Parisian Music-Hall Ballet, 1871–1913. By Sarah Gutsche-Miller.
2017; Oxford University Press; Volume: 98; Issue: 2 Linguagem: Inglês
10.1093/ml/gcx031
ISSN1477-4631
Autores Tópico(s)Vietnamese History and Culture Studies
ResumoThe fate of French ballet in the nineteenth century is a familiar story: following a golden age of Romantic ballet-pantomime at the Paris Opéra—a creative era that included such imaginative works as La Sylphide, Giselle, Le Corsaire, and Coppélia—French ballet suffered a period of stagnation and decline until Sergei Diaghilev’s Ballets Russes conquered Paris in a flash of brilliant colour, with glamorous and transgressive productions that reinvigorated French ballet culture and restored it to its former glory. Or so the conventional histories of ballet would have us believe. The mythic narrative of the Ballets Russes’s redemption of a moribund art form has long been propagated by dance scholars and cultural historians. Tellingly, Jennifer Homans’s best-selling survey of ballet history (Apollo’s Angels (New York, 2010)) features the section heading ‘Part Two: Light from the East’, and in a recent study of early twentieth-century French ballet as a testing ground for emerging ideologies of nationalism, modernism, and gender identity, Ilyana Karthas alleges that the arrival of the Ballets Russes inspired a ‘new fervour for ballet’ among Parisians, who had essentially lost interest in the genre (When Ballet Became French (Montreal, 2015), 303). A notable exception is Jane Pritchard, who has criticized traditional ‘masterworks’ histories that readily shift from the premiere of Coppélia in Paris, 1870, to the ballets of Marius Petipa in late nineteenth-century Russia (‘Collaborative Creations for the Alhambra and the Empire’, Dance Chronicle, 24 1 (2001), 55–82).
Referência(s)