Balett Giselle. Adolphe Adam. Romantikus balettek.

Romantikus balett. Giselle. Adolphe Adam

Balett Giselle. Adolphe Adam

A romantikus témák a táncban is újfajta előadásmódot igényeltek.

A mesebeli lények tündéri lebegését a magas lábujjhegy technika, a spicctánc" kifejlesztése tette lehetővé, amit Maria Taglioni (1804-1884), jeles olasz táncosnőnek tulajdonítanak, noha ő maga elhárította ezt a dicsőséget. Nyugat-Európában 1826-tól terjedt el ez a technika, míg Oroszországban, Serge Lifar szerint, Isztomina orosz balerina már tíz évvel előbb magas lábujjhegyen táncolt. Az európai nemzeti mozgalmakkal kapcsolatban ebben az időben terjedt el a néptáncok divatja is. A stilizált, a színpadszerűvé tett nemzeti karaktertánc, a pas de caractére, azóta a klaszszikus balettek nélkülözhetetlen eleme. A szenvedélyes spanyol, cigány, lengyel, magyar és orosz karakter-táncoknak Fanny Elssler (1810-1884) osztrák táncosnő volt utolérhetetlen művésze, míg Carlotta Grisi (1821-1899) mindkettőjük szerepkörében egyaránt tündökölt.
A három művésznő közül Maria Taglioni neve a Sylphide (1832). Fanny Elssleré a Sánta Ördög (1836), Carlotta Grisié a Giselle (1841) balett-tel forrt össze, amelyek közül ma már csak az utóbbit játsszák.

Carlotta Grisi in Giselle. Litography by J. Brandard. 1841.

A romantikus balettművészet a XIX. század közepéig élte virágkorát (a balettművészet a XIX. század második felében hanyatlásnak indult), de azok a balettek, amelyek ebből a korszakból a mai napig fennmaradtak, mint a Coppélia, Sylvia, A hattyúk tava, Diótörő, Babatündér stb. még mindig a romantika tündéries, népmesei világából nőttek ki.

Balett Giselle

Carlotta Grisié

Adolphe Adam

Balett szövege

Balett koreográfia

Leonid Lavrovszkij

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