Ballet as Ideology: Giselle, Act 2 Evan Alderson Presented by: Michelle dePozsgay Edited by Laura Pratt and Dr. Kay Picart.

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Presentation transcript:

Ballet as Ideology: Giselle, Act 2 Evan Alderson Presented by: Michelle dePozsgay Edited by Laura Pratt and Dr. Kay Picart

Aims To understand how art functions in society To understand how ideology is projected through aesthetic value in Giselle To explore the connection between Balanchine’s ballerina and the incidence of Anorexia

Key Terms What is IDEOLOGY:________________________ __________________________________ __________________________________

Key Terms What is ROMANTICISM: __________________________________ __________________________________ __________________________________

Key Terms What is the BOURGEOISIE:_____________________ __________________________________ __________________________________

Ballet Terms ADAGIO:____________________________________ ATTITUDE: _____________________________________________ BALLET BLANC: _______________________________ RONDS DE JAMBE: ____________________________ POINTES: ____________________________________

Theophile Gautier 1811 – 1872 Libretto for Giselle “More than one eye which thought it was seeing only ronds de jambe and pointes found to its surprise its vision obscured by a tear- which does not often happen in ballet.” (123)

Giselle CHARACTERS: GISELLE:___________________ ALBRECHT: ________________ HILLARION: ________________ PRINCESS BATHILDE: ___________________________ THE WILIS: ___________________________ ___________________________ QUEEN MYRTHA: ___________________________

Giselle PLOT: ACT1: ______________________________________ ______________________________________ ______________________________________ ______________________________________ ACT2: ______________________________________ ______________________________________ ______________________________________ ______________________________________

Alderson’s Giselle experience Second Act adagio, Giselle en attitude: “...Evelyn Hart’s virtuosity, the forms of grace given in ballet, the unfolding story, the music and the décor all seemed to become one thing. Criticism fell away; I was for that time seized by beauty.” (123)

Alderson’s Giselle Experience Act 1: _____________ Act 2: _____________ –______________________________

FEMININE POWER: Act 2 The Wilis’ great revenge –___________________________________ ___________________________________ Giselle’s forgiveness _________________________________

The Bourgeoisie Gautier claimed to despise the bourgeoisie: __________________________________ __________________________________ __________________________________ Center of social value: __________________________________ __________________________________ __________________________________

The Bourgeoisie Bourgeois values embedded in Giselle –“MASK:” ____________________________________ ____________________________________ –“VEIL:” ____________________________________ ____________________________________ Though he vows to oppose the “intolerable world of the bourgeoisie,” he has instead become its ideologist. (127)

Maria Taglioni sexuality and chastity first and foremost ballerina of the Romantic period father, Fillipo Taglioni created La Sylphide for her

Taglioni Gautier, “The dancer for women” ______________________________________

More Key Terms ANOREXIA NERVOSA: __________________________________ __________________________________ __________________________________ __________________________________ ANORECTIC: __________________________________ __________________________________

Balanchine “Ballet is woman” (129) “Man is a better cook, a better painter, a better musician, composer…Man is stronger, faster…And woman accepts this, It is her business to accept. She knows what is beautiful.” (129)

Balanchine and Anorexia “The man who defeminized women” ___ percent of female ballet students are anorectics (130) Ballet training and Anorexia: __________________________________ __________________________________ ___________ sexuality

Balanchine and Anorexia “The anorectic pursues, with a vengeance, a particular ideal of feminine beauty.” (130) The ballerina invites women to embody her same image. “Anorexia is a cultural invasion of the body.” (130)

Ideology, Aesthetics, and Dance AESTHETICS: ______________________________________ ______________________________ IDEOLOGY: ______________________________________ ______________________________________ THE CONNECTION: ______________________________________ ______________________________________ ______________________________________

Works Cited Alderson, Evan. “Ballet as Ideology: Giselle, Act 2.” Meaning in Motion. Ed. Jane Desmond. Durham: Duke University Press, McKenzie, Kevin. “Ballet Dictionary.” American Ballet Theater. Ballet Theater Foundation, Inc Mar Shomler, Bob. “Giselle Act 2.” “Taglioni, Maria,” “Anorexia Nervosa.” Columbia Encyclopedia, sixth edition. Highbeam Research, Inc Mar Garland, Kevin. “La Sylphide Note.” The National Ballet of Canada. 22 Mar Hugo, Victor. “Theophile Gautier.” 22 Mar Croatian National Theater, Multimedia. “Giselle.” Mar 2005.