Symbolism in Nineteenth-Century Ballet
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A01=Margaret Fleming-Markarian
Author_Margaret Fleming-Markarian
Ballet
Category=AB
Category=ATDH
Category=NHTB
Category=NHTD
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eq_bestseller
eq_history
eq_isMigrated=1
eq_isMigrated=2
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eq_non-fiction
Product details
- ISBN 9783034302678
- Weight: 430g
- Dimensions: 150 x 225mm
- Publication Date: 05 Jan 2012
- Publisher: Peter Lang AG, Internationaler Verlag der Wissenschaften
- Publication City/Country: CH
- Product Form: Paperback
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This book investigates allegorical meaning in the ballets Giselle, Coppélia, The Sleeping Beauty and Swan Lake, principally by examining their original librettos and costume designs, as well as considering their surviving choreographic legacy. Each ballet is examined scene by scene in order to identify occult symbols secreted within its structure. The names of characters, their costume details (form, colour, pattern and attribute) and the parts they play and dance (mime, choreographic step and staging) are individually searched for symbolic correspondences.
The author argues that the meaning of these symbols reveals a serious subtext embedded within each ballet and shows that these subtexts are all found to fable the spiritual journey of the soul towards a heavenly paradise. The distinctive set of symbols and the method of interpretation differ in each case: Giselle takes on a Swedenborgian slant, Coppélia hinges on Masonry, while The Sleeping Beauty and Swan Lake are steeped in mysticism.
The author argues that the meaning of these symbols reveals a serious subtext embedded within each ballet and shows that these subtexts are all found to fable the spiritual journey of the soul towards a heavenly paradise. The distinctive set of symbols and the method of interpretation differ in each case: Giselle takes on a Swedenborgian slant, Coppélia hinges on Masonry, while The Sleeping Beauty and Swan Lake are steeped in mysticism.
Margaret Fleming-Markarian studied European history and European history of art at the University of Edinburgh before training as a dance choreologist at the Benesh Institute in London. She then went on to teach dancing for many years. Having now retired, she researches the history of ballet and is a member of the Royal Academy of Dance.
