Ballet in the Age of Romanticism
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The sentimentalist critique of the new way of life manifested itself as a discord between the dreams and reality of the Romantics. They contrasted the real world with fantasy and exotic worlds. Ballet Romanticism was a great success in France, where the dance technique, especially for women, was high. The first Romantic choreographer was Philippe Taglioni, who produced the ballets Sylphide (1832) and Our Lady of the Danube (1838) starring his daughter Maria Taglioni. Romantic choreographers also included Jean Coralli (1779–1854), Jules Perrot and Arthur Saint-Léon.
The heroines of the ballet are gypsy elves and forest elves, characters of Celtic and German folklore. French costume designers I. Leconte, E. Lamy and P. Lormier invented the image of a dancer in a white tunic, a garland on his head and wings on his back, an otherworldly creature. Later, the terms "white" and "white tunic" appeared. White is the absolute color, "white ballet" expresses the romantic yearning for the ideal, and the ballerina wearing arabesque has become its format and routine. The roles of group dance rise, and dance and pantomime, solo, group dance and ensemble are fused into one whole. Thanks to the development of finger technology, the aerial flight of movements has become a new dance style.
Romantic ballet relied more on literary sources (Esmeralda, 1844, after V. Hugo, Le Corsaire, 1856, after J.G. Byron), Katarina, the robber's daughter, C. Pugni, 1846). The role of music gradually intensified, before ballet music was usually a team, it served as a background and rhythmic accompaniment to the dance to create an atmosphere of performance. The ballet music of Romanticism itself created drama, giving the musical character to the figure.
Giselle (1841) by J. Coralli and J. Perrot at the Paris Opera, adapted from T. Gauthier's lyrics and A. Adam's music became the pinnacle of romantic ballet. Giselle unified music, pantomime and dance. In addition to pantomime, the movements of the performance are developed by the main themes of music and dance, and the intonation of the melody gives the characters musical characteristics. Adam began the symphonic process of ballet music and enriched it with the inherent means of expression of symphonic music.
M. Taglioni and F. Elsler are the biggest representatives and rivals of romantic ballet. Their personalities correspond to two branches of Romanticism: Irrational (Fantasy) and Heroic-Exotic. The Italian Maria Tagrioni represents the first direction, and her Sylph becomes a symbol of romantic ballet, her dance elegant, flying and poetic. The dances of Austrian ballet actress Fanny Elsler are characterized by temperament, swiftness and exquisite skill, and she represents the heroic and exotic direction of romantic ballet. As a distinctive dancer, she performed the Spanish dance kachucha, the Polish Krakowiak, and the Italian tarantella. Other famous Romantic dancers: Carlotta Grisi, Fanny Cerrito (1817–1909), Lucille Grande (1819–1907). Grisi was the first performer of the giselle character, and she is also known for her main role in the ballet C. Pugni Esmeralda. In 1845, Perrault composed the famous entertainment pas de quatres (C. Quatres). Pugni's music), Taglioni, Elsler, Grisi, Cerrito performed at the same time.