Posted 26 February 2000 - 11:14 AM
Leigh, I think allegro/adagio may be a 20th century American classification, as heroic/lyric is a 20th century Russian one. Both leave out things, as Andrei mentioned in his post explaining why you need the noble, the demicaractere and the grotesque above. But technically, the danseur/ses noble were the adagio genre, dancing the slow, measured rhythms (saraband, pavane) and the allegro was definitely the demicaractere genre (courante). Also, an adagio (noble) needs line. I'm quite certain that Vestris's famous instruction to Perrot ("Move fast so they don't ever get a good look at you") is NOT because he was ugly, as the history books usually interpret this, but because he had no line, and you have to have line to do adagio.
Perhaps Petipa's leading roles were a different way of merging the demicaractere and the noble genres? The women's roles all seem to have bits of both.
Posted 26 February 2000 - 03:23 PM
I don't know if Petipa was attempting to merge genres or if his ballerina at the moment had both qualities and he fashioned whatever role he was making on her. Do you think the chicken or the egg came first here?
Posted 26 February 2000 - 06:58 PM
Posted 26 February 2000 - 07:09 PM
Leigh, is it possible that the roles have changed so much, through time and a hundred bodies, that we can't really answer your question? I'm sure there are individual differences, but I also think that the fourth genre was a blending of the old noble style, which was decapitated around 1789, and the demicaractere.
I suggest that whoever responds start a second thread, Emploi 2, because even with the new multi-pages, this is getting a bit long for older computers, I think.
0 user(s) are reading this topic
members, guests, anonymous users
Help support Ballet Alert! and Ballet Talk for Dancers year round by using this search box for your amazon.com purchases: