What’s the point(e) of ballet? - Ming Luke
-
0:07 - 0:12A baby cursed at birth.
A fierce battle of good and evil. -
0:12 - 0:15A true love awoken with a kiss.
-
0:15 - 0:18Sleeping Beauty is one of the world’s
favorite folktales. -
0:18 - 0:23But one of its most famous renditions
tells the story without a single word. -
0:23 - 0:25Since premiering in 1890,
-
0:25 - 0:27"The Sleeping Beauty" has become
-
0:27 - 0:31one of the most frequently staged
ballets in history. -
0:31 - 0:33So what makes this piece so beloved?
-
0:33 - 0:38And what exactly does ballet bring
to this— or any other story? -
0:38 - 0:41At the heart of ballet
are dozens of gestures -
0:41 - 0:45that dancers painstakingly perfect
over thousands of hours of practice. -
0:45 - 0:48This unique set of gestures
has been used for centuries, -
0:48 - 0:51each movement rich with meaning
and history. -
0:51 - 0:54But you don’t need to study them
to understand ballet, -
0:54 - 0:57any more than you need to study
music to be moved by a song. -
0:57 - 1:02And just as composers combine notes
and phrases to form pieces of music, -
1:02 - 1:06choreographers string these gestures
together with new movements -
1:06 - 1:08to form expressive combinations.
-
1:08 - 1:11Working alongside the orchestra’s
live score, -
1:11 - 1:15ballerinas precisely perform these
combinations to convey narrative, -
1:15 - 1:17emotion, and character.
-
1:17 - 1:19In "The Sleeping Beauty’s" opening scene,
-
1:19 - 1:22a flurry of techniques depicts
the fairy court -
1:22 - 1:25bestowing gifts on baby Princess Aurora.
-
1:25 - 1:28The Fairy of Generosity
delicately walks “en pointe”— -
1:28 - 1:30meaning on the tips of her toes—
-
1:30 - 1:33in step with the light plucking
of violins. -
1:33 - 1:36The ballerina moves in perfect harmony
with the music, -
1:36 - 1:40even mimicing the violins’ trill
with an elegant bourrée. -
1:40 - 1:45The Fairy of Temperance, bestowing
the gift of strong will on Aurora, -
1:45 - 1:49is choreographed as if shooting bolts
of electricity from her fingers. -
1:49 - 1:51She bounds across the stage,
-
1:51 - 1:55spinning with quick chaînés
before decisively jetéing. -
1:55 - 1:59Some movements are even more literal
than this. -
1:59 - 2:03The evil fairy Carabosse curses
the princess with a lethal “X,” -
2:03 - 2:07and the benevolent Lilac Fairy
counters that curse. -
2:07 - 2:10Of course, the relationship
between music and movement -
2:10 - 2:12isn’t always this straightforward.
-
2:12 - 2:16While classical ballet gestures
often respond to musical elements, -
2:16 - 2:19the degree to which the dancers
and orchestra align -
2:19 - 2:21is another choreographic tool.
-
2:21 - 2:25Some characters and scenes move
in sync to create rhythmic clarity, -
2:25 - 2:29while others deliberately diverge
from the orchestra. -
2:29 - 2:31Dancers and musicians maintain
this delicate balance -
2:31 - 2:33throughout each performance,
-
2:33 - 2:37engaging in a live negotiation
of speed and rhythm. -
2:37 - 2:41But prior to the performance,
a ballet’s most important relationship -
2:41 - 2:44is between the choreographer
and the music. -
2:44 - 2:48Choreographer Marius Petipa
and composer Piotr Ilyich Tchaikovsky -
2:48 - 2:52worked together on every second
of "The Sleeping Beauty." -
2:52 - 2:57This is particularly noticeable
in Princess Aurora’s exuberant entrance -
2:57 - 2:59on her 16th birthday.
-
2:59 - 3:03Tchaikovsky’s enthusiastic music
tumbles forward in fits and starts, -
3:03 - 3:08even cutting short some musical
phrases to capture her impatience. -
3:08 - 3:12Petipa choreographs Aurora bouncing
back and forth with “pas de chat”— -
3:12 - 3:16French for "cat steps"—
as she waits for her party to begin. -
3:16 - 3:20Once the celebration starts,
it’s up to the dancers to deliver -
3:20 - 3:23on the physical spectacle of performing
these gestures with grace. -
3:23 - 3:28Aurora has the hardest part of all:
her famous Rose Adagio. -
3:28 - 3:30As four suitors vie for her hand,
-
3:30 - 3:35the Princess performs a dizzying array
of balances, all en pointe. -
3:35 - 3:40She briefly takes each suitor’s hand,
but then balances unassisted— -
3:40 - 3:43a breath-taking display
of physical strength and skill. -
3:43 - 3:46However, it’s not just technique
that carries meaning, -
3:46 - 3:48but also style and personality.
-
3:48 - 3:50Like an actor delivering their lines,
-
3:50 - 3:55ballerinas can execute their movements
to convey a wide range of emotion. -
3:55 - 3:57Aurora can be elegant and restrained,
-
3:57 - 4:00throwing her arms in independence
from her suitors. -
4:00 - 4:04Or she can be coy and flirtatious,
descending from en pointe with grace -
4:04 - 4:06and knowing confidence.
-
4:06 - 4:10"The Sleeping Beauty" offers a showcase
for so much of what ballet can do. -
4:10 - 4:13Its graceful spectacle,
dramatic physical vocabulary, -
4:13 - 4:16and enchanting coordination
of music and movement -
4:16 - 4:20perfectly reflect the themes
of this fantastical romance. -
4:20 - 4:23But ballet isn’t just for epic fairytales.
-
4:23 - 4:26Ballets can be non-narrative
emotional journeys, -
4:26 - 4:28experimental deconstructions of form,
-
4:28 - 4:30or pure demonstrations of skill.
-
4:30 - 4:35The artform is always experimenting
with a centuries old set of rules, -
4:35 - 4:39making it the perfect medium
for stories old and new.
- Title:
- What’s the point(e) of ballet? - Ming Luke
- Speaker:
- Ming Luke
- Description:
-
View full lesson: https://ed.ted.com/lessons/what-s-the-point-e-of-ballet-ming-luke
A baby cursed at birth. A fierce battle of good and evil. A true love awoken with a kiss. Since premiering in 1890, “The Sleeping Beauty” has become one of the most frequently staged ballets in history. So what makes this piece so beloved? And what exactly does ballet bring to this— or any other— story? Ming Luke shares what makes ballet the perfect medium for stories old and new.
Lesson by Ming Luke, directed by Visorama.
- Video Language:
- English
- Team:
- closed TED
- Project:
- TED-Ed
- Duration:
- 04:39
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