petersburg.

Polish dancer Leon Woizikowski (Leon Wójcikowski, d.1974) is born on 20 February in Warsaw. Woizikowski joined the Ballets Russes in 1915 and created roles in the ballets Las Meninas (1916); Contes Russes (1917); Les Femmes de Bonne Humeur (1917); Parade (1917); La Boutique Fantasque (1919); Le Tricorne (1919); and Pulcinella (1920). He also danced in "Polovtsian Dances" from Prince Igor and Petrouchka . Woizikowski left the Ballets Russes in 1922 but rejoined the next year and continued to create new roles, including Les Noces (1923); Les Biches (1924); Le Train Bleu (1924); and The Prodigal Son (1929).

French composer Francis Poulenc (Francis Jean Marcel Poulenc, d.1963) is born in Paris. Poulenc's acquaintance with the Ballets Russes began in 1919 when Diaghilev asked him to work on Charles Gounod''s opera La Colombe , which premiered in Monte Carlo in 1924. Poulenc also composed the score for Diaghilev's production of Les Biches (1924).

Russian dancer Vera Nemchinova (Vera Nikolaevna Nemtchinova, d.1984) is born on 26 August in Moscow. Nemchinova was a member of the Ballets Russes from 1915-1926 and became one of the company's most respected and legendary ballerinas. Her repertory included roles in Les Sylphides; La Boutique Fantasque; Swan Lake; Pulcinella; Le Astuzie Femminili; The Sleeping Beauty; Les Tentations de la Bergère; Les Biches ; and Les Matelots .

Composer Vernon Duke (Vladimir Dukelsky, d.1969) is born on 10 October. Diaghilev commissioned one ballet from Dukelsky: Zèphire et Flore (1925).

Alexandra Danilova (Aleksandra Dionisievna Dalilova, d.1997) is born on 20 November in Peterhof, Russia. In 1924, she was part of a small dance company that was on tour in Germany when the company was recalled by Soviet authorities. The dancers chose not to return and auditioned for Diaghilev's Ballets Russes. Danilova joined the company in late 1924. She created roles in Le Pas d'Acier, The Triumph of Neptune, The Gods Go A-Begging , and Le Bal . Other Ballets Russes repertory included roles in Apollon Musagète, The Firebird, La Boutique Fantasque, Petrouchka, Aurora's Wedding , and Les Biches .

Russian-French ballet scenarist and Serge Diaghilev's artistic collaborator, Boris Kochno (d.1990) is born on 3 [16] January in Moscow. Kochno created the libretti for eleven of Diaghilev's operas and ballets: Mavra (1922); Les Tentations de la Bergère (1924); Les Fâcheux (1924); Zéphire et Flore (1925); Les Matelots (1925); Romeo and Juliet (1926); La Pastorale (1926); La Chatte (1927, written under his nom de plume, Sobeka); Ode (1928); Le Bal (1928); and Les Fils Prodigue (1929). The Ballets Russes' ballet master, Serge Grigoriev, noted that as Diaghilev began to lose interest in the company in the later 1920s, Kochno took on more and more administrative and artistic responsibility.

George Balanchine (Georgii Melitonovich Balanchivadze, d.1983) is born on 22 January in Saint Petersburg, Russia. Balanchine becomes a member of Diaghilev's Ballets Russes as a dancer and begins to choreograph for the company in the 1920s. Today, Balanchine is regarded as one of the principal artists of modern times and the founder of classical ballet in America.

Anton Dolin (Sydney Francis Patrick Healey-Kay, d.1983) is born on 27 July in Slinfold, Sussex, England. Dolin joined the Ballets Russes in 1921 and created roles in Le Train Bleu and The Prodigal Son . While a member of the Ballets Russes, Dolin danced with Alicia Markova, with whom he later founded the Markova-Dolin Ballet. Dolin was also a founder of the London Festival Ballet.

Russian dancer Alice Nikitina is born in Saint Petersburg (d.1978). In 1923 she joined the Ballets Russes and created roles in Zéphire et Flore (1925); Apollon Musagète (1928); and Le Bal (1929).

Catalan artist Pedro Pruna is born. Pruna creates the set design, costume design, and curtain for two Diaghilev productions: Les Matelots (1925) and La Pastorale (1926).

Russian dancer, choreographer, and teacher Serge Lifar (Sergei Mikhailovich Serdkin, d.1986) is born on 2 April in Kiev. Lifar joined the Ballets Russes in 1923 and, until the demise of the company in 1929, danced prominent roles in many of the company's new productions, including Le Fâcheux; Le Train Bleu; La Boutique Fantasque; Zéphire et Flore; Les Matelots; Barabau; Romeo and Juliet; La Pastorale; Pas d'Acier; Ode; Apollon Musagète ; and Le Bal .

British composer Constant Lambert (Leonard Constant Lambert, d.1951) is born on 23 August. At the young age of 20, Lambert received a commission from Diaghilev to compose the music for the ballet Romeo and Juliet , which premiered in 1926.

Diaghilev organizes his first exhibition of Russian art held at the Salon d'Automne in Paris.

Diaghilev presents a series of Russian Historical Concerts at the Théâtre National de l'Opéra.

Russian dancer Tamara Geva (Tamara Leonidovna Zheverzheeva, d.1997) was born in Saint Petersburg. In 1924, she was part of a small dance company that included Alexandra Danilova and George Balanchine (to whom Geva was married), which was on tour in Germany. When the company was recalled by Soviet authorities, the dancers remained in the West and auditioned for Serge Diaghilev. Geva was a member of the Ballets Russes from 1924-1926. In a 1997 interview for Dance Magazine , Geva noted "For me the Diaghilev period was not entirely pleasant….Diaghilev once told me, 'If Sokolova [Lydia] dies or leaves the company, I will let you have all her parts.' Well, who wanted to wait that long? It just wasn't in me to wait around…."

Diaghilev brings the opera Boris Godunov to Paris for a premiere on 19 May 1908 at the Théâtre National de l'Opéra. The production, which starred noted Russian singer Fedor Chaliapin, is performed for the first time outside Russia.

Diaghilev returns to Paris and includes dance along with opera during the 1909 Saison Russe at the Théâtre du Châtelet. The operas included Ivan the Terrible, Ruslan and Ludmilla , and Judith . The five ballet productions were Le Pavillon d'Armide ; "Polovtsian Dances" from act 2 of the opera Prince Igor; Le Festin; Les Sylphides ; and Cléopâtre . The 1909 season is so successful that it inaugurates Diaghilev's career as a ballet impresario.

Vaslav Nijinsky and his sister Bronislava Nijinska join Diaghilev's Ballets Russes as dancers.

Stung by criticism from the Paris critics that claim Diaghilev produces well-danced ballets with exotic décors and costumes, but with no comparable innovative music component, he turns to the young composer Igor Stravinsky. The Firebird represents Stravinsky's first commission from the Ballets Russes and proves to be the catalyst that begins his ascent to international acclaim. Other ballets produced during 1910 included: Le Carnaval; Schéhérazade; Giselle ; and Les Orientales .

English ballerina Alicia Markova (Lillian Alicia Marks, d.2004) is born on 1 December in London. In January 1925, Serge Diaghilev hired Markova-who was only fourteen years old-to dance with the Ballets Russes. Her repertory included Swan Lake; Le Chant du Rossignol; La Chatte ; and Cimarosiana .

The 1909-1910 seasons of the Ballets Russes consisted of a pick-up troupe of dancers on vacation from the Russian Imperial Theater. However, the ballets were so popular with Paris audiences that Diaghilev creates a permanent dance company in 1911 with Michel Fokine as the principal choreographer.

Ballets produced during the 1911 season include Petrouchka; Le Spectre de la Rose; Narcisse ; "Au Royaume sous-Marin" from scene 6 of the opera Sadko ; and Swan Lake .

On January 23, Vaslav Nijinsky dances the role of Albrecht in Giselle , wearing a costume designed by Alexandre Benois, which caused his dismissal from the Imperial Theatre.

The 1912 season of the Ballets Russes is presented in the Théâtre du Châtelet, Paris and included Le Dieu Bleu, Thamar, Daphnis et Chloë , and L'Après-Midi d'un Faune .

The 1913 season of Diaghilev's Ballets Russes is performed in the Théâtre des Champs-Élysées, Paris. As well as the opera Khovanshchina and the ballet La Tragédie de Salomé , premiere danseur Vaslav Nijinska made his choreographic debut with two new works, Le Sacre du Printemps and Jeux .

During a Ballets Russes tour to South America, Vaslav Nijinsky marries Romola de Pulszky on September 10 in Buenos Aires. Diaghilev dismisses Nijinsky from the company in late 1913.

During the 1914 season, the Ballets Russes premieres the ballet Papillons in Monte Carlo; and Die Josephslegende (also called La Légende de Joseph and Legend of Joseph ) and Midas at the Théâtre National de l'Opéra, Paris. Diaghilev also produces four operas during 1914: L'Coq d'Or, Le Rossignol, Prince Igor , and May Night .

Léonide Massine joins the Ballets Russes as a dancer.

Léonide Massine is named chief choreographer for the Ballets Russes, a position he held until 1920.

The Ballets Russes premieres Le Soleil de Nuit (retitled Midnight Sun in 1918) at the Grand Théâtre, Geneva.

The Ballets Russes premieres two works at the Teatro Eugenia-Victoria, San Sebastián: Las Menias and Kikimora (subsumed in 1917 into a new work called Contes Russes ).

The Ballets Russes begins a tour of the United States in January under the direction of Vaslav Nijinsky, who had returned to the company. Nijinsky's ballet Till Eulenspiegel is premiered in New York.

Pablo Picasso designs the sets, costumes, and curtain for Parade , his first ballet for Diaghilev. Picasso creates designs for five Ballets Russes productions between 1917 and 1924 as well as drawings for programs.

The Ballets Russes premieres two works at the Théâtre du Châtelet, Paris: Contes Russes and Parade .

Diaghilev commissions Giacomo Balla to create a light show that is projected on a geometrically designed set to preexisting music by Igor Stravinsky. The work, called Feu d'Artifice (Fireworks), premieres in Rome. Massine's ballet Les Femmes de Bonne Humeur is premiered on the same program.

The Ballets Russes tours South America and is joined by Vaslav Nijinsky , who returns to the company for the last time. Nijinsky insists that he be paid in cash prior to each performance. At the end of September, he performs his last public performance, which takes place in Montevideo, Uruguay.

Due to the Russian Revolution of 1917, Diaghilev faces increasing difficulty in obtaining financial support for the Ballets Russes. In the spring of 1918 he moves to Madrid and then to London, where the company appears in the London Coliseum. The company performs consistently in London until 1922.

The Ballets Russes premieres two ballets: La Boutique Fantasque and Le Tricorne at the Alhambra Theatre, London.

The Ballets Russes premiered the ballet Le Chant du Rossignol in early February at the Théâtre de l'Opéra, Paris. The ballet was adapted from Stravinsky's opera Le Rossignol , which was produced by Diaghilev in 1914.

The Ballets Russes May season at the Théâtre de l'Opéra, Paris, produced two new ballets: Pulcinella and Le Astuzie Femminili .

Two new ballets were premiered during the Ballets Russes’s May season at the Théâtre Gaîté-Lyrique, Paris: Chout and Cuadro Flamenco. Cuadro Flamenco was not performed by dancers from the Ballets Russes but by traditional Spanish dancers.

In November, the Ballets Russes premiered a full-length version of The Sleeping Princess , based on the well-known ballet The Sleeping Beauty at the Alhambra Theatre, London.

Two new ballets are premiered during the May-June season at the Théâtre National de l'Opéra, Paris: Aurora's Wedding , a one-act version of The Sleeping Princess , and Le Renard . Diaghilev also produced Mavra , a new opera by Igor Stravinsky.

In March, the Ballets Russes premieres Danses Russes at the Palais des Beaux-Arts, Monte Carlo. In June, Les Noces is premiered at the Théâtre de la Gaîté-Lyrique, Paris.

Seven new ballets are premiered at the Théâtre de Monte-Carlo in January: Les Tentations de la Bergère, ou l'Amour Vainqueur; Les Biches; Ballet de L'Astuce Féminine (later called Cimarosiana ), a suite of six dances from the 1920 ballet Le Astuzie Femminili ; and Les Fâcheux . During the Monte Carlo season, Diaghilev also produced the operas La Colombe; Le Médecin Malgré Lui; Philémon et Baucis ; and Une Education Manquée .

The ballet La Nuit sur le Mont Chauve (Night on Bare Mountain) premieres in April at the Théâtre de Monte-Carlo and the ballet Le Train Blue premieres in late June at the Théâtre des Champs-Élysées, Paris.

George Balanchine joins Diaghilev’s Ballets Russes as a dancer.

English dancer Vera Savina [Vera Clark] joins the Ballets Russes and becomes a principal dancer in 1927. In 1921 Savina marries dancer/choreographer Léonide Massine.

During February and March, the Ballets Russes premiere three new ballets at the Nouvelle Salle de Musique, Monte Carlo: Le Festin; Les Contes de Fées , a suite of dances from act 3 of The Sleeping Princess; L'Assemblée ; and Le Bal du 'Lac des Cygnes' , a suite of dances from the full-length ballet Swan Lake .

In April, the ballet Zéphire et Flore premieres at the Théâtre de Monte-Carlo and, in June, Les Matelots opens at the Théâtre de la Gaîté-Lyrique, Paris. Barabau premieres in December at London's Coliseum Theatre.

Romeo and Juliet premieres in early May at the Théâtre de Monte-Carlo. La Pastorale and Jack-in-the-Box both premiere during the Ballets Russess May-June season at the Théâtre Sarah-Bernhardt, Paris.

The Triumph of Neptune premieres in early December at London's Lyceum Theatre.

In April, the Ballet Russes premieres La Chatte at the Théâtre de Monte-Carlo. Two ballets premiere during the company's May-June season at the Théâtre Sarah-Bernhardt, Paris: Mercure and Le Pas d'Acier . Diaghilev also produces Igor Stravinsky's opera Oedipus Rex .

The Ballets Russes premieres two new ballets during June at the Théâtre Sarah-Bernhardt, Paris: Ode and Apollon Musagète .

The Gods Go A-Begging premieres in July at His Majesty's Theatre, London.

Two new ballets premiere during the last season of Diaghilev's Ballets Russes. Le Bal opens in May at the Théâtre de Monte-Carlo and Les Fils Prodigue (Prodigal Son) premieres in late May at the Théâtre Sarah-Bernhardt, Paris.

Serge Diaghilev dies on 19 August in Venice.

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Ballet Costumes Of The Romantic Era Pages: 3 (745 words)

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History of Ballet Essay

Ballet, a dance form renowned for its grace, beauty, and precision, boasts a rich and storied history dating back centuries. Originating in the Italian Renaissance courts of the 15th and 16th centuries, ballet evolved from early forms of court entertainment into the sophisticated art form we know today. Initially, ballet served as entertainment for nobility, with performances characterized by elaborate costumes, intricate footwork, and graceful movements. It wasn't until the 17th century, during the reign of Louis XIV in France, that ballet began to take shape as a formalized art form.

During the Baroque era, ballet underwent significant transformation under the patronage of King Louis XIV. He founded the Académie Royale de Danse in 1661, which later merged with the Académie Royale de Musique to become the Paris Opera Ballet, one of the most prestigious ballet companies in the world. Under Louis XIV's influence, ballet technique and terminology were codified, laying the foundation for classical ballet as we know it today. Additionally, Jean-Baptiste Lully, the court composer, played a crucial role in shaping ballet music, composing scores that complemented the intricate choreography and added depth to performances.

The 19th century witnessed a golden age of ballet, marked by innovations in technique, storytelling, and stagecraft. This era saw the rise of iconic ballets such as "Swan Lake," "The Nutcracker," and "Giselle," which remain staples of the classical repertoire. Choreographers such as Marius Petipa and composers like Pyotr Ilyich Tchaikovsky revolutionized ballet, blending intricate footwork with emotive storytelling and lush musical scores. The Romantic era brought a shift towards narrative-driven ballets, exploring themes of love, tragedy, and the supernatural, captivating audiences with their emotional depth and theatricality.

In the 20th century, ballet underwent further evolution, embracing modern influences and pushing the boundaries of traditional technique. Ballet impresarios such as Sergei Diaghilev and George Balanchine revolutionized the art form, introducing new choreographic styles and collaborating with avant-garde artists to create groundbreaking productions. Additionally, the emergence of neoclassical and contemporary ballets challenged traditional norms, allowing for greater experimentation with movement, music, and storytelling.

Today, ballet continues to captivate audiences around the world with its timeless beauty and artistic expression. From classical masterpieces to cutting-edge contemporary works, ballet remains a vibrant and evolving art form, honoring its rich history while embracing innovation and creativity. As ballet continues to inspire and enchant audiences, its legacy as a symbol of grace, discipline, and artistic excellence endures through the ages.

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Essay Interpretations of American History

American history is a tapestry woven with multiple threads, each representing different perspectives, experiences, and interpretations. From the founding of the nation to the present day, historians, scholars, and individuals have sought to understand and interpret the complex narrative of America's past. These interpretations have been shaped by diverse lenses, including political, social, economic, and cultural viewpoints. Through the examination of primary sources, the analysis of historical events, and the interrogation of underlying narratives, historians have constructed various interpretations of American history that continue to evolve and inform our understanding of the nation's identity and trajectory. One prominent interpretation of American history emphasizes the nation's democratic ideals and its commitment to freedom, equality, and opportunity. This interpretation traces its roots to the founding documents of the United States, such as the Declaration of Independence and the Constitution, which enshrine principles of individual rights and representative government. Proponents of this interpretation highlight key moments in American history, such as the abolition of slavery, the expansion of suffrage, and the Civil Rights Movement, as evidence of the nation's ongoing progress towards realizing its democratic aspirations. They argue that despite periods of strife and setbacks, America's commitment to liberty and justice for all has remained a guiding force throughout its history. However, alongside this celebratory narrative, there exist alternative interpretations that challenge the traditional view of American history as a march towards progress and freedom. These interpretations often foreground the experiences of marginalized groups, including Native Americans, African Americans, women, immigrants, and workers, whose struggles for equality and justice have been met with resistance and oppression. Scholars of this perspective highlight the legacies of imperialism, slavery, segregation, and discrimination that have shaped American society and continue to impact contemporary issues such as systemic racism, economic inequality, and social injustice. By centering the voices and experiences of those traditionally excluded from mainstream historical narratives, these interpretations seek to provide a more nuanced and inclusive understanding of America's past. In conclusion, interpretations of American history are diverse and multifaceted, reflecting the complex realities of the nation's past and present. Whether emphasizing America's democratic ideals or interrogating its legacies of inequality and injustice, historians continue to grapple with competing narratives that shape our understanding of the American experience. By engaging in critical analysis and dialogue, we can deepen our appreciation of the complexities of American history and work towards a more equitable and inclusive future....

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The History and Culture of Bangladesh Essay

Bangladesh, a country situated in South Asia, boasts a rich and diverse history and culture that has evolved over millennia. Its history is characterized by a tapestry of influences from various empires, religions, and civilizations, shaping its unique identity. From ancient times to the present day, Bangladesh has been a melting pot of cultures, traditions, and customs. One of the earliest civilizations in the region was the Indus Valley Civilization, which flourished around 2500 BCE. Later, Bangladesh became part of various empires, including the Maurya and Gupta Empires of ancient India, the Pala Empire, and the Bengal Sultanate. However, it was during the Mughal period that Bangladesh experienced significant cultural and architectural developments. The region became a center for trade, commerce, and Islamic scholarship, leaving behind a legacy of magnificent monuments and artistic creations. In the 18th century, European colonial powers, notably the British, began exerting control over the Indian subcontinent, including present-day Bangladesh. This period marked the beginning of British rule, which lasted until the partition of India in 1947. The partition resulted in the creation of East Pakistan, which later gained independence as Bangladesh in 1971, following a bloody war of liberation. Bangladesh's culture is a vibrant tapestry woven from various threads, including its language, literature, music, dance, and cuisine. Bengali, the official language of Bangladesh, is one of the oldest and richest languages in the world, with a rich literary tradition dating back centuries. The works of renowned poets and writers like Rabindranath Tagore and Kazi Nazrul Islam have left an indelible mark on Bengali literature and continue to inspire generations. Music and dance play a significant role in Bangladeshi culture, with classical, folk, and contemporary forms coexisting harmoniously. Traditional instruments like the tabla, sitar, and harmonium are commonly used in classical music, while folk dances such as the Bihu and Jhumur reflect the cultural diversity of the country's various regions. Additionally, Bangladeshi cuisine is renowned for its flavors and spices, with dishes like biryani, bhuna khichuri, and pitha showcasing the country's culinary heritage. In conclusion, Bangladesh's history and culture are a testament to its resilience and diversity. From ancient civilizations to colonial rule and independence, the country has undergone numerous transformations, each leaving its mark on its cultural landscape. Today, Bangladesh stands as a proud nation with a rich heritage, embracing its past while looking towards a future filled with promise and possibility....

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Essay on The History of Photography

Photography, a medium of capturing and preserving moments in time, has a rich and fascinating history that dates back to the early 19th century. The invention of photography revolutionized the way people document and perceive the world around them, leading to significant advancements in technology, art, and culture. The journey of photography began in 1826 when French inventor Joseph Nicéphore Niépce captured the first-ever photograph, "View from the Window at Le Gras," using a process known as heliography. This groundbreaking achievement laid the foundation for further developments in the field of photography. In 1839, Louis Daguerre introduced the daguerreotype, a process that produced highly detailed images on silver-plated copper sheets, marking another milestone in the history of photography. Throughout the 19th century, photography evolved rapidly, with photographers experimenting with different techniques and processes to improve image quality and capture more vivid representations of reality. The invention of the dry plate process by Richard Leach Maddox in 1871 and the introduction of flexible film by George Eastman in the late 1880s made photography more accessible to the masses, leading to its widespread popularity. The 20th century saw photography becoming an integral part of everyday life, documenting historical events, capturing personal memories, and shaping cultural norms. The invention of the 35mm film by Oskar Barnack in 1913 revolutionized the world of photography, making cameras more portable and enabling photographers to capture spontaneous moments with ease. The digital revolution in the late 20th century further transformed the field of photography, making it more accessible and affordable than ever before. Digital cameras and smartphones equipped with high-quality cameras have democratized photography, allowing anyone to capture and share moments instantaneously. In conclusion, the history of photography is a testament to human ingenuity and creativity, showcasing how a simple invention has evolved into a powerful medium of expression and communication. From its humble beginnings in the 19th century to its digital renaissance in the 21st century, photography continues to inspire and captivate people around the world, preserving memories and shaping our collective understanding of the world....

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The Camera Has Made A Great Impact On People, And History Essay

The invention of the camera has had a profound impact on society and culture. It has revolutionized the way we capture and preserve memories, document events, and communicate with others. The camera has become an essential tool in various fields, including art, journalism, science, and personal expression. With its ability to freeze a moment in time and capture the essence of a subject, the camera has transformed the way we see and understand the world. One of the main areas where the camera has made a significant impact is in the field of art. Artists have embraced the camera as a medium for creative expression, pushing the boundaries of traditional art forms. Photography, as an art form, has allowed artists to capture the beauty of the world in a way that was not possible before. It has enabled them to experiment with different techniques, perspectives, and compositions, resulting in visually stunning and thought-provoking images. The camera has also influenced art movements, such as surrealism and photojournalism, which have used photography as a means to convey powerful messages and evoke emotions. In addition to its artistic impact, the camera has also played a crucial role in journalism and documentation. Photojournalists have used the camera to capture significant events and tell compelling stories. Through their lenses, they have brought attention to social issues, documented historical moments, and shed light on the lives of people around the world. The camera has become a powerful tool for truth-telling and raising awareness about important issues. It has the ability to capture the raw emotions and realities of a situation, making it a valuable asset in journalism. Furthermore, the camera has had a profound impact on science and research. Scientists and researchers use cameras to document experiments, record observations, and analyze data. The camera has allowed them to capture images of microscopic organisms, distant galaxies, and complex phenomena. It has enabled them to study and understand the world in ways that were not possible before. The camera has become an indispensable tool in scientific discovery and exploration. On a personal level, the camera has become a means of self-expression and communication. With the advent of smartphones and social media, almost everyone has access to a camera. People use cameras to capture and share moments from their daily lives, connect with others, and express themselves creatively. The camera has become a tool for storytelling and personal documentation, allowing individuals to share their experiences and perspectives with the world. In conclusion, the camera has made a great impact on society and culture. It has transformed the way we see and understand the world, revolutionizing art, journalism, science, and personal expression. The camera has become an essential tool in various fields, allowing us to capture and preserve memories, document events, and communicate with others. Its ability to freeze a moment in time and capture the essence of a subject has made it a powerful medium for creative expression and communication. The camera has truly changed the way we perceive and interact with the world around us....

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Ap European History Dbq: French Nobility Essay examples

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The History of Sexuality Sexuality is a fundamental aspect of human experience, deeply intertwined with culture, society, and individual identity. Exploring the history of sexuality offers a profound insight into how societies have understood, regulated, and expressed sexual desires and behaviors over time. From ancient civilizations to modern times, the history of sexuality is marked by a complex interplay of cultural norms, religious beliefs, political ideologies, and scientific advancements. In ancient civilizations such as those of Mesopotamia, Egypt, Greece, and Rome, sexuality was often celebrated and integrated into religious rituals and cultural practices. For example, in ancient Mesopotamia, the goddess Ishtar was associated with love, sexuality, and fertility, and her worship involved sacred prostitution as a means of ensuring agricultural abundance and prosperity. Similarly, in ancient Greece, sexuality was depicted in art, literature, and mythology, with gods and goddesses engaging in various sexual activities. Homosexuality was not uncommon in ancient Greece, and relationships between men and adolescent boys were socially accepted within certain contexts. However, with the rise of Christianity in the Roman Empire and later in Europe, attitudes towards sexuality underwent significant changes. The Christian Church, influenced by the teachings of figures like Saint Augustine, emphasized celibacy, chastity, and the condemnation of lustful desires. Sexuality became increasingly regulated and controlled, with prohibitions against premarital sex, adultery, and homosexuality. The concept of sin became intricately linked with sexual behavior, and the Church wielded considerable power in dictating moral standards and regulating sexual conduct. During the Renaissance period, there was a resurgence of interest in humanism and the rediscovery of classical texts, leading to a more nuanced understanding of sexuality. Artists and thinkers of the Renaissance explored themes of love, desire, and the human body, challenging the moral strictures imposed by the Church. Figures like Leonardo da Vinci and Michelangelo depicted the nude form with a sense of beauty and admiration, reflecting a shift towards a more positive and naturalistic view of sexuality. The modern era has witnessed significant changes in attitudes towards sexuality, influenced by factors such as the Enlightenment, the Industrial Revolution, and the emergence of psychology and medicine as distinct fields of study. The 20th century saw movements for sexual liberation, including the feminist movement, the LGBTQ+ rights movement, and the sexual revolution of the 1960s. These movements challenged traditional gender roles, advocated for reproductive rights, and sought to destigmatize diverse expressions of sexuality. In conclusion, the history of sexuality is a complex tapestry woven from various cultural, religious, and ideological threads. By examining this history, we gain a deeper understanding of the ways in which human societies have grappled with issues of desire, intimacy, and power. From ancient civilizations to the modern world, the story of sexuality is one of continual evolution, reflecting shifting attitudes, values, and social norms....

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Thesis Statement for Personal Essay

Thesis statement generator for personal essay.

Personal essays are intimate reflections, weaving together narratives and insights to deliver profound messages. Central to these essays is the thesis statement — a guiding beacon that directs the narrative and offers clarity to readers. Crafting a resonant thesis for a personal essay requires introspection and a deep understanding of one’s own journey. This guide will illuminate the path to writing compelling thesis statements for personal essays, complete with examples and expert tips.

What is a Personal Essay Thesis Statement? – Definition:

A personal essay thesis statement is a concise expression of the central theme or primary insight of the essay. Unlike thesis statements in more formal academic papers, a personal essay’s thesis often captures an emotion, lesson learned, or a core truth about the writer’s experience. It provides readers with a glimpse into the essence of the writer’s story and sets the stage for the unfolding narrative.

What is the Best Thesis Statement Example for Personal Essay?

While the “best” thesis statement for a personal essay would depend on the specific topic and the individual’s experience, here’s a general example:

“Through the winding journey of self-discovery amidst challenges, I realized that embracing vulnerability is not a sign of weakness, but rather a testament to the strength of the human spirit.”

This final thesis statement encapsulates a personal insight while hinting at a narrative of challenges and self-discovery, drawing readers into the essay’s deeper exploration of the topic.

100 Thesis Statement Examples for Personal Essay

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Personal essays are windows into the author’s soul, glimpses of moments, lessons, and reflections that have shaped their journey. The good thesis statement in these essays is more than just a mere statement; it’s the heartbeat of the narrative, encapsulating the essence of the tale and the wisdom gleaned from it. Let’s explore a collection of thesis statements, each weaving its unique tapestry of human experience.

“The echoes of my grandmother’s stories taught me the power of legacy and the importance of preserving memory.”
“Navigating the turbulent waters of adolescence, I discovered the anchoring power of self-acceptance.”
“In the silent corridors of grief, I unearthed the profound strength that lies in vulnerability.”
“The tapestry of my multicultural upbringing illustrated the beauty of diversity and the bridges it can build.”
“Amid the cacophony of urban life, the serenity of nature became my sanctuary and muse.”
“Love, in its many shades, revealed to me that it is more about giving than receiving.”
“Facing the monolith of failure, I realized it’s but a stepping stone to success.”
“The journey from solitude to loneliness taught me the invaluable nature of genuine connections.”
“Chasing dreams on the canvas of a starlit sky, I learned that ambition has its roots in passion, not just success.”
“The silent conversations with my reflection taught me the transformative power of self-love.”
“In the crossroads of life’s decisions, I discovered that intuition often holds the compass to our true north.”
“The rhythms of dance became my language, translating emotions words often couldn’t capture.”
“Wandering through foreign lands, I understood that home isn’t a place but a feeling.”
“The unraveling of old beliefs led me to the mosaic of perspectives that color the world.”
“In the realm of dreams, I grasped the significance of perseverance and the magic of belief.”
“As seasons changed, so did my understanding of the impermanence of life and the beauty it holds.”
“The melodies of my mother’s lullabies became the soundtrack of my resilience and hope.”
“In the pages of forgotten diaries, I retraced the evolution of my thoughts and the depth of my growth.”
“The culinary adventures in my grandmother’s kitchen were lessons in love, tradition, and the art of giving.”
“Amidst life’s cacophony, the whispering pages of books became my escape and my anchor.”
“Through the lens of my camera, I captured the transient nature of moments and the eternity they hold.”
“The mosaic of friendships over the years showcased the fluidity of human connections and their timeless essence.”
“Under the shade of ancient trees, I learned patience, growth, and the cycles of life.”
“The footprints on sandy shores traced my journey of introspection and the tides of change.”
“In the embrace of twilight, I unraveled the beauty of endings and the promises they carry.”
“From handwritten letters, I unearthed the magic of words and the bridges they create across distances.”
“The undulating paths of mountain hikes mirrored life’s ups and downs, teaching me resilience and wonder.”
“Within the hallowed halls of museums, I discovered humanity’s quest for expression and the stories etched in time.”
“The serendipities of chance encounters taught me the universe’s uncanny ability to weave tales of connection.”
“In the garden’s bloom and wither, I saw life’s ephemeral nature and the rebirth that follows decay”
“The tapestry of city sounds became my symphony, teaching me to find harmony in chaos.”
“Between the pages of my journal, I discovered the transformative power of reflection and the stories we tell ourselves.”
“In the heartbeats of quiet moments, I recognized the profound value of stillness in a world constantly in motion.”
“Through the myriad hues of sunsets, I learned that endings can be beautiful beginnings in disguise.”
“The labyrinth of memories illuminated the idea that our past shapes us, but doesn’t define us.”
“The first brush strokes on a blank canvas taught me the courage to start and the potential of the unknown.”
“In the aroma of rain-kissed earth, I found the connection between nature’s simplicity and life’s profound moments.”
“The gentle tug of ocean waves mirrored the ebb and flow of emotions and the healing power of letting go.”
“Amidst the ruins of ancient civilizations, I grasped the timeless human desire to leave a mark and be remembered.”
“The resonance of old songs brought back memories, revealing how art transcends time, reminding us of who we were.”
“In the mirror of my parents’ aging faces, I saw the passage of time and the stories etched in every wrinkle.”
“The spontaneity of impromptu road trips unveiled the joy of unplanned adventures and the paths less traveled.”
“The aroma of childhood meals evoked memories, teaching me that senses can be portals to the past.”
“From the heights of skydiving, I felt the exhilarating blend of fear, freedom, and the joy of being alive.”
“In the cadence of poetry, I learned the power of words to heal, inspire, and transport to different realms.”
“The play of shadows and light during an eclipse taught me about life’s dualities and the balance they bring.”
“The laughter and tears shared with friends showcased the depth of human connection and the shared threads of our stories.”
“Amidst the solitude of silent retreats, I discovered the voice within and the wisdom it holds.”
“Through the changing vistas of train journeys, I realized life is less about destinations and more about the journey.”
“The cycles of the moon became my reflection on the phases of life and the beauty in its transitions.
“In the silent flight of a butterfly, I witnessed the delicate dance of change and the beauty of metamorphosis.”
“The melodies of street musicians became my muse, illustrating the universal language of passion and art.”
“Within the pages of fairy tales, I unraveled deeper truths about hope, bravery, and the magic within us all.”
“The fragility of a snowflake mirrored the fleeting moments of life, urging me to cherish each one.”
“Through the lens of history, I understood the cyclical nature of time and the lessons it persistently offers.”
“Amid the vastness of deserts, I felt the weight of solitude and the freedom it silently gifts.”
“In the embrace of night’s silence, I learned to listen to my inner voice, undistracted by the day’s clamor.”
“The ritual of morning coffee became a meditation, teaching me to find joy in simple routines and moments.”
“The constellation of stars in the night sky showed me the beauty of small lights in vast darkness.”
“In the hustle of marketplaces, I perceived the intricate dance of life, commerce, and shared human experience.”
“The whispers of old trees carried tales of time, resilience, and the secrets of unwavering growth.”
“From the peaks of mountains, I felt the world’s vastness and my tiny yet significant place within it.”
“The riddles of childhood games taught me the joys of curiosity and the journey of seeking answers.”
“The seasons’ rhythmic dance became my muse, reflecting life’s constant change and the beauty in every phase.”
“In the flicker of candle flames, I felt the warmth of hope and the luminescence of undying spirit.”
“The ever-expanding universe became a metaphor for boundless possibilities and the mysteries yet to be unraveled.”
“The resonance of church bells reminded me of the call to introspect and find solace within.”
“The chorus of chirping birds at dawn became an ode to new beginnings and the melodies of nature.”
“In the winding paths of forests, I discovered life’s unexpected turns and the revelations they bring.”
“The myriad hues of a painter’s palette echoed the diversity of human emotions and the art of expressing them.
“Beneath the veil of city lights, I discerned the contrast between loneliness in crowds and solace in solitude.”
“In the ripples of a serene pond, I realized that even the smallest of actions can have far-reaching effects.”
“The ballet of autumn leaves taught me about graceful endings and the promise of rebirth.”
“From the labyrinths of ancient libraries, I uncovered the timelessness of knowledge and human quest for understanding.”
“Through the whispers of midnight winds, I felt the comforting presence of the unseen and the mysteries of the night.”
“In the patchwork quilt passed down generations, I recognized the warmth of stories and the fabric of shared memories.”
“The ascent and descent of tides taught me about life’s cyclical nature and the inevitability of change.”
“Amidst the aroma of old bookstores, I discovered portals to different worlds and the eternal allure of stories.”
“In the footprints on a snowy path, I saw the transient nature of moments and the lasting impressions they leave.”
“The harmonies of a choir became an emblem of unity, diversity, and the beauty of voices coming together.”
“The transformation of a caterpillar into a butterfly illuminated the wonders of change and the potential within us all.”
“From the symphony of city streets, I deduced that every individual has a story, waiting to be told.”
“The unfurling of a rosebud spoke of patience, time, and the elegance in gradual blooming.”
“In the dance of shadows during twilight, I grasped the interplay between light and dark in our lives.”
“The handwritten notes in the margins of used books unveiled strangers’ thoughts and the universality of human reflections.”
“Amidst the patterns of falling rain, I perceived nature’s rhythm and the cleansing it offers.”
“The voyage across seas showed me the vastness of the world and the adventure of discovering uncharted territories.”
“The warmth of a fireplace in winter became a symbol of comfort, home, and the gentle embrace of memories.”
“Through the kaleidoscope of festivals, I appreciated the richness of traditions and the unity they foster.”
“The arcs of rainbows painted the sky with hope, reminding me of the beauty after storms and the treasures of optimism.
“In the tapestry of a spider’s web, I witnessed the marvel of intricate designs and the beauty in nature’s craftsmanship.”
“Through the rhythms of folk dances, I felt the heartbeat of cultures and the stories they carry through generations.”
“In the embrace of a mother’s lullaby, I rediscovered the profound connection of roots and the safety of unconditional love.”
“The alchemy of turning clay into pottery taught me about the transformative power of touch and the art of creation.”
“Amid the grandeur of cathedrals, I sensed the union of devotion, art, and the timeless quest for meaning.”
“In the migrations of birds, I observed the marvels of nature, the journey of seasons, and the allure of homecomings.”
“The flavors of grandmother’s recipes held the essence of traditions, stories, and the magic of hands that tell tales.”
“Through the reflections in a tranquil lake, I grasped the duality of reality and the depths beneath calm surfaces.”
“In the footsteps across deserts, I felt the perseverance of souls and the vastness of life’s journeys.”
“The fluttering pages of an old diary brought me back to past selves, the continuum of growth, and the chapters yet unwritten.”

Every one of these thesis statements serves as a unique prism, refracting the singular experiences of life into universally relatable insights. They beckon readers to delve deeper, to embark on introspective voyages, and to resonate with the emotions, memories, and discoveries that are so innately human. Personal essays anchored by such profound statements become more than mere stories; they evolve into shared chronicles of the human spirit, its challenges, joys, and ever-evolving wisdom. You should also take a look at our concise thesis statement .

How do you write a thesis statement for a personal essay? – Step by Step Guide

Understand the Topic (if given): Before you begin, thoroughly read and understand the essay topic, if provided. This will guide your reflection and thought process.
Reflect on Your Subject: Think deeply about your experiences, feelings, and insights. Identify what story or perspective you want to share.
Pinpoint the Central Theme: Decide on the main idea or lesson from your reflection. What message or insight do you want your readers to take away?
Be Specific: Instead of being broad or general, delve into a particular incident, emotion, or realization that epitomizes the theme.
Draft a Statement: Begin writing your thesis. This should be a concise sentence that encapsulates the essence of your essay.
Revisit and Refine: As you progress in your essay, revisit your thesis. Ensure it aligns with your narrative and make any necessary refinements.
Seek Feedback: Share your thesis with peers or mentors. Fresh perspectives can offer invaluable insights or suggestions.

Is there a thesis in a personal essay?

Yes, there typically is a thesis in a personal essay, but it might not be as direct or argumentative as in other types of essays. Instead, the thesis in a personal essay is a central idea or theme that the writer intends to convey. It serves as an anchor, guiding the narrative and ensuring that readers understand the core message or insight of the piece.

How do you start a personal thesis statement?

Begin with a Bang: Start with a striking statement or a profound realization that encapsulates your story.
Use Vivid Imagery: Paint a picture with words to immediately engage your readers.
Pose a Question: Starting with a reflective or rhetorical question can provoke thought and pull readers in.
Relate to a Universal Theme: Touch on a theme that many can resonate with, such as love, loss, growth, or transformation.

Tips for Writing a Personal Essay Thesis Statement

Stay Authentic: Your personal essay is your story. Ensure your thesis reflects your genuine emotions, experiences, and insights.
Keep it Concise: A thesis should be clear and succinct, capturing the essence of your narrative in one or two sentences.
Avoid Clichés: Steer clear of overused phrases or generalizations. Your thesis should be unique to your story and perspective.
Maintain Coherence: As you draft your essay, ensure every part of your narrative aligns with and supports your thesis.
Engage Emotionally: While a thesis should be clear and direct, it should also evoke emotion or curiosity, compelling readers to explore the rest of your essay.
Revise: As with any part of writing, don’t hesitate to revise your thesis as you refine your essay, ensuring it remains the best reflection of your narrative.

Remember, the thesis of your personal essay is the heart of your narrative. It’s the essence of your story and the message you want to share with the world. Crafting it with care will set the tone for the entire essay and guide your readers on the journey you wish to take them on

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Write a Thesis Statement for Personal Essay on the search for identity in a multicultural society.

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Ballet
ballet movement. battement. (Show more) ballet, theatrical dance in which a formal academic dance technique—the danse d'école—is combined with other artistic elements such as music, costume, and stage scenery. The academic technique itself is also known as ballet. This article surveys the history of ballet.
History of ballet
The etymology of the word "ballet" reflects its history. The word ballet comes from French and was borrowed into English around the 17th century. The French word in turn has its origins in Italian balletto, a diminutive of ballo (dance). Ballet ultimately traces back to Italian ballare, meaning "to dance". [2]
A Brief History of Ballet
Source: Wikipedia. Ballet originated in the Italian Renaissance courts of the 15th century. Noblemen and women were treated to lavish events, especially wedding celebrations, where dancing and music created an elaborate spectacle. Dancing masters taught the steps to the nobility, and the court participated in the performances.
The Ballet
His ballet Les Horaces, based on a tragic episode in Roman history, was first presented in Vienna in 1774 and later in Paris, where it may have inspired Jacques Louis David in his painting of the same theme, The Oath of the Horatii (Musée du Louvre, Paris). Antique sculpture, which many eighteenth-century artists sought to emulate, also ...
History of Ballet Essay
The history of Ballet has evolved into one of the most well-known type of dances in the world this is from only the men having roles in the ballet to women being able to express emotion. History Then: Ballet started in the late 1400s during the Renaissance. When Catherine de Medici who married King Henry the second of France know for throwing ...
Tracing Ballet's Cultural History Over 400 Years : NPR
Tracing Ballet's Cultural History Over 400 Years. Jenifer Ringer performs as the Sugarplum Fairy during a 2010 performance of "The Nutcracker" at Lincoln Center in New York. This interview was ...
Ballet History: Timeline, Facts and Stages of ballet
16th century - the origin of ballet, the first ballet production. Mid 17th century - the rise of ballet dancers into amateurs and professionals. The end of 17th century - ballet is favourite form of art and accesses funding. 18th century - abandoning lavish costumes, the dance becomes freer and more professional.
The History of Ballet
The history of ballet begins around 1500 in Italy. Terms like "ballet" and "ball" stem from the Italian word "ballare," which means "to dance.". Court dances during the Italian Renaissance. Catherine di Medici, Queen of France. Ballet originated in the Italian Renaissance courts of the 15th century. Noblemen and women were ...
PDF The History of Ballet
Ballet was born out of this explosion of artistic expression. Although, its earliest beginnings were in the courts of the Italian nobles, its most noteworthy history occurred in France. When French King Henri II married the Florentine, Catherine de Medici, in 1533, the history of ballet began (Homans p. 3).
Ballet: The Art and Science of Dance: [Essay Example], 723 words
Originating in the Italian Renaissance courts of the 15th century and later flourishing in France and Russia, ballet has established itself as a global phenomenon. This essay delves into the intricate world of ballet, exploring its history, technical aspects, and the profound impact it has on both participants and audiences.
History and Development of Ballet
The major ballet dance development occurred in the 17 th century in France. During the initial stages of this development at around 1610, the divertissements scenes came into being and resulted into the grand ballet. In 1661 and 1669 the Royal Ballet Academy and the Royal Music Academy respectively were founded by Louis XIV (Lee, 66).
History Of Ballet Essay
The basic orientation of the dancer's body is facing the audience in the front of the stage as with any presentation. "Ballet is often described in terms of moving upward and outward; ideally, the dancer's limbs should appear to extend into infinity." Ballet technique is primarily based on the turned-out positions of the legs and feet.
The History and Evolution of Ballet
Ballet started off as a dance that was extremely exclusive, and went through a lot to become more inclusive. The word ballet originated from the Italian word ballare, which translates to the verb dance in the english language. This is to show that the first ballet dance must have come from Italy. Despite the origin of the word, this dance style ...
History Of Ballet Essay
History Of Ballet Essay. Satisfactory Essays. 164 Words; 1 Page; ... The history of ballet dates back to the 18th century starting with Baroque dance. Fabritio Caroso da Sermoneta was a famous Italian Renaissance dancing master. He was born around 1526-1535 and died around 1605-1620. His dance manual "Ballarino" was published in 1581 ...
The Opera
Independent Scholar. October 2004. Opera, whose name comes from the Italian word for a work, realizes the Baroque ambition of integrating all the arts. Music and drama are the fundamental ingredients, as are the arts of staging and costume design; opera is therefore a visual as well as an audible art. Throughout its history, opera has reflected ...
Stanford dance scholar examines how ballet ...
Yakobson's essay "The New Ballet Association," a dance manifesto of sorts, proclaimed that classical ballet had festered in "artistic stagnation" and "anti-creative quagmire.". Instead, he argued, ballet should modernize to communicate revolutionary thoughts. But Yakobson was ahead of his time. "A lot of those early experiments ...
Timeline of Ballets Russes
The Ballets Russes premiered the ballet Le Chant du Rossignol in early February at the Théâtre de l'Opéra, Paris. The ballet was adapted from Stravinsky's opera Le Rossignol, which was produced by Diaghilev in 1914. The Ballets Russes May season at the Théâtre de l'Opéra, Paris, produced two new ballets: Pulcinella and Le Astuzie Femminili.
The history of ballet Free Essay Example
Views. 6. Dance in the Roman culture was characterized by folk dancing, religious and ritual dancing that later advanced into theatre presentations with the influence of civilization. The first ballet was Ballet Comique de la Reine that was commissioned by Catherine de' Medici in celebration of her niece's marriage to Henry IV of France.
History of Ballet Essay
The most famous Russian ballet companies are; Tatchkine, St. Petersburg, Bolshoi companies just to name a few of the most famous. The history of ballet dates back to the 18th century starting with Baroque dance. Fabritio Caroso da Sermoneta was a famous Italian Renaissance dancing master. He was born around 1526-1535 and died around 1605-1620.
History of Ballet Essay (414 words)
History of Ballet Essay. Ballet, a dance form renowned for its grace, beauty, and precision, boasts a rich and storied history dating back centuries. Originating in the Italian Renaissance courts of the 15th and 16th centuries, ballet evolved from early forms of court entertainment into the sophisticated art form we know today.
Ballet, propaganda, and politics in the Cold War: the Bolshoi Ballet in
24 See for instance, the first section of Marion Kant, ed., The Cambridge Companion to Ballet (Cambridge: Cambridge University Press, 2007), 6-52. On ballet and politics, see Alexandra Kolb, ed., Dance and Politics (Bern: Pieter Lang, 2011); Rebekah J. Kowal, Gerald Siegmund, and Randy Martin, eds.,The Oxford Handbook on Dance and Politics (New York: Oxford University Press, 2017).
History Of Ballet Essay
Forsythe And George Balanchine Essay. In the world of dance, George Balanchine and William Forsythe have changed the way ballet is structured by sculpting the end of the 19th century classical ballet movements to modern contemporary movements, introducing neoclassical ballet. Neoclassical ballet defines the body's lines and angles.
Thesis Statement for Personal Essay
Personal essays are windows into the author's soul, glimpses of moments, lessons, and reflections that have shaped their journey. The good thesis statement in these essays is more than just a mere statement; it's the heartbeat of the narrative, encapsulating the essence of the tale and the wisdom gleaned from it. Let's explore a collection of thesis statements, each weaving its unique ...
2024 deaths in the United States
The following notable deaths in the United States occurred in 2024.Names are reported under the date of death, in alphabetical order as set out in WP:NAMESORT.A typical entry reports information in the following sequence: Name, age, country of citizenship at birth and subsequent nationality (if applicable), what subject was noted for, year of birth (if known), and reference.
Ballet Essay
Contemporary Ballet. Contemporary Ballet Ballet is a formalized kind of performance dance which originated in the Italian Renaissance Courts of the 15th century and further developed in France, England, and Russia as a concert dance form. One of the genres of ballet is Contemporary. It is defined as a form of dance that is influenced by both ...
Highlights Of Aggies In Olympics History
As current and former Aggie students and staff prepare to compete at the 2024 Summer Olympic Games in Paris, we thought it would be fun to look back into Aggie history at some of the outstanding Texas A&M University athletes who have competed.. The First Aggie Olympian. Jack Mahan '21 studied animal husbandry at what was then the Agricultural and Mechanical College of Texas (AMC).

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Origin of Ballet

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