Stylistic variations have emerged and evolved since the Italian Renaissance. Early, classical variations are primarily associated with geographic origin. Examples of this are Russian ballet, French ballet, and Italian ballet. Later variations, such as contemporary ballet and neoclassical ballet, incorporate both classical ballet and non-traditional technique and movement. Perhaps the most widely known and performed ballet style is late Romantic ballet (or Ballet blanc), a classical style that focuses on female dancers and features pointe work, flowing and precise movements, and often presents the female dancers in traditional, short white tutus. Romantic ballet Main article: Romantic ballet Romantic ballet is defined by an era during the early to mid 19th century (the romantic era) in which ballets featured themes that emphasized intense emotion as a source of aesthetic experience. The plots of many romantic ballets revolved around spirit women — sylphs, wilis, and ghosts — who enslaved the hearts and senses of mortal men. The 1827 ballet La Sylphide is widely considered to be the first, and the 1870 ballet Coppélia is considered to be the last work of romantic ballet. Classical ballet Main article: Classical ballet
Scene from act 4 of Swan Lake, Vienna State Opera, 2004
Harlequin and Columbina from the mime theater at Tivoli Gardens, Copenhagen, Denmark Classical ballet is based on traditional ballet technique and vocabulary. There are different styles of classical ballet that are related to their areas of origin, such as French ballet, Italian ballet and Russian ballet. Several of the classical ballet styles are associated with specific training methods, which are typically named after their creators. For example, the Cecchetti method is named after its creator, Italian dancer Enrico Cecchetti and the Vaganova method is named after Russian ballerina Agrippina Vaganova. Neoclassical ballet Main article: Neoclassical ballet Neoclassical ballet is a style that utilizes classical ballet technique and vocabulary, but deviates from classical ballet in its use of the abstract. In Neo-Classical Ballet, there often is no clear plot, costumes or scenery. Music choice can be diverse and will often include music that is also neo-classical (e.g. Stravinsky, Webern). Neo- Classical ballet opens up the use of space to multiple possibilities, as the elimination of the necessity of formalities and story telling allows far more possibilities for architecture and design in choreography. Tim Scholl, author of From Petipa to Balanchine, considers George Balanchine's Apollo in 1928 to be the first neoclassical ballet. Apollo represented a return to form in response to Sergei Diaghilev's abstract ballets.[clarification needed] Balanchine worked with modern dance choreographer Martha Graham, expanding his exposure to modern techniques and ideas, and he brought modern dancers into his company (New York City Ballet) such as Paul Taylor, who in 1959 performed in Balanchine's Episodes. While Balanchine is widely considered the face of Neo-Classical Ballet, there were others who made significant contributions to the development of the style. Fredrick Ashton’sSymphonic Dances (1946) is a seminal work for the choreographer, and is a work staged in white tunics, abstract and minimal set design with no discernable plot. Set to César Franck’sscore of the same title, it is a pure-dance interpretation of the score in a manner that exemplifies the Ashton style. Another form, Modern Ballet, also emerged as an offshoot of neo-classicism. Among the innovators in this form were Glen Tetley, Robert Joffrey and Gerald Arpino. While difficult to parse modern ballet from neo-classicism, the work of these choreographers favored a greater athleticism that departed from the delicacy of ballet. The physicality was more daring, with mood, subject matter and music more intense. An example of this would be Joffrey's Astarte (1967), which featured a rock score and sexual overtones in the choreography. Contemporary ballet Main article: Contemporary ballet
A contemporary ballet leap performed with modern, non-classical form Contemporary ballet is a form of dance that opens up the doors to for any style to influence a work made utilizing ballet technique. Contemporary Ballet can take on a wide variety of aesthetics, incorporating pedestrian, modern, jazz, or ethnic forms, so long as a the roots of classical ballet are apparent. It allows for open-ended exploration and experimentation, but a good way to determine if a work is contemporary ballet, as opposed to contemporary dance, is to ask the question, is ballet training needed to perform this as it was intended?. Again, it can sometimes be difficult to parse this form from neo-classical or modern ballet. Some prime examples of this would be Twyla Tharp’sDeuce Coupe (1973) for the Joffrey Ballet. In this ballet, Tharp juxtaposed a ballerina clad in white who makes her way through the lexicon of ballet steps, while dancers clad in street clothes, sometimes in pointe shoes, socks or sneakers, dance in wide range of styles to the music of the Beach Boys. In the 1980s William Forsythe made substantial innovations[according to whom?] in contemporary ballet with a range of works, including In the Middle Somewhat Elevated (1987). This work featured a robust athleticism and electric score. Forsythe took classical ballet vocabulary and exaggerated it, making the dancers move bigger, faster and in more directions than before. Many contemporary ballet concepts come from the ideas and innovations of 20th-century modern dance, including floor work and turn-in of the legs. This ballet style is often performed barefoot. Contemporary ballets may include mime and acting, and are usually set to music (typically orchestral but occasionally vocal). George Balanchine, the founding director of the New York City Ballet, is considered[by whom?] to have been a pioneer of contemporary ballet because of his pioneering development of neoclassical ballet. Another early contemporary ballet choreographer, Twyla Tharp, choreographed Push Comes To Shove for the American Ballet Theatre in 1976, and in 1986 created In The Upper Room for her own company. Both of these pieces were considered innovative for their melding of distinctly modern movements with the use of pointe shoes and classically trained dancers. Today there are many contemporary ballet companies and choreographers. These include Alonzo King and his company LINES Ballet; Matthew Bourne and his company New Adventures; Complexions Contemporary Ballet; Nacho Duato and his Compañia Nacional de Danza; William Forsythe and The Forsythe Company; and Jiří Kylián of the Nederlands Dans Theater. Traditionally "classical" companies, such as the Kirov Ballet and the Paris Opera Ballet, also regularly perform contemporary works. The term ballet has evolved to include all forms associated with it. Someone training as a ballet dancer will now be expected to perform neo-classical, modern and contemporary work. A ballet dancer is expected to be able to be stately and regal for classical work, free and lyrical in neo-classical work, and unassuming, harsh or pedestrian for modern and contemporary work. The art form has grown vertically and horizontally and can sometimes be blurred with other dance forms, but although sometimes hidden (intentionally or not), the element of ballet technique will always be apparent.
- 巴特芒 Battement 腿部動作的總稱
- 巴特芒湯糾 Battement tendu 擦地
- 得米普力也 Demi plie 半蹲
- 哥讓得普力也 Grand plie 大蹲
- 巴特芒湯糾日代 Battement tendu jeté 小踢腿
- 讓德項伯 Rond de jambe 用腿劃圈
- 阿太爾 A terre 地面
- 巴特芒風糾 Battement fondu 單腿蹲
- 古得彼也 Cou-de-pied 動作腳位於主力腳腳腕
- 巴特芒芙拉貝 Battement frappé 小彈腿
- 阿大糾 Adagio 慢板,多指控制類動作
- 昂萊爾 En l'air 空中
- 哥讓得巴特芒日代 Grand battement jeté 大踢腿
- 日了畏 Releve 上升,多指半腳尖,腳尖動作
- 昂法斯 En face 正面
- 埃撲魯芒 Epaulement 頭和肩的動作
- 克羅賽 Croise 交叉
- 埃法賽 Effacé 敝開
- 阿拉貝斯克 Arabesque 迎風展翅舞姿
- 埃嘎得(前) Ecarté 攀峰式
- 埃嘎得(後) Ecarté 俯望式
- 阿提丟 Attitude 鶴立式舞姿
- 湯里也 Temps lié 移重心
- ^ Chantrell, Glynnis (2002). The Oxford Essential Dictionary of Word Histories. New York: Berkley Books. ISBN 0-425-19098-6.
- ^ 2.0 2.1 Liddell, Henry George; Scott, Robert. "A Greek-English Lexicon". Perseus Digital Library.
- ^ Harper, Douglas. "Online Etymology Dictionary".
- ^ Wulff, Helena (1998). Ballet Across Borders: Career and Culture in the World of Dancers. Oxford: Berg. p. 44. ISBN 1-85973-998-9.
- ^ 芭蕾舞的風格流派簡介
- American Ballet Theatre: Ballet Terms Dictionary
- Ballet//Chisholm, Hugh (編). 大英百科全書 第十一版. 劍橋大學出版社. 1911年.