The Sleeping Beauty ballet in Hermitage Theatre 12.11.2016

If one ballet has come to incarnate the grace and elegance of the entire art form, it is The Sleeping Beauty, first presented in 1890 in St. Petersburg. Its choreography exemplifies the precision and beauty that we associate with classical dance. The decor of the original production and of most restagings was similarly refined, containing elements of both the baroque art of the seventeenth century (the era in which La Belle au Bois Dormant was introduced) and the rococo that followed. Yet despite its ability to quicken the "play of the imagination," beauty, writes Immanuel Kant, fails to stir the senses in the quantifiable manner of the sublime (83). Beauty is limited, he claims, by definite boundaries and by charm, is restful and contemplative (85); in contrast, the sublime produces a sensation of wonder and respect, "a momentary checking of the vital powers and a consequent stronger outflow of them" (83). Until recently, the only component of The Sleeping Beauty that could be termed sublime has been the Tchaikovsky score. Throughout most of the ballet, it alludes to pain and disorder, to deceit and immodesty lying just beneath the conspicuous grandeur of the sets and costumes. It provokes in us, as Kant claims for the sublime, "a movement of the mind bound up with [judgment]" (85).

Video of concert Sleeping Beauty Ballet:

Darcey Bussell on how to dance The Sleeping Beauty's Lilac Fairy (The Royal Ballet)

Video of concert Sleeping Beauty Ballet: ..

Marius Petipa (1818–1910) was one of the most influential figures of classical ballet. His choreography forms the basis of The Royal Ballet’s productions of The Nutcracker, The Sleeping Beauty, Swan Lake, Giselle, Don Quixote, La Bayadère and Coppélia, among others.

(adapted from Tchaikovsky’s 1890 “Sleeping Beauty” ballet), ..

Recently, however, England's Royal Ballet Company has staged a new production of The Sleeping Beauty, its signature work, designed by Maria Bjørnson. While the spirit and most of the steps of the original choreography remain unchanged, the decor has undergone a radical and sublime retooling. Bjøhighlights the psychological disparity between the symmetry of the dancing and the emotional disharmony of the music, thus giving the metaphors in the score a visual rendering and adding ballast to its psychological weight. Hers is a statement on the malevolence of social inequality and of what Frances Ferguson, writing on the sublime, calls "rational enthusiasm for processes in which human systemization [attempts to improve] upon nature" (133). Bjørnson ratifies Tchaikovsky's musical comprehension that people do not live happily ever after, and that despite what the libretto tells us and what we witness in the dancing, death is permanent and implacable. Her ground-breaking changes, I believe, are best considered in the context of the sublime, which enables us to understand how she has taken The Sleeping Beauty to a new metaphysical level, perhaps allowing us to see the fairytale as well as the ballet in a new light.

This five-hour spectacle was the creation of Balthazar Beaujoyeulx, who was employed for the occasion by Catherine de' Medici.
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Tchaikovsky resigned from the Moscow Conservatory in 1878 to focus his efforts entirely on composing. As a result, he spent the remainder of his career composing more prolifically than ever. His collective body of work constitutes 169 pieces, including symphonies, operas, ballets, concertos, cantatas and songs. Among his most famed late works are the ballets The Sleeping Beauty (1890) and The Nutcracker (1892).

Mar 13, 2016 · BUCKSPORT and BANGOR — Bangor Ballet will present “The Sleeping Beauty,” a ballet in two acts at 7 p.m

Posts about Canadian ballet dancers written by Gerry B.

The Sleeping Beauty, a crowning jewel in the career of choreographer Marius Petipa, is often called the finest achievement of classical ballet.

Choreography: Choreography, the art of creating and arranging dances