By Robin Rinaldi
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Extra info for Ballet (World of Dance)
One dancer commented that, instead of aspiring to the lightness and grace typical of ballet, Nijinsky actually constructed the dance so that every movement actually caused physical pain, as if the dancers’ bodies were being thrown heavily around the stage. The audience didn’t quite know what to make of it all. Boos and jeers almost drowned out the orchestra, men came to blows, and outside the theater a riot erupted. Nijinsky, Stravinsky, and Ballets Russes impresario Serge Diaghilev were said to be despondent afterward.
When he comes to her, penitent, to confess his mistake, the two decide to end their lives together and thus free themselves to unite in the afterlife. Though von Rothbart tries to stop them, the two dive into the lake, which breaks the curse, while the swan maidens gather to bid farewell to their queen and her lover, who are seen sailing off into the afterlife as von Rothbart perishes. The Romantic Period 49 (continued from page 45) developed his own regimented style of training involving very specific daily and weekly lesson plans, described in his book A Manual on the Theory and Practice of Classical Theatrical Dancing.
Thus, Balanchine was given free rein to create any kind of company he liked, and he ended up creating one quite different from anything that had existed before. 61 5 62 BALLET First came the school. In 1934, Balanchine founded the School of American Ballet and soon after created his first American work for its students—Serenade, a ballet without a story or a set, danced in simple costumes by a female ensemble to a Tchaikovsky string composition. The structure of Serenade foreshadowed all of the elements that would come to mark Balanchine’s work: his favoritism of the female dancer, his disregard for acting or too much plot, his sharp simplicity, and, most of all, his musicality.
Ballet (World of Dance) by Robin Rinaldi