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By the 18th century ballet had migrated from the royal court to the Paris Opera, and the director Lully "preserved the ballet du cour's basic concept of a composite form, in which the dance was an essential and important element." During this century the ballet was to develop throughout Europe, from a courtly arrangement of moving images used as part of a larger spectacle, to a performance art in its own right, the ballet d'action. This new form swept away much of the artificiality of the court dance and strove towards "the concept that art should aspire to imitate nature." This ultimately resulted in costuming and choreography that was much more liberating to the dancer, and conducive to a fuller use of the expressive capacity of the body. It also opened the door to pointework, for this acceptance of more naturalistic costuming allowed the development of the heel-less shoe, which led to the dancer being able to make more use of the rise onto demi-pointe. The era of, with ballets that focused more on the emotions, the fantasy and the spiritual worlds, heralded the beginning of true pointe-work. Now, on her toes, the deified ballerina (embodied in this period by the legendary ballerina Marie Taglioni) seemed to magically skim the surface of the stage, an ethereal being never quite touching the ground. It was during this period that the ascending star of the ballerina quite eclipsed the presence of the poor male dancer, who was in many cases reduced to the status of a moving statue, present only in order to lift the ballerina. This sad state was really only redressed by the rise of the male ballet star Nijinsky, with the Ballets Russes, in the early 20th century. Ballet as we know it had well and truly evolved by this time, with all the familiar conventions of costume, choreographic form, plot, pomp, and circumstance firmly fixed in place. |
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