By Laura Katz Rizzo

In Dancing the Fairy Tale, Laura Katz Rizzo claims that The drowsing good looks is either a metaphor for ballet itself, and a strong case learn for studying ballet and its construction and function. utilizing Marius Petipa and Pyotr Tchaikovsky's classical dance--specifically because it used to be staged in Philadelphia over approximately 70 years--Katz Rizzo seems to be on the gendered nature of girls staging, training, and reanimating this awesome ballet, and good because the ongoing push-pull among culture and innovation in the paintings form.
 
utilizing large archival learn, dance research, and American feminist thought, Dancing the Fairy story places ladies on the middle of a ancient narrative to bare how the construction and function of The drowsing good looks within the years among 1937 and 2002 made major contributions to the improvement and institution of an American classical ballet. Katz Rizzo highlights not just what girls have performed not just behind the curtain, as directors, manufacturers, or administrators of ballet businesses and faculties, but additionally as lively interpreters embodying the ballet's name role.
 
within the approach, Katz Rizzo additionally emphasizes the significance of nearby websites outdoors of destinations commonly understood as significant to the improvement of ballet within the United States.

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Additional resources for Dancing the Fairy Tale: Producing and Performing The Sleeping Beauty

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7 What has been sold so far to the non-dancing public as the world of the ballerina has been carefully selected to present a skewed picture that panders to the commodity of glamorous but self-destructive beauty. The women at the heart of this book, however, are smart and assertive, and like Women Creating Ballet • 17 Ringer, they are articulate and intelligent about their work and about the aesthetic field in which they operate. Shifting focus so that women are front and center especially makes sense in the world of ballet because women are most often the central characters onstage.

13 Petipa’s aesthetic values emerged from this ideology of militarism, aplomb, strength, precision, and hierarchy. They were reflected in his approach to creation, as well as in the Russian court around him, the structure of the ballet company, and the military parades so favored by Tsar Alexander III. 14 Although some roles were improvisational and certain dancers were allowed to compose sections of their own variations, Petipa coached his dancers (especially the corps de ballet) in autocratic style.

Still in use, the Academy of Music and Robin Hood Dell have borne witness to the important performances of not only Littlefield and Weisberger, investigated in this book, but 22 • Chapter 1 also countless others. This way of creating ballet history celebrates the particularities and details of the specific stages and studios where The Sleeping Beauty was rehearsed and performed between 1937 and 2002 and facilitates a greater appreciation for the physicality of dance history and how it is located in bodies moving together in specific geographical and spatial and physical locations.

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