Fun Fact: Ballet Class Isn’t What it Used to Be…Thank Goodness!

Ouch. Ouch. Ouch. I need an ice pack just thinking about this…

A ballet barre from the 1820s:

“48 pliés followed by 128 grand battement, 96 petit battement glissé, 128 ronds de jambes sur terre and 128 en l’air, and ending finally with 128 petit battement sur le cou-de-pied. One inevitable consequence of this extreme training was a sharp rise in injuries.”

– Jennifer Homans, Apollo’s Angels, 2010, p. 129-130

Oh, and all of this was repeated in center. Yikes. Do not try at home.

Extreme Ballet Training Image Clara's Coffee Break
Created with Wikimedia Commons Public Domain Image – Not a Painting of an 1820s Ballet Class, in Case You’re Wondering 😉

Taglioni Tuesday

“Contemporary lithographs and portraits often show Taglioni poised in a low arabesque; she balances on an exquisitely arched foot, with her other leg stretched out behind and an arm reaching poignantly forward. It is an emblematic moment: we feel her body pulled in two directions. She wants to go, but her leg and her arm counteract each other, and instead she balances perfectly on one foot, caught between fleeting desires. The impulse is to fly, but the symmetry of the position will not allow it. The boundaries of classical technique are clear, which made it all the more interesting when she strained to escape them.”

– Jennifer Homans, “Steps, Steps, Steps“, New Republic, February 17, 2002

marie-taglioni-in-zephire-large
Wikimedia Commons Public Domain Image.

 

Fun Fact: What is “Gisellitis”?

Gisellitis Clara's Coffee Break 3
Created with Wikimedia Commons Public Domain Image.

What does George Balanchine’s term “Gisellitis” mean?

Robert Greskovic writes:

“Some observers choose to apply the word soft to ballet from the Romantic era. It’s not an inappropriate distinction, but it can be a trap, leading in the extreme (of both expectation and execution) to a limpness and/or droopiness that borders on the absurd. (Balanchine scoffed at a certain lugubriousness around the Old World ballet, and even created the term Gisellitis to describe the “disease”).”

Ballet 101: A Complete Guide to Learning and Loving the Ballet, p. 301

Jumping Like a Toad?

Image Adapted From Wikimedia Commons Creative Commons Image
Image Adapted From Wikimedia Commons Creative Commons Image

It wasn’t always considered bad technique to perform ballet jumps with bent knees! Maria Taglioni, the Romantic Era ballet icon, actually thought it looked better that way:

“But (unlike today’s dancers) she jumped with bent knees […] She disparaged dancers who straightened their knees too stiffly in the air, springing up “like toads”. The idea was to make the jump appear effortless and soft, rounded and feminine—never stiff or strained with effort.”

Apollo’s Angels, Jennifer Homans, p. 140