Selections From The Balletjewelsin Place Of A Story Balanchine ✓ Solved

Selections from the ballet Jewels In place of a story, Balanchine offers a triptych of ballet style: French romanticism (Emeralds), American dynamism (Rubies), and Russian imperial classicism (Diamonds), with music by Fauré, Stravinsky, and Tchaikovsky, respectively. You have to grant that the man had a singular way of responding to musical structure with movement--at times you think no other gesture could express what the music is saying, at others the music is given a new dimension by a dancer's illustration of it in space. It's the ballet equivalent of "I never thought of it that way before." Visually, the stage becomes a setting for the eponymous jewels, open to great washes of green, red, and white.

The costumes are just as evocative as the music: in Emeralds, ballerinas wear "clouds of tulle;" in Rubies they've raided Radio City Music Hall; in Diamonds a crystalline white pervades. Emeralds brought some excellent pas des deuxs, while the corps wafted by, arms elongated for the occasion. Naturally, one appreciates an impeccable entrechat six! You don’t see Rubies, but in it Balanchine uses a bended-knee emphasis in comparison to the other two pieces. The mood is jazzy, and nods to the Charleston and other popular dances of long ago show up.

In the Diamonds selection, we only see the pas de deux, but you can still see Balanchine's ability to implicate the space between dancers, either through symmetrical movement or playing up an asymmetry (the male dancer aggressively advances, the ballerina skitters away en pointe). A foot apart, or thirty feet, empty air suddenly becomes live with charged particles . Diamonds is also the peak of presentation--many "Here I am!" series of gestures that aim for nothing more than your attention.

Paper For Above Instructions

The ballet “Jewels”, choreographed by George Balanchine, is a masterful representation of the evolution of ballet through three distinct movements, each corresponding to a different style and musical theme. The three sections—Emeralds, Rubies, and Diamonds—reflect not only Balanchine’s ingenuity but also the historical context and artistic movements that influenced ballet as a discipline. Through the nuanced choreography, each section embodies its musical counterpart and showcases the range of ballet as an art form. This paper will analyze the ballet Jewels, focusing on its historical significance, its structure, and its visual and musical components.

Historical Context and Significance

When Jewels premiered in 1967, it stood as a significant cultural artifact that reflected the geographical and artistic divides of its time. The ballet comes in a post-World War II context, during which the art world was experiencing a dramatic evolution. Balanchine's Jewels is often seen as a response to the modernist movements that had shaped the narrative of the 20th century, paralleling the developments in music and visual arts. It serves as a triptych not just in aesthetic presentation but also as a commentary on the cultural heritage of France, America, and Russia, demonstrating how ballet can traverse diverse artistic landscapes.

Emeralds: French Romanticism

Emeralds is characterized by its fluid choreography and lush musicality, set to Gabriel Fauré's music. Through soft, ethereal movements, Balanchine captures the essence of French romanticism, evoking a sense of tenderness and nostalgia. The use of “clouds of tulle” for costumes plays an essential role in creating a dreamlike quality, allowing the dancers to embody the romantic themes prevalent in French ballet. The intricate pas de deux within this segment highlights the intimacy and emotion of the dancers' relationships, reinforcing the lyrical qualities of the music.

Rubies: American Dynamism

In stark contrast, Rubies showcases the energy and vigor associated with American culture. Set to Igor Stravinsky’s music, this segment employs bold and jazzy movements that echo the rhythms of American popular dance, including the Charleston. The use of bended-knee emphasis and sharp dynamics in choreography reflects Balanchine's innovative approach, merging classical ballet with contemporary dance. The costumes, which resemble those from Radio City Music Hall, underscore the juxtaposition of high art and popular culture, embodying the American spirit of the 1960s.

Diamonds: Russian Imperial Classicism

Diamonds concludes the ballet with a return to the grandeur of Russian imperial classicism, set to Pyotr Ilyich Tchaikovsky’s masterful score. This section emphasizes symmetry, elegance, and technical prowess, showcasing Balanchine's ability to manipulate space and movement. Here, the pas de deux illustrates the notion of distance and closeness among dancers, through both symmetrical and asymmetrical formations. The crystalline white costumes enhance the sense of classicism, reminiscent of the opulence associated with the Russian ballet tradition.

Conclusion

In conclusion, Balanchine's Jewels transcends a traditional narrative ballet by presenting three distinct styles that reflect the historical and cultural contexts of their time. The ballet serves as a vibrant display of artistic response to music, historical lineage, and the evolution of dance. By intertwining movement with musical interpretation, Balanchine not only honors the traditional frameworks but also expands the boundaries of ballet into a modern era. Jewels remains a testament to the power of ballet to embody complex themes of aesthetic beauty, cultural identity, and artistic innovation.

References

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