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Essay / Research Paper Abstract
In three pages this paper discusses how the Kirov Ballet’s interpretation of Pyotr Tchaikovsky’s Sleeping Beauty is more fully realized through its uses of performance elements and artistic principles of line, form, space, and emotional color. Two sources are listed in the bibliography.
Page Count:
3 pages (~225 words per page)
File: TG61_TGsbkirov.rtf
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Unformatted sample text from the term paper:
and cohesion. Line does not simply represent the distance between two points, but can refer to the way in which a work of art takes shape, or the path
the artist defines for the viewer, visually and/or aurally. Form provides dimension to a work of art. According to the great German poet and philosopher Friedrich Schiller, "It
is only from form that true aesthetic freedom can be looked for" (as cited in Mattick, 2003, p. 71). Space is more than simply background, middle ground, and foreground;
it is defined by the artist as being positive or negative to articulate a particular message to the viewer. Finally, color offers sensory and emotional appeal. Like line,
form, and space, the artist manipulates color to tell a particular story. The Kirov Ballets interpretation of Pyotr Tchaikovskys The Sleeping Beauty - as revised by Konstantin Sergeyev -
masterfully utilizes these artistic elements to elevate the performance to a fully-realized interpretation as conceptualized by Tchaikovsky and his collaborators director Ivan Vsevolozhsky and choreographer Marius Petipa (Jacobs, 1999). In
the Kirov Ballets Sleeping Beauty, there is a fine line not only between good and evil, but also between life and death (Jacobs, 1999). These opposites represent a binary
universe, in which both sides must learn to coexist even if the alliance proves to be an uneasy one. The depiction of women in the ballet - particularly Princess
Aurora and the Lilac Fairy - remains true to the classical art principle that women are symbolic of nature. The form of natural order is immediately threatened with Carabosses
warning that the newly christened Princess Aurora will die on her 15th birthday. Throughout the ballet, the battle for space on the stage between the lone Carabosse and the
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