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

2. 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

3. Key Terms What is IDEOLOGY:________________________ __________________________________ __________________________________

4. Key Terms What is ROMANTICISM: __________________________________ __________________________________ __________________________________

5. Key Terms What is the BOURGEOISIE:_____________________ __________________________________ __________________________________

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

7. 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)

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

9. Giselle PLOT: ACT1: ______________________________________ ______________________________________ ______________________________________ ______________________________________ ACT2: ______________________________________ ______________________________________ ______________________________________ ______________________________________

10. 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)

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

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

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

14. 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)

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

16. Taglioni Gautier, “The dancer for women” ______________________________________

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

18. 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)

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

20. 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)

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

22. Works Cited Alderson, Evan. “Ballet as Ideology: Giselle, Act 2.” Meaning in Motion. Ed. Jane Desmond. Durham: Duke University Press, 1997. 121-131 McKenzie, Kevin. “Ballet Dictionary.” American Ballet Theater. Ballet Theater Foundation, Inc. 2003. 22 Mar 2005. http://www.abt.org/education/dictionary/index.html http://www.abt.org/education/dictionary/index.html Shomler, Bob. “Giselle Act 2.” 1994. http://www.shomler.com/dance/giselle/http://www.shomler.com/dance/giselle/ “Taglioni, Maria,” “Anorexia Nervosa.” Columbia Encyclopedia, sixth edition. Highbeam Research, Inc 2005. 22 Mar 2005. http://www.encyclopedia.com/html/T/Taglioni.asp http://www.encyclopedia.com/html/T/Taglioni.asp Garland, Kevin. “La Sylphide Note.” The National Ballet of Canada. 22 Mar 2005. http://www.national.ballet.ca/Performances/Seasons/2005fall/sylphideNote.php http://www.national.ballet.ca/Performances/Seasons/2005fall/sylphideNote.php Hugo, Victor. “Theophile Gautier.” 22 Mar 2005 http://www.victorhugo2002.culture.fr/culture/celebrations/hugo/fr/contpg4.htm http://www.victorhugo2002.culture.fr/culture/celebrations/hugo/fr/contpg4.htm Croatian National Theater, Multimedia. “Giselle.” 2004. 22 Mar 2005.