Chapter 8 The 19th Century
I. The 19th century was a time of change with the Industrial Revolution affecting
the economy, society and politics.
A. The steam engine expanded industries.
1. Western Europe saw many inventions during this period as well as the notion of
developing national identities.
2. Russia was emerging from feudalism during this time and did not embrace
industrialization.
a. Russia had become one of the most powerful countries in the world and was
able to play a role in European affairs after especially after the defeat of Napoleon
in 1814.
3. The English society in the 19th century was called the Victorian era because of
the long and peaceful reign of Queen Victoria.
a. This time appeared to be dignified and restrained but there was child labor,
prostitution, and the exploitation of colonials.
b. On the surface, women were placed on pedestals while men dominated
business, but there were undercurrents of feminism.
4. The 19th century was a prolific and popular period for literature with novels,
short stories and magazine articles being published. In Russia, writers avoided the
-1-
censors by using linguistic tricks and allusions their readers would understand.
a. Russian nobility spoke French and wore French fashions. Russian artists in
theater, literature and music emerged.
II. Romantic Ballet emerged in the Paris Opéra when the director produced a
spectacle in a weak opera hoping to achieve box office success since royalty no
longer controlled or supported the Opéra. The dance section of Robert le Diable
was the “Dance of the Dead Nuns” in which a group of dancers rose from their
tombs with their lead dancer, Marie Taglioni. It was a ghostly stage vision that
was enhanced by the use of new gas lighting. The result was box office success
and prompted the production of La Sylphide which paved the way for the romantic
era of ballet.
A. Romanticism in art and literature was a revolt against reason and a spontaneous
overflow of powerful feelings.
1. Germany critics defined this term as arts based in medieval tales of romance
and those derived from classical sources.
2. The romantic period last a little more than ten years in France, it had a profound
impact of ballet development and romantic ballets continued to be
-2-
performed in the United States, Denmark and Russia throughout the 19th and 20th
century and some are still performed today.
3. With the advent of factories, many people in Europe were employed as factory
workers and sought relief from their humdrum lives by attending the ballets and
other forms of theater. They sought entertainment and to indulge in being swept
away to faraway lands and fantastic places.
4. Although many romantic ballets were performed at the Paris Opéra, many
dancers had been trained at the La Scala opera house in Milan, Italy. Dancers and
ballet masters traveled throughout Europe and often performed in Russia.
B. During the 18th century, males were the lead dancers in ballets and the 19th
century saw females as the leading stars and characters of ballets. Male dancers
took supporting roles in the romantic ballets and continued as ballet masters and
arranged the ballets. Ballerinas danced on the tips of their toes to enhance their
ethereal quality. The establishment of pointe work during this period became an
essential feature of ballet.
1. Fillipo Taglioni was an Italian dancer, choreographer and ballet master and
father of Marie Taglioni. His contribution to the ballet was a light and gracious
-3-
quality featuring the mystical quality of woman. In rehearsals, he was very
demanding and often his daughter, Marie, had to be carried out of rehearsals from
exhaustion.
2. Marie Taglioni is known for her unique quality of purity and lightness. The tips
of her ballet slippers were darned and she would rise up on her toes as if she was
defying gravity. She was famous and popular and adored by her fans. She had a
brother named Paul who also danced.
3. Carlotta Grise was a pupil of Perrot and started entered the La Scala ballet in
1829. She danced the role of the first Giselle. Many people believe she was the
first ballerina to wear a blocked slipper to dance en pointe.
I would like to detour from our textbook to discuss the origins of the pointe
shoe and I believe it is pertinent in discussion of the romantic period. As often
happens, even in recorded and documented history, the origins and the
development of ideas and technique are sometimes credited to different people or
groups. Some historians credit the Russian ballerina, Anna Pavlova with being the
ballerina responsible for creating the pointe shoe due to her high arches, weak feet
and her inability to dance on her toes without support.
Reviewing how this came into being, it was Marie Camargo who first took
-4-
the heels off her shoes to enable her to leap and jump which would not have been
possible wearing a shoe with heels. In order to keep the slippers on, ribbons were
attached to the slipper and laced around the ankle. Looking also at the romantic
period of ballet when women were seen as sylph-like creatures who danced on the
tips of their toes and sometimes even wore wings to enhance the ethereal quality.
Marie Taglioni darned the sides of her slippers to allow her to rise up on the tips of
her toes. Her fans in Russia loved her so much they cooked her slippers and at
them with a sauce. Research indicates that it was considered cheating to put
leather or wood in the toes of ballet slippers for more support and re-enforcement
of the shoes, although it appears many ballerinas did exactly that.
The French school of Ballet emphasized refinement and the Italian school
was more athletic and pushed technique to the limit in order to achieve dazzling
virtuosi feats. Pierina Legnani did thirty-two fouettes en pointe on the tips of her
toes to the amazement of audiences, which would have been impossible without a
wooden support in her shoes and so, this then became the standard for all ballerinas
to perform. As the evolution of the pointe shoe changed the ballet form, it should
be noted that this advancement of the ballet form and the technical difficulty
actually rose out of a period when women were sen as ethereal beings who were
delicate and light and dancing on the tips of their toes and floating
-5-
without effort. During this period, and up until this time, most of the ballet
masters and influential contributors were men. It is common knowledge in all
ballet schools, academies or colleges that during this time, ballerinas made
choreographic and technical contributions to dance, but there is very little
acknowledgment of this historically. For the purposes of discussion, Anna Pavlova
is most often credited with the actual development of the pointe shoe, but it is
important to know that the actual technique of dancing on one’s toes was initiated
by Marie Taglioni which would not have been possible without Marie Camargo
dancing without heels, but Carlotta Grise is believed to be the first ballerina to
wear a blocked slipper to dance en pointe.
When ballerinas were putting wood or leather in their shoes for extra
support, it was at first considered cheating and then when the use of the shoes
demonstrated the increased support would allow technical advancement of the for
of ballet dancing, it then became the stand that all female dancers were to achieve.
The influence of the romantic period remained in the continuing show of
effortlessness while performing extremely physically demanding feats of technical
and athletic execution. One source for this lecture makes note of the acceptance of
the football players being able to grunt and groan while playing football and the
beauty of the execution of for in the sport of football or baseball might happen, but
in ballet, it is imperative that it happen. Dance is a performing art, although at this
-6-
point in history we see ballet advancing to a very technically demanding and
athletic form, with students having been carried out of dance rehearsals from
exhaustion. On stage, the performing art continued to maintain that it was and is
effortless. Thinking on this note, during the industrial revolution, audiences
attended the theater and the ballet to escape from their humdrum lives and to be
taken to a more magical place and this became the development of dance from
entertainment to dance for escape. The advancement of the pointe shoe along with
the theme and the attitude of fantasy melded and created an illusion that an
extremely difficult technical feat was effortless.
Earlier in our review of this period of romantic ballets, there was reference
to a somewhat feminist uprising and in the world of dance, what is evident from
the development of the pointe shoe is that women, in the role of the ethereal sylph,
developed no only their technique, but the actual pointe shoe to enable them to
have the strength to achieve the look of being light and flying on the stage. Ballet,
at this point, changed the focus from the male dancer being dominate to the female
dancer with the man performing the supporting role.
Wikipedia and Gaynor Mindons homepage, www.dancer.com
-7-
4. Fanny Cerrito was born in Italy and danced at La Scala. She had brilliant
technique and became the star of the London Stage. She was married to Arthur
Saint-Léon, a dancer and choreographer and composer for a short time.
5. Lucille Grahn was a Danish dancer and danced the title role in August
Bournovilles first production of La Sylphide. Grahn left Denmark to dance in
Paris tour and mostly performed sylph roles in which she excelled. She also
danced in Pas de Quatre. After she retired from performing, she became a ballet
mistress.
6. Fanny Elssler was a Viennese dancer who trained at Theater an der Wien.
She traveled throughout Europe and was an instant success in America. She was
able to execute the most difficult technique en pointe and was a rival to Taglioni.
In Moscow she was given more than 50 curtain calls hundreds of bouquets and
gifts of jewels. Essler offered a contrast to the femininity of the other romantic-era
ballets with her versatility and her ability to display earthy movements as opposed
to the ephemeral nature of the sylph.
7. Jules Perrot was a French dancer and ballet master who had danced in Paris and
become a soloist at the Kings Theatre in London. He was Taglionis partner and
Carlotta Grisis teacher. Perrot is considered the greatest male dancer of the
romantic era. He created ballets using dramatic plots and expressive
-8-
choreography. His choreography for Pas de Quatre brought the four leading
ballerinas of the romantic era together and showed off their personal syles.
8. Jean Coralli was of Italian descent but born in Paris and was a dancer,
choreographer and ballet master. He produced his most important ballets at the
Paris Opéra.
9. August Bournoville was a Danish dancer, choreographer and ballet director. He
studied with Auguste Vestris at the Opéra and absorbed much of the French style
of the danseur noble and the technical virtuosity of the 19th century French-school
male dancer. His ballets became the foundation for the Royal Danish Ballet and he
kept
ballet alive and flourishing in Denmark while it declined in Europe in the late part
of the 19th century.
10. Salvatore Viganò was a son of dancing parents and in addition to being a
dancer himself was a talented musician, poet and painter. He focused on
individual movements of stylized gestures for the corps de ballet and became
known as the “Father of Italian Ballet.” His technique and ideas about the corps de
ballet resurfaced in the next century in the work of Michael Fokine.
11. Carlo Blasis was a dancer but his greatest contributions to ballet were as a
teacher and his writings as a ballet theorist. He invented the ballet position of
attitude. Among Blassis’ writings are The Elementary Treatise Upon the Theory
-9-
and Practice of the Art of Dancing and The Code of Terpsichore a book written
for
dancers that established the basis of modern classical ballet. He trained dozens of
dancers using the system he created including Enrico Cecchetti and others who
would dazzle the audiences in Russia near the end of the century.
12. Théophile Gautier was a French writer who wrote critical and dramatic art
reviews and scenarios for romantic ballets including Giselle and La Péri.
C. During the first part of the 19th century, the contradance was popular in English
ballrooms as well as the minuet which had lost its popularity in France. French
had
fled to England where they taught dance and etiquette in fashionable boarding
schools. The distinction between dance for theater and dance in the ballroom
became even greater in the 19th century as ballerinas were dancing en pointe. With
the invention of gas lighting, a large curtain separated the audience from the stage
to protect the audience in case of fire from the new form of stage lighting.
1. There was a code of rules for both men and women attending the ballroom
dances and guides including the written instructions for the dances of the period.
a. The minuet, contradance, Scottish reels and others continued to be the popular
dances for the ballroom.
1. The cotillion, or the French cotillion developed in the court of Louis XVI but
-10-
continued its popularity until the end of the 19th century in the rest of Europe. This
dance contained many figures that required practice by a group with a dance
master. It was eventually supplanted by couple dances.
2. Polonaise was an old court dance which originated in the 16th century Polish
court processions.
3. Quadrille was a very old dance which might have originated in France before the
18th century and was first danced very stately and then later danced very quickly. It
was very popular with the middle class after the French revolution and was very
popular in English ballrooms. The steps were very intricate and was danced with
four couples.
4. Waltz comes from the German word for turn and it was a gliding dance in triple
time while the couple remained in an embrace. Many countries claim the waltz,
historians believe that the waltz originated in Germany. It was introduced in
England in 1812 and was both a popular dance and a controversial one as well. The
morality of the waltz was under criticism of the clergy, mothers and social
dignitaries due to the closeness of the couples when they waltzed and the
breathlessness of the young women.
5. The Polka was a popular social dance any might have originated in Poland or the
former Czechoslovakia. The dance performed in 2/4 time was performed in the
-11-
ballroom in Prague in the 1830's and dancing masters took it to Paris. There was a
polka mania that swept Europe and by 1844, the polka had arrived in English
ballrooms.
D. Dance designs made a part of the ballroom dances had distinct formations and
the choral dances were similar to previous periods.
E. Orchestras were used for the ball and bands played in the Vauxhalls. In the
a short concert was paled before the evenings theatrical event and at intermission.
The dancing teachers often composed and arranged songs for their ballets and only
a few composer began to write music specifically for ballet as part of the attempt to
create a unified artistic performance.
F. The fashionable upper class in England and Europe led lives of leisure and
extravagance and during the romantic era, women’s fashion, hairstyles and footwear
were often similar to those of the dancers on the stage. The most notable influence
was Marie Taglioni’s white muslin dress from La Sylphide. Fashionable ladies of
the romantic period wore dresses made in this ethereal-looking style and adorned
with
-12-
ribbons. The poor during this time were doomed to drudgery in the factories.
G. Romanticism in music surfaced in the 1820s and continued until around 1910
with composers such as Johannes Brahms, Frédéric Chopin and Franz Shubert.
H. Romantic ballet was unity of forms with a plot, dramatic action, the corps de
ballet supporting the main characters with the music and the costumes setting the
mood and reflecting the dramatic action of the dancers. Romantic-era female
dancers rose onto their toes and wore gossamer gowns and often wings while male
dancers wore knee breeches or short pants over tights and poet’s shirts sometimes
with jackets or vests.
I. Theaters had an orchestra pit and tiered boxes and a balcony. The open flames
from gas lights posed a danger to both performers and audience.
J. La Sylphide was choreographed by Fillipo Taglioni for his daughter, Marie.
Giselle, ou les Wilis premiered with Carlotta Grisi dancing the title role with Lucian
Petipa as Albrecht, the lead male role. Both are fantasy ballets which were
influenced by the Dance of the Dead Nuns and are still performed today. La
Sylphide is considered the
-13-
oldest surviving ballet and was first performed in Paris in 1832. The
ballet was then remounted in a production choreographed by August Bournoville
for the Royal Danish Ballet and the lead role was danced by Lucile Grahn. This is
the version that has survived. Because of the similarities of the names, I would like
to talk about Les Sylphide which was choreographed by Michel Fokine with music
by Frédérec Chopin and is a short, non-narrative ballet blanc. The twentieth
century ballet is often described as “romantic reverie” and holds the distinction of
being the first ballet to be simply that. Les Sylphides has no plot and is a ballet of
many white-clad sylphs dancing in the moonlight with the poet or young man
dressed in white tights and a black top. I mention this ballet during this part of the
lecture because of the possibility of confusion of the names as well as the style.
This ballet is still performed today also and at this point in our review of history, we
will start to see a trend of ballets and dances continuing to be performed.
K. Pas de Quatre was a ballet without a plot that was choreographed for the four
leading ballerinas of the romantic era; Marie Taglioni, Fanny Cerrito, Carlotta Grisi
and Lucille Grahn. The reason for the choreographer was to feature each of the
ballerinas unique talents.
J. Dance manuals became prolific during this time as dance master wrote
instructions for dances and manners for the ballroom.
-14-
L. Classical Ballet in Russia was funded by the czar of Russia and European artists
and dancers were imported to work with Marius Petipa to produce some of the most
extravagant and elegant ballets. Aristocrats in Russia had been speaking French
and emulated French style and arts as early as the 17th century. The last half of the
19th century was dominated by the development of classical ballet in Russia. The
teachers were mostly male and many dancers were European. During the second
half of the 19th century, Russia became more industrialized and expanded its power
to Afghanistan, China and the Pacific. Serfdom was abolished in 1861 after the
autocratic rule of Catherine the Great.
1. Arthur Saint-Léon was a French dance, choreographer, violinist and compose as
well as being considered one of the best dancers of his time. He was company
teacher at the Paris Opèra and succeeded Perrot as ballet master of ST. Petersburgs
Imperial Theatre. He developed a notation system for dance and choreographed
many ballets including Coppélia.
2. Marius Petipa was born in France but made his fame in Russia. During his
career in Russia, Petipa created fifty or more ballets among them what we now
consider to be the classics of ballet. They include Don Quixote, La Bayadère, The
Sleeping Beauty, Cinderella and Swan Lake. Petipa worked closely with Pyotr Ilich
Tchaikovsky and his ballets had lavish costumes. He demanded technically strong
-15-
ballerinas and premier dancseurs and imported Italian dancers to star in Russian
ballets and to provide competition for developing Russian dancers.
3. Lev Ivanov was a Russian dancer and choreographer born in Moscow. He was
known for his sensitivity as a dancer and choreographer and Petipa allowed him to
choreograph full sections of Swan Lake and The Nutcracker. His work was mostly
overlooked by a regime that focused on European talent and leadership and was
overshadowed by Petipa.
4. Enrico Cecchetti was born in Rome to an Italian dancing family and was a
dancer, mime and teacher. Most of is career was connected with the Russian ballet
under Petipa and then under Serge Diaghilev. He developed a method of ballet
instruction which is still used today and is a rigid training regime. The goal is for
the student to learn dance by studying and internalising the basic principles in an
effort to become self-reliant rather than imitating movements executed by their
teacher. He published A Manual of the Theory and Practice of Classical
Theatrical Dancing in 1922. Ceccheitti method has set exercises for each day of
the working week to ensure that different types of steps are practiced in a planned
sequence and that each part of the body is worked evenly and all exercises are done
on both sides of the body. The method emphasizes quality as opposed to quantity
and requires that it is more important and beneficial to do an exercise once correctly
than many times carelessly.
-16-
The method also requires that new sequences of steps are taught each day to
develop the students’ ability to learn quickly.
5. Pierina Legnani was born in Milan where she studied and performed with the
ballet at La Scala. She toured Europe and went to Russia in 1892 where she
performed her renowned 32 fouettés en tournant in Cinderella. Each year she
returned to Russia to perform and she was the only European ballerina to be
appointed as prima ballerina assoluta.
6. Virginia Zucchi was an Italian dancer who performed in Italy Berlin, London
and St. Petersburg. She was a technical dancer of virtuoso skill and the results of
her influence was revealed in the next generation of Russian dancers.
M. In the early 19th century, Russia had a rich dance history of preserved folk
dances. These dances became a part of Russian ballets and under the reign of
various czars, dance flourished. The czars had an amusement room which was a
forerunner of the court theater and students of the military academy performed.
1. The lesser nobility replicated theaters in their home or as separate buildings on
their estates and serfs performed for their masters in their homes.
2. Public ballets performed in Moscow can be traced back to 1759. Giovanni
Baltista Locateilli built a private theater for the performance of ballets and operas.
-17-
3. In 1764 Filippo Beccari organized a dancing school at the Moscow orphanage.
When he was hired to train professional dancers in 1773, almost one-third of the
orphans he had trained became soloists with professional careers.
4. In 1780 the Petrovsky theater was built and after it burned down, Czar
Alexander established the Moscow Ballet and Opera Theatre as an imperial theater.
The Bolshoi of today is now on the site of the obsolete Petrovsky Theater. In 1862,
the Moscow Theatre separated from the jurisdiction of St. Petersburg. Opera, ballet
and dramatic theaters in Moscow were influenced by the city’s university and
enlightened circles of society and in the opinion of Russians Moscow Ballet Theatre
had an advantage over St. Petersburg in that it was less influenced by the court.
5. The Maryinsky Theatre was an outgrowth of the court theater in St. Petersburg
and Catherine II created the position of the director of the imperial theaters in 1766
whose task was to bring all of the performing arts under the authority of the
director.
a. The Mariinsky Ballet was originally known as the Imperial Ballet of Russia and
is most commonly known by its former Soviet name the Kirov Ballet.
b. Ballroom dance of the second half of the 18th century continued in Russia to
include the quadrille, polka and schottische which were all surpassed by the waltz
and the music of Johann Strauss.
c. The classical ballets ranged from two acts to four acts and there was an
-18-
establishment of a hierarchy of soloists and a corps de ballet. The grand pas de
deux was reserved for the ballerina and the premier danseur. Acting roles were
played by retired dancers.
d. The ballerina and other females performed en pointe and wore tutus that ranged
from above the knee to mid-calf depending on the ballet.
e. Male dancers wore tunics or peasant shirts and vests, tights, and either knee
breeches or shorter pants.
f. Character dancers wore stylized national costumes, usually with boots.
N. The grand pas de deux structure developed from the pas de deux in romantic
ballets. All grand pas de deux have a similar structure and are performed by a male
and female dance who is en pointe.
a. Part I is adigio and slow with the man supporting the woman as she turns slowly
or promenades on one leg.
b. Part II is the male variation which exhibits his virtuosity with jumps and turns
and leaps and ends with a pose, often on one knee.
c. Part III is the female variation where the ballerina exhibits her technical virtuosity
and ends with a pose.
d. Part IV is the finale or coda and is another dance for two but is quick and
includes
-19-
supported lifts and rapid turns. Then each dancer displays their technical virtuosity
in solos and the last part is performed together.
O. The bridge from romantic to classical ballet is Coppélia. In the latter part of the
19th century, Petipa and his artistic staff turned out ballet after ballet for audience
demand and these dances have been passed down from generation to generation and
are still performed today. Coppélia or The Girl With Enamel Eyes was
choreographed by Arthur Saint-Leon. The ballet was based on the story The
Sandman by E.T.A. Hoffman who was also the writer for the genesis of The
Nutcracker. A doll maker named Dr. Coppélius makes a doll with a soul. The ballet
has many elements of the romantic era along with the elements of the classical
period.
1. The Sleeping Beauty and the Nutcracker are two ballets choreographed in the late
19th century based on fairy tales.
2. Swan Lake was originally not a successful ballet but was re-created by Petipa and
Ivanov with music by Tchaikovsky in 1877 and has become an enduring classic and
prototype of a classical ballet.