Search results
The first movement begins as one might expect, with energy and good humour, driving rhythms and folk-like themes. However, we have our first hint of darkness when the confident flow of the music is interrupted by intense repeated octaves, a cri de cœur from some hidden corner of the soul. The remainder of the movement
The welcome extended to Phaéton is initially expressed through movement: Scene 2 opens with a musically independent entrée grave (the Premier Air), but the Second Air initiates a four-part, strophic dance-song complex whose text is addressed to Phaéton (outlined in Table 2-6).
- Rebecca Harris-Warrick
- 2016
Apr 14, 2017 · A divertissement is generally understood as something that interrupts time and distracts the subject from his real preoccupations. The spectacle or show is the privileged emblem of the divertissement structure.
Divertissement and the French Revolution. OLIVIA SABEE. Gradual changes in the relationship between ballet and narrative took place in the years following the French Revolution of 1789. Through an intertextual analysis of livrets for eighteenth-century.
Jul 12, 2023 · Unlike the Romantic ballets that consisted of two acts, classical ballets expanded to three or four acts. Many dances that had nothing to do with moving the plot forward were included in these ballets to make them longer. These extra dance numbers are called divertissements (diversions). Divertissements were often character dances.
Feb 13, 2020 · Includes bibliographical references (pages 372-375) and index. pt. 1. World overview: the dance of life -- Tribal rites -- Dance in tribal societies -- Asian ceremonies -- Early Mediterranean civilizations -- Folk dance development in medieval Europe and today -- pt. 2.
People also ask
What does divertissement mean?
What is Ibert's divertissement?
What is a divertissement in a ballet?
What is a white divertissement?
What are movement concepts in modern dance?
How did the relationship between ballet and narrative change after the French Revolution?
The same as divertimento, with the additional meaning of an entertainment of dances and songs inserted in an 18th‐cent. stage spectacle or sometimes in a ballet or opera (as in Gounod's Faust or Delibes's Coppélia). The term is also applied to a suite of dances unconnected by a story.
