Birth of ballet in the West

Elmo Fernando

Ballet being a theatrical performance and not a cult into which only one has to be initiated. If one possesses an eye for movement you will probably enjoy ballet. Perhaps if you have a taste for poetry, music and design you may well find ballet at its best, the most exhilarating of the arts. As the basic tenets of the academic technique are based on the soundest of aesthetic principles i.e. (a dancer looks better if he points his toes to their full extent or a dancer should land softly from a jump) they will be apparently felt by a sensitive observer.

A dancer’s technical equipment can be summarized under the captions of musical sensitivity, expressive range, stage presence physical attitude and academic and academic technique. The first four are inborn, namely the twists, twirls and tip-toes that the ballerina exhibits. None can be a ballet dancer without an excellent technique.

The superb dancer will probably have in addition to all this a sense of dedication to his profession. During the twentieth century of fourth kind of ballet the dance drama has arisen. The considerable variety of these forms in further increased by the individual style of choreographers who work with them.

Classical mime found in three or four of the older ballets may be of immediate significance. This is rather stilled, though charming sign language originally adapted from the more naturalistic mime of the Italian tradition. Whole sentences can be constructed forthwith classical mime found in three or four of the older ballets may be of less immediate significance. This is a rather stilted, though charming sign-language originally adapted from the more naturalistics mime of the Italian tradition.

Although the classical technique was fostered naturally the national and social dances still persisted and were developed. Even in the 19th century these national dances still persisted all along. They were promoted moreso by choreographers to give a demi-caractere ballet. These types of ballet lend their names to the classification of dancers who are more suitable to perform in them.

Naturally the excellencies of one type of ballet and dancer will be different from the other two. During the twentieth century a fourth type of ballet and dancer will be different from the other two. During the twentieth century a dance-drama (its title is self-explanatory) has emerged.

The considerable variety of these forms is further increased by the individual styles of the choreographers who work with them.

Three last tips: try to choose seats looking down on the stage; avoid amateur and shoddy professional companies like the plague and remember the audience response appear to be, perhaps, critical.