The Ballet Performance between Tradition and Innovation
DOI:
https://doi.org/10.37130/DrHvol4iss1pp5-12Keywords:
ballet, choreography, archetype, theatre, innovationAbstract
At the beginning of the 21st century, exactly as a hundred years ago when the art world recorded a real explosion of artistic genres and styles, all united under the phrase modern art, characterized by its independence from the realistic nature of imagined subjects, the art of dance exhibits today a multitude of genres, styles and types of performances, as an expression of contemporary dance, extremely diverse and innovative, characterized by independence from structure, language or representation. In this context, the present article presents the research undertaken with the aim of identifying the defining element that allows creators of choreographic performances to reconstruct the established titles that make up the international repertoire of classical ballets, from a modern-contemporary perspective. Re-visiting great classics is in itself an extremely complex process, initiated in the period of postmodernism, which contaminated, one by one, all the performing arts.
References
Balanchine, G. (1989). 101 Stories of the Great Ballets. Anchor Books.
Berlin, I. (2024). Originile Romantismului. Humanitas.
Bremser, M., Sanders, L. (2011). Fifty Choreographers. Routldge.
Constantinescu, G. (2011). O istorie a muzicii în pași de dans. Editura Didactică și Pedagogică R.A.
Freud, S. (2003). The unkany. Penguin Books.
Jung, C.G. (2014). Arhetipul și inconștientul colectiv. Opere complete (vol. 9/1). Trei.
Scholl, T. (1994). From Petipa to Balanchine: Classical Revival and the Modernisation of Ballet. Routledge.
Tonitza-Iordache, M., Banu, G. (2004). Arta Teatrului. Nemira.
