Wednesday, February 13, 2019

The Reforms of Michel Fokine Essay -- essays research papers

The Re strains of Michel FokinePhotography, painting, videography, and literature have every last(predicate) progressed oer time. New technology, and wise ways of thinking have brought these nontextual matters to impertinently levels. Thereseems to be a broad misconception, though, that concert dance is an art form that does notprogress does not change. Many people assume that concert dances set verbiage of movementplaces limitations on how far the art can expand. Little do umteen people realize that thisvocabulary is a mere foundation for the myriad of interpretations that the art went and will refer to go in. Michel Fokine is nonpareil revolutionary ballet choreographers, whosereforms have taken this antecedently monotonous art to a new level. Fokines ideas were revolutionary for his time, barely ironically made perfect sense. He believed that all of the elements in a ballet should be parallel. In other words, hethought that the music, costuming, makeup, movements, and set s should all reflect thesame culture and time period of the ballet. During this time in ballet there were oftenincongruencies. For example, there would be Russian music, and pointe shoe in a balletthat supposedly was based on a foreign medieval culture. Fokine was extremely andconsciously consistent in his works. Fokine explains, The ballet should be staged inconformity with the epoch represented. Fokine sets his 1911 ballet, Petrouchka, in Russia. The showtime scene is a street fair,which Fokine sets appropriately. He is sure to make the costumes realistic of that timeand place. Rather than dressing the dancers in tutus and leotards, they wear dresses that are brilliantly colored and long. They are bundled up appropriately in some fluorescent layers,considering the chilling temperatures of Russian winters. They also do not wear pointe Atkins 2shoes with long laces, but instead high heel fount shoes that were typical of the timeperiod. Fokine also successfully creates personal ities for the three dolls, partly by theircostumes. Petrouchka, who is a forlorn rag doll, wears a thin turn that is as lifeless andlimp as his personality. The costume and makeup is in force(p) in showing his lack ofmotivation and sadness. The Moor doll on the other hand, who is a very bold and vaincharacter is seen in dress that corres... ...ure to not let the music dictate the dance, as many artists before him haddone. In his Memoirs of a Ballet Master, he wrote The choreography for a pas de deuxI performed with Anna Pavlova we intimatelyly staged ourselves . . . We did whatever we feltwe could do best, (Fokine quoted in Cass). This lilliputian movement was completelyagainst what Fokine believed in. Movement that did not contribute to the purpose and diagram af the piece was useless. Due to his intense focus on his intent, he successfully gavethe music, choreography, costumes, and sets equal importance and relevance to the entirecreation. Fokines draw offional fealty to h is art is quite obvious. It is simply seenthorough his opinion of applause, that his focus is his art, more than any recognition hemay get for it. While most artists would bask in the glory of each set of applause, Fokinedespised it, except at completely appropriate times. He believed that to move on fromtradition, one must be thoroughly trained in that technique, which he was. His manydaring reforms truly opened the world of ballet up to new possibilities, while not strayingtoo far from traditional technique.

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