Essay Title: 

Question: How has Matthew Bourne influenced the Ballet genre

April 3, 2016 | Author: | Posted in art, theatre

How has Matthew Bourne influenced the Ballet genre

Introduction

Louis XIV organized the teaching and presentation of music and dance by setting up academies . The Acadymie Royal de Musique (1669 ) was officially given the exclusive right to present operas , which led to a new genre , the opera-ballet , initiated by the composer Jean-Baptiste Lully , which combined vocal scenes with danced interludes . Following the developments in Italian opera , composers made new demands on singers who had to study for years in to be able to meet them successfully . After the mid-17th century , singers [banner_entry_middle]

exerted considerable influence on the structure of new works because they demanded showpiece arias at certain places in the text . The dramatic technique of Baroque opera followed set rules : arias were to be sung at the front of the stage , facing the audience the chorus was directed as a static body and the ornate setting was an elaborate decoration with which to the eye rather than a functional definition of the acting area . One effect of the academies was to transfer dance activities from the court to the professional stage , and in 1681 the first professional dancers appeared in Le Triomphe de l ‘amour (The Triumph of Love , choreographed by Charles-Louis Beauchamp to Lully ‘s music

Theatre in Great Britain and Ireland

The Royal Shakespeare Company (RSC ) was plunged into turmoil again when its artistic director , Adrian Noble , resigned on April 24 , 2002 . Noble ‘s announcement came the week after his West End production of Chitty Chitty Bang Bang , a new musical based on the 1968 movie , opened to good reviews and a healthy advance at the box office at the London Palladium Cynics saw Chitty ‘s flying car and future success bearing Noble conveniently away from a mess not necessarily all of his own making

No one knew what would happen to Noble ‘s plan for the proposed demolition of the main Stratford theatre , the so-called Shakespeare village ‘ by the River Avon , or indeed where future London seasons would be presented – now that the company had torn up its contract with the Barbican Theatre , where it had enjoyed special rates and terms of employment for staff . In addition , Noble ‘s intention to operate as a player in the West End seemed fraught with danger , especially since most theatregoing taxpayers saw the government-funded RSC as an idealist alternative to the commercial imperatives of Shaftesbury Avenue , the heart of London ‘s theatre district

How the RSC would recover from this debacle was not clear . Debts mounted with an economically disastrous season of late romances – The Tempest The Winter ‘s Tale , and Pericles – at the Roundhouse in North London . In July , Michael Boyd , an RSC associate director , was named to succeed Noble when his contract expired in March 2003 . Boyd promptly gave an unfortunate press interview in which he said that theatre was no longer all that important , that Shakespeare was horny ‘ and that he hoped to employ Hollywood actors , such as Nicole Kidman

Productions of Much Ado About… [banner_entry_footer]

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