Storytelling through Ballet and the Woman Behind It - Revision history

Mthatfalvi at 14:27, 21 June 2017

2017-06-21T14:27:42Z

Mthatfalvi at 13:46, 21 June 2017

2017-06-21T13:46:37Z

Mthatfalvi at 13:43, 21 June 2017

2017-06-21T13:43:26Z

Mthatfalvi at 13:41, 21 June 2017

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Mthatfalvi at 13:38, 21 June 2017

2017-06-21T13:38:43Z

Mthatfalvi at 11:08, 21 June 2017

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Mthatfalvi at 11:07, 21 June 2017

2017-06-21T11:07:03Z

Mthatfalvi at 10:00, 21 June 2017

2017-06-21T10:00:05Z

Mthatfalvi at 09:48, 21 June 2017

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Mthatfalvi at 09:46, 21 June 2017

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 =Abstract=
 <br>
-The goal for this milestone was to do an in depth research report on the first recorded ballet in London, ''Pygmalion'' which opened in 1734 at the Covent Gardens, and the story of the famous dancer & choreographer [[Marie Sallé]]. This research looked at how this ballet, choreographed by [[Marie Sallé]], started a new approach of ballet style and performance in London that is used today and also briefly looked at ballet history in London and what is is today. In conclusion, this milestone then told the story of 'Little Marie' through her ballet poses and the places she visits throughout London. To help me with this milestone, I used scholarly researched material as well as my prior experience in ballet performance from lessons taken in kindergarten to 3rd grade. The dance experience helped me with ballet storytelling techniques used in 'Little Marie' 's story.
+The goal for this milestone was to do an in depth research report on the first recorded ballet in London, ''Pygmalion'' which opened in 1734 at the Covent Gardens, and the story of the famous dancer & choreographer [[Marie Sallé]]. This research looked at how this ballet, choreographed by [[Marie Sallé]], started a new approach of ballet style and performance in London that is used today and also briefly looked at ballet history in London and what is is today. In conclusion, this milestone then told the story through pictures of a doll named 'Little Marie' in ballet poses and at different places throughout London. To help me with this milestone, I used scholarly researched material as well as my prior experience in ballet performance from lessons taken in kindergarten to 3rd grade. The dance experience helped me with ballet storytelling techniques used in 'Little Marie' 's story.
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 ====Early 20th Century Growth====
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-The beginning of ballet in London, according to resources about Britain Ballet, started in 1920 when Édouard Espinosa and Philip Richardson founded the Royal Academy of Dancing.<ref name = "brit"> Ballet in Britain. (n.d.). Retrieved June 07, 2017, from http://www.the-ballet.com/britain.php </ref> In 1926, Ninette de Valois opened the Academy of Choreographic Art, which became known eventually as the Royal Ballet.<ref name = "brit"/> The real growth of ballet performances though started after WWII in London. According to an article about WWII ballet, during WWII, the Vic Wells Ballet was sent off on a tour of the Netherlands, France and Belgium where they performed for the solders fighting in battle.<ref> Mackrell, J. (2007, February 15). Judith Mackrell on the Royal Ballet during the second world war. Retrieved June 07, 2017, from https://www.theguardian.com/stage/2007/feb/15/dance </ref> The performers become local heroes surviving the tough conditions with the solders. After that, many places in London started their own ballet companies and ballet grew to be the beautiful dance that is shown in theaters in London today.
+The beginning of ballet in London, according to resources about Britain Ballet, started in 1920 when Édouard Espinosa and Philip Richardson founded the Royal Academy of Dancing.<ref name = "bri"> Ballet in Britain. (n.d.). Retrieved June 07, 2017, from http://www.the-ballet.com/britain.php </ref> In 1926, Ninette de Valois opened the Academy of Choreographic Art, which became known eventually as the Royal Ballet.<ref name = "bri"/> The real growth of ballet performances though started after WWII in London. According to an article about WWII ballet, during WWII, the Vic Wells Ballet was sent off on a tour of the Netherlands, France and Belgium where they performed for the solders fighting in battle.<ref> Mackrell, J. (2007, February 15). Judith Mackrell on the Royal Ballet during the second world war. Retrieved June 07, 2017, from https://www.theguardian.com/stage/2007/feb/15/dance </ref> The performers become local heroes surviving the tough conditions with the solders. After that, many places in London started their own ballet companies and ballet grew to be the beautiful dance that is shown in theaters in London today.
 <br><br>

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 =Conclusion=
 <br>
-Ballet overall has been an important form of storytelling for a long time. It gives the emotion and style that sometimes can't be shown through normal theatrical performances. [[Marie Sallé]] shows us today that ballet can be used to show so many different ways to telling a story. Personally, I believe Marie gives strength for ballet revolutionaries who want to give ballet more meaning and purpose in modern day performance. My story of 'Little Marie' is meant to give honor to ballet today that was shaped by Marie and her performance of ''Pygmalion'' in 1734. In conclusion, ballet is a theatrical art that will continue to change and grow with stories of the future.
+Ballet, overall, has been an important form of storytelling for a long time. It gives the emotion and style that sometimes can't be shown through normal theatrical performances. [[Marie Sallé]] shows us today that ballet can be used to show so many different ways in telling a story. Personally, I believe Marie gives strength for ballet revolutionaries who want to give ballet more meaning and purpose in modern day performance. My story of 'Little Marie' is meant to give honor to ballet today that was shaped by Marie and her performance of ''Pygmalion'' in 1734. In conclusion, ballet is a theatrical art that will continue to change and grow with the stories of the future.
 <br><br>
-Future research could begin with a more in depth look into the history of ballet in England. When researching ballet in England, it was hard to find resources and articles on the specific subject. Another research project could look into all of the specific terms and poses used in ballet today. For this milestone, I could not find specific names for many of my ballet poses used in my deliverable. It would be great for someone to make a glossary with pictures of all of the positions used in modern ballet today.
+Future research could begin with a more in depth look into the history of ballet in England. When researching ballet in England, it was hard to find resources and articles on that specific subject. Another research project could look into all of the specific terms and poses used in ballet today. For this milestone, I could not find specific names for many of my ballet poses used in my deliverable. It would be great for someone to make a glossary, with pictures, of all of the positions used in modern ballet today.
 <br><br>

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 ===Description of Story===
 <br>
-The story's plot is about a little ballerina named "Little Marie' who wanted to visit London and then is able to go to London for one day. The story goes through the places in London where ballet is performed while telling the story of the experiences 'Little Marie' has. The story ends with Marie dreaming about becoming a real ballerina in London someday. This story's plot was based loosely on my trip to London. Angelina Ballerina was an inspiration to the style of the story. This story was meant to represent ballet storytelling in the form of a children's story. I wanted to have the pictures of the ballet poses to be in a way that told the story.  <br><br>
+The story's plot was about a little ballerina named "Little Marie', who wanted to visit London and then goes to London for one day. The story goes through the places in London where ballet is performed, while telling the story of the experiences 'Little Marie' has. The story ends with Marie dreaming about becoming a real ballerina in London someday. This story's plot was based loosely on my trip to London. Angelina Ballerina was an inspiration to the style the story was written in. This story was meant to represent ballet storytelling in the form of a children's story. I wanted to have the pictures of the different ballet poses tell the story.  <br><br>
-All of the poses used in this story are described in the background section in detail. The poses were chosen in no particular order for the story in a way that would make the story flow better and to give it enchantment and life. For example, the gardens were, in my opinion, the perfect place to have Marie to demonstrate a swan lake pose. The Place picture was a picture that I wanted to show the most emotional ballet pose since the Place is where contemporary ballet is performed. Contemporary ballet is a form of ballet that portrays a lot of emotion. The event of a swan lake performance at the Royal Albert Hall was based on a real performance of Swan Lake that was shown in the summer of 2016. Because of the time that production was put on, the time frame for this story was then based last year in June 2016, during a sunny day. <br><br>
+All of the poses used in this story are described in the background section in detail. The poses were chosen in no particular order for the story. They were chosen in a way that would make the story flow better and to give it enchantment and life. For example, the gardens were, in my opinion, the perfect place to have Marie demonstrate a swan lake pose. The Place shot was a picture that I wanted to show the most emotional ballet pose, since the Place is where contemporary ballet is performed. Contemporary ballet is a form of ballet that portrays a lot of emotion. The event of a swan lake performance at the Royal Albert Hall was based on a real performance of Swan Lake that was shown in the summer of 2016. Because of the time that production was put on, the time frame for this story was then based last year in June 2016, during a sunny day. <br><br>
 =Conclusion=

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 ==The Story of 'Little Marie'==
 <br>
-Once upon a time, there was 'Little Marie'. 'Little Marie' loved to dance. She lived in New York but dreamed about going to London. One day her mother surprised her with nothing other than a ticket to London! She jumped for joy! Her dreams were about to come true.
+Once upon a time, there was 'Little Marie'. 'Little Marie' loved to dance. She lived in New York but, dreamed about going to London. One day her mother surprised her with nothing other than a ticket to London! She jumped for joy! Her dreams were about to come true.
 <gallery mode = "packed" heights = 200px>
 File:LittleMarie 1.jpg
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 File:Royaloperahouse.jpg
 </gallery>
-After almost getting run over by a double deaker bus, 'Little Marie' then took the tube to the Royal Albert Hall. When she arrived, her mother surprised her with tickets to see Swan Lake performed by the English National Ballet. 'Little Marie' was so excited! Swan Lake was 'Little Marie's favorite ballet. <gallery mode = "packed" heights = 250px>
+After almost getting run over by a double decker bus, 'Little Marie' then took the tube to the Royal Albert Hall. When she arrived, her mother surprised her with tickets to see Swan Lake performed by the English National Ballet. 'Little Marie' was so excited! Swan Lake was 'Little Marie's favorite ballet. <gallery mode = "packed" heights = 250px>
 File:Royalalberthall.JPG
 </gallery>
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 File:Kensgardens.jpg
 </gallery>
-'Little Marie' 's mother then takes her to one last place, which is called The Place. 'Little Marie' heard of the contemporary ballet dancers that performed there. When she is there, she pretends she is a ballerina performing in Swan Lake. Now she is Odile who tricks the prince into declaring his love for her instead of Odette.
+'Little Marie' 's mother then takes her to one last place, which is called The Place. 'Little Marie' heard of the contemporary ballet dancers that performed there. When she is there, she pretends she is a ballerina performing in Swan Lake. Now she is Odile, who tricks the prince into declaring his love for her instead of Odette.
 <gallery mode = "packed" heights = 400px>
 File:Theplace.jpg
 </gallery>
-When the day is done, 'Little Marie' becomes sad. Her mother was right. She did not get to see everything in London. 'Little Marie' begged her mother to stay longer or come back someday. Her mother said "You will and when you do, you will be a real ballerina on the stage of the Royal Opera House." On the ride home from her day in London, Marie dreamed about one day becoming a real ballerina in London.
+When the day is done, 'Little Marie' becomes sad. Her mother was right. She did not get to see everything in London. 'Little Marie' begged her mother to stay longer or come back someday. Her mother said "You will come back one day and when you do, you will be a real ballerina performing at the Royal Opera House." On the ride home from her day in London, Marie dreamed about the day she would become a real ballerina in London.
 <gallery mode = "packed" heights = 200px>
 File:Stage-curtains-backdrop marie (2).jpg|<br><big>'''The End'''</big><big></big>

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 =Section 2: Deliverable=
 <br>
-I wanted to create a way to portray ballet around London while also telling a story. My friend came up with the idea of a doll called 'Little Marie', who would go around London doing ballet. 'Little Marie' was a miniature human manikin with a pink tutu skirt. She was meant to represent a little ballerina, who dreams about going to London someday. Using the different poses and places described in the background, I will tell the story of 'Little Marie' and her journey through London.
+I wanted to create a way to portray ballet around London while also telling a story. My friend came up with the idea of a doll called 'Little Marie', who would go around London doing ballet. 'Little Marie' was a miniature human manikin, with a pink tutu skirt. She was meant to represent a little ballerina, who dreams about going to London someday. Using the different poses and places described in the background, I will tell the story of 'Little Marie' and her journey through London.
 <br><br>
 ==The Story of 'Little Marie'==

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 [[File:Salle1.jpg|x450px|thumb|Marie Sallé]]
-[[Marie Sallé]] was born 1707 in Paris, France as the daughter of a tumbler.<ref name = "french" > Beaumont, C. W. (1934). Marie Sallé. In Three French dancers of the 18th century: Camargo, Sallé, Guimard (pp. 18-25). London: C.W. Beaumont. </ref>  Marie was one of two children who both had a talent for dance. According to a biography on Marie, she made her first debut in 1718 at the St. Laurent's Fair in an opera-comique by Lesaye called ''La Princesse Carisme''.<ref name = "andros"> Andros, D. (1991, May). Marie Salle, (1707-1756). Retrieved June 05, 2017, from http://michaelminn.net/andros/biographies/salle_marie/ </ref>
+[[Marie Sallé]] was born in 1707 in Paris, France as the daughter of a tumbler.<ref name = "french"> Beaumont, C. W. (1934). Marie Sallé. In Three French dancers of the 18th century: Camargo, Sallé, Guimard (pp. 18-25). London: C.W. Beaumont. </ref>  Marie was one of two children who both had a talent for dance. According to a biography on Marie, she made her first debut in 1718 at the St. Laurent's Fair in an opera-comique by Lesaye called ''La Princesse Carisme''.<ref name = "andros"> Andros, D. (1991, May). Marie Salle, (1707-1756). Retrieved June 05, 2017, from http://michaelminn.net/andros/biographies/salle_marie/ </ref>
 <br><br>
-In 1725, Marie went to London and performed in the production named ''Love's Last Shift''. She stayed in London dancing in many productions, then returned to Paris where she then started at the Paris Opera. However, she quickly returned to London because she was ridiculed for her revolutionary ideas in Paris. She stayed in Paris from 1728 to 1733 then left to go to Covent Garden (now known as the [[Royal Opera House]]) where she choreographed and performed two of her greatest performances, ''Pigmalion'' and ''Bacchus and Ariadne'' which, according to resources, were both shown in the spring of 1734. <ref name = "inf"> McCleave, S. (2008). Marie Sallé, a Wise Professional Woman of Influence. In L. Brooks (Ed.), Womens work: making dance in Europe before 1800 (pp. 160-182). Madison, WI: University of Wisconsin Press.</ref>  <br><br>
+In 1725, Marie went to London and performed in the production named ''Love's Last Shift''. She stayed in London dancing in many productions, then returned to Paris, where she then started at the Paris Opera. However, she quickly returned to London because she would be ridiculed for her revolutionary ideas in Paris. She stayed in Paris from 1728 to 1733. She then left to go to Covent Garden (now known as the [[Royal Opera House]]), where she choreographed and performed two of her greatest performances, ''Pigmalion'' and ''Bacchus and Ariadne'' which, according to a Women's influence book, were both shown in the spring of 1734.<ref name = "inf"> McCleave, S. (2008). Marie Sallé, a Wise Professional Woman of Influence. In L. Brooks (Ed.), Womens work: making dance in Europe before 1800 (pp. 160-182). Madison, WI: University of Wisconsin Press.</ref>  <br><br>
-After her season at Covent Garden, she renewed her contract with John Rich and danced for many operas & dance interludes between acts in plays. She eventually went back to Paris and after a salary raise, returned to the Paris Opera. During her time there, she produced, choreographed and performed in many different ballets which were all wildly praised for her talent, style & grace.
+After her season at Covent Garden, she renewed her contract with John Rich and danced for many operas & dance interludes between acts in plays. She eventually went back to Paris and after a salary raise, returned to the Paris Opera. During her time there, she produced, choreographed and performed in many different ballets, which were all wildly praised for her talent, style & grace.
 <br><br>
-Sallé retired from the opera in 1740 with her final opera performance in ''Les Talens Lyriques''. She died on July 27th, 1756. <ref name = "brit"> The Editors of Encyclopedia Britannica. ( 1998, July 20). Marie Salle. Retrieved June 05, 2017, from https://www.britannica.com/biography/Marie-Salle </ref>
+Sallé retired from the opera in 1740 with her final opera performance in ''Les Talens Lyriques''.<ref name = "french"/> She died on July 27th, 1756.<ref name = "brit"> The Editors of Encyclopedia Britannica. ( 1998, July 20). Marie Salle. Retrieved June 05, 2017, from https://www.britannica.com/biography/Marie-Salle </ref>
 <br><br>
 ===Style & Techniques===
 <br>
-According to Encyclopedia Britannica, Salle performed expressive, dramatic dances during a period when displays of technical virtuosity were more popular.<ref name = "brit"/>
+In the words of the Encyclopedia Britannica, Salle performed expressive, dramatic dances during a period, when displays of technical virtuosity were more popular.<ref name = "brit"/> She believed in the style of dance and costume that is expressive & related to the theme. Her dance, according to an English translation of Noverre's Letters on Dance, was descried in the following way. ''"I was enchanted with her dancing. She was possessed of neither brilliancy nor the technique common to dance nowadays, but she has replaced that showiness by simple and touching graces; free from affectation, her features were refined, expressive, and intelligent. Her voluptuous dancing displayed both delicacy and lightness; sh did not stir the heart by leaps and bounds"''<ref name = "french"/> Her costumes were the style of the story. In ''Pygmalion'', she had a costume of a Greek robe to look like a Greek statue. In another performance, Marie dressed as a man to fit the character she was portraying. She was a force to be reckoned with through her ideas and influence. <br><br>
 ===Influence===
 <br>
-[[Marie Sallé]] was influential in her dance interpretation and costume. She was the first woman to choreograph the ballets in which she performed in. She integrated music, costumes, and dance styles with the themes of her ballets, a form that was not officially used in ballet until the ballet reformation in the late 18th-century according to the Victoria & Albert Museum article of Origins of Ballet.<ref name = "brit"/> She wanted dancing especially to be an expression of the story and not a traditional dance. Her influence in dance was immediately felt and long lasting especially with her ''Pygmalion''. According to a chapter from a book on Woman' s Influence,1748 and 1751 productions of ''Pygmalion'' used many connections to Sallé's original dance choreography from her ''Pygmalion''.<ref name = "inf"/> According to a chapter on Marie from a book on Women's Influence: " ''A Paris revival of Riccoboni’s Pigmalion dating from 26 March 1735 may have been seen by Franz Hilverding (1710–68), who could certainly have studied Sallé herself in some of her pantomimic scenes for Rameau’s opéra-ballets''."<ref name = "inf"/><br><br>
+[[Marie Sallé]] was influential in her dance interpretation and costume. She was the first woman to choreograph the ballets in which she performed in. She integrated music, costumes, and dance styles with the themes of her ballets, a form that was not officially used in ballet until the ballet reformation in the late 18th-century according to the Victoria & Albert Museum article of Origins of Ballet.<ref name = "brit"/> She wanted dancing especially to be an expression of the story and not a traditional dance. Her influence in dance was immediately felt and long lasting especially with her ''Pygmalion'' production. According to a chapter from a book on Woman' s Influence, the 1748 and 1751 productions of ''Pygmalion'' used many connections to Sallé's original dance choreography in her ''Pygmalion''.<ref name = "inf"/> From a chapter on Marie, in a book on Women's Influence: " ''A Paris revival of Riccoboni’s Pigmalion dating from 26 March 1735 may have been seen by Franz Hilverding (1710–68), who could certainly have studied Sallé herself in some of her pantomimic scenes for Rameau’s opéra-ballets''."<ref name = "inf"/><br><br>
-Besides her choreography, [[Marie Sallé]] is known for her influence in ballet costumes that are more commonly know in today's ballet. Sallé’s performed in a time when dancers’ costumes were not realistic and limited to movement. She wanted costumes to be more flowing and look as they were am part of the story. In the ballet ''Pygmalion'', was were is official started her reformation in costume by wearing a Greek robe to look like a Greek statue. Sadly though, in Handel’s ''Alcina'' (1735) her dress as a man was not looked on as highly as her other costume choices. The Abbé Prévost wrote about Sallé as Cupid that she, “took it upon herself to dance ... in male attire. This, it is said, suits her very ill and was apparently the cause of her disgrace.” <ref> English translation in Otto Erich Deutsch, Handel: A Documentary Biography (London: Adam and Charles Black, 1955), 390–91. </ref>
+Besides her choreography, [[Marie Sallé]] is known for her influence in ballet costumes that are more commonly know in today's ballet. Sallé’s performed in a time when dancers’ costumes were not realistic and limited to movement. She wanted costumes to be more flowing and look as they were am part of the story. In the ballet ''Pygmalion'', she officially started her reformation in costume by wearing a Greek robe to look like a Greek statue. Sadly though, in Handel’s ''Alcina'' (1735) her dress as a man was not looked on as highly as Marie's ''Pygmalion''. The Abbé Prévost wrote that Sallé as Cupid, “took it upon herself to dance ... in male attire. This, it is said, suits her very ill and was apparently the cause of her disgrace.”<ref> English translation in Otto Erich Deutsch, Handel: A Documentary Biography (London: Adam and Charles Black, 1955), 390–91. </ref>
-Despite the horrible responses, she is still know for taking the risk in costume reformation.<br><br>
+Despite the horrible responses, she was and is still know for taking the risk in costume reformation.<br><br>
 Overall, Sallé’s role as a dance teacher, choreographer and entrepreneur of her ballet reformation gave her a place in historical England that will never be taken away.
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 =====Pose 6=====
-This last ballet pose described is used in the ballet story Swan Lake. This uses the fourth position with the back foot extended. One arm is extended upward and the other is bend forward. This pose shows the beauty and grace in the movement of ballet today.
+This last ballet pose described is used in the ballet story, Swan Lake. This uses the fourth position with the back foot extended. One arm is extended upward and the other is bend forward. This pose demonstrates the beauty and grace in the movement of ballet today.
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 =====Pose 3=====
-Pose 3 pictured to the right in my findings doesn't have a formal name either.  The ballerina's feet are in fourth position with the extended foot pointing forward. The arms are extended straight backward and the body is leaned forward. This position portrays the feeling of anger.
+Pose 3 pictured to the right, from my research, does not have a formal name either.  The ballerina's feet are in fourth position with the extended foot pointing forward. The arms are extended straight backward and the body is leaned forward. This position portrays the feeling of anger.
 [[File:Ringaren i Notre-Dame ballet 2009.jpg|thumb|200px|Pose 4]]<br><br><br><br><br><br><br>
 =====Pose 4=====
 This next pose (Pose 4) is performed in almost every ballet. It is a pose done in gymnastics also. Both of the legs are shown in a split position and the dancer is jumping. This is a hard position for ballerinas and gymnasts to do.