Difference between classical ballet and modern ballet?

The king particularly associated with ballet was Louis XIV of France (1638-1715), who became king at the age of five and played a role in the court ballet at the age of twelve. He was an enthusiastic dancer, and early in his reign the "court ballet" reached its heyday.

Louis XIV hired some of the most famous writers, musicians, and artists of the day to design and decorate his grandiose spectacles, and in 1661, Louis XIV appointed his dance teacher, the director-general of the court ballet, and Pierre Beauchamp to found the Institut Royale de la Danse, of which Beauchamp was the director. They collected dance information, collected folk dances and folklore, developed ballet norms and assessment standards, unified ballet movement terminology and vigorously promoted, these terms have been inherited to the present day, and now all countries are still adopting the French movement terminology. The Institut de la Danse also published original works on dance scenes and dance theory. Among the king's artistic retainers who helped create the court ballet were Italians Joan Baptiste Lully and Pierre Beechams. Lully began his artistic career as a dancer but, because of his musical talent, soon won the position of principal violin for the king; Beechams became the king's dance teacher. By 1672, these two men were responsible for bringing singing ballets to the stage. These singing ballets were now standard fare at the Royal Conservatory of Music in Paris. Singing ballets were performed in the theater as the most common form of reception, and remained so for more than half a century.

In 1670 Louis XIV suddenly lost interest in the "court ballet" (is this related to the "Iron Mask" in French history - legend has it that the Iron Mask was replaced by another Louis XIV). As the king stopped dancing, the whole dance world underwent a very important change. The full-fledged professional dancers went from the court to society in order to make a living. They began to specialize in ballet, and gradually they were able to play major roles in dance productions, they became more professional, and they transferred ballet from the court to the theater. Louis XIV's loss of interest in ballet also contributed objectively to its development. In 1671, he established the Institut Royal de la Musique (today's Paris Opera), which also became the center of ballet. In order to train professional dancers, a dance school was established within the Royal Academy of Music in 1713, which became the base for training dance talents.

During the above period, men were the protagonists of ballet. In early performances actors still wore masks and female roles were often played by male actors as well. During performances, the male actors were dressed in court dresses and pants, and the women in bulky long skirts. It was much easier for the men to perform the increasingly complex steps in the ballet than for the women. But in 1730, an actress of Spanish ancestry named Marie Camargo, who usually trained especially hard, stole and mastered many of the men's techniques and entire dances. To be able to show off her skills, she shortened her skirts to a height that would reveal her ankles. When a male performer in a major role missed a performance in 1730, Camargo stepped in to fill in for him and danced the entire routine for him, a feat that changed the world's prejudice against women and earned her a place in the pantheon. Eighteenth-century France's great Enlightenment thinker Voltaire praised her, saying: Camargo is the first female dancer to dance like a man. A contemporary of Camargo's, Marie Salet, also featured in the ballet, relying not on virtuosity but on acting and expressive ability. In 1681, four ballerinas took part in a performance of Lully's singing ballet Triumph of Love; by the beginning of the 18th century, the importance of female dancers was growing. But throughout the 18th century men remained the more important players. One of the most famous male performers was Gaetano Vestris (1729-1808), born in Italy, who was so conceited and famous that he was nicknamed "The God of Dance". His son Auguste (1760-1842) succeeded him as a dancing star and popular hero in France and throughout Europe.

The term "classical ballet" refers to this period, which was influenced by the literary trends of classicism, for which Molière, a representative of classical literature, wrote many plays. Ballet was separated from song, dialog, and vaudeville, and became an independent art form.

Modern ballet

Today there is a kind of conventional understanding, basically to the beginning of the twentieth century the influence of modern artistic thinking on ballet as a demarcation line, before this to follow the ballet's original program specifications and stylistic characteristics of the work, whether it is a dance drama or small works, can be said to be classical ballet; and many of the ballet produced in recent times, or the choice of subject matter On the other hand, many ballet works produced in recent times, either in the choice of subject matter, or in the selection of materials, or in the form of development and innovation, have refined the language of action from life, or absorbed and borrowed dance vocabulary and expression techniques from other sister dances to form a style different from that of the classical ballet, which is the so-called "contemporary ballet" and "modern ballet". The change of subject matter, such as "The Red Detachment of Women", depicts the story of China in the 1930s, so it is labeled as "modern ballet", meaning a dance drama that reflects modern life. The change of subject matter inevitably brings about a change of form, "The Red Detachment of Women" absorbed the movement of army life and Chinese folk dance materials; according to the content of the drama, there is a big breakthrough. According to the modern aesthetic concept of the action combination of some deformation processing.

The original traditional ballet form on the relatively large development of ballet works, when the use of symphony choreography "symphonic ballet" (such as "Serenade", "Concerto", etc.), and absorbed modern dance choreography and techniques, movement works (such as), as well as (including changes in clothing, more concise and more simple and even only with the dance practice clothes on the stage).

Overview of the development of ballet in the world

Banquet ballet

Ballet appeared in Italy during the heyday of the Renaissance in the 15th and 16th centuries, and the artists tried hard to emulate the artistic style of ancient Greece. The earliest ballet performances took place at court banquets, with the Orpheus performed in a small Italian town in 1489 to celebrate the wedding of the Duke of Milan and Princess Idabel of Aragon in Spain. The form of the performance at that time was absolutely different from the ballet performances we see today, and each segment of its performance was roughly linked to the serving of food, such as the eating of wild boar after the beginning of the performance of the simulated hunt; the appearance of the gods of the sea and rivers began to eat fish. Then, many mythological figures come on stage to offer many dishes and fruits, and finally the guests all join in the lively and ecstatic performance. This is a kind of song, dance, recitation, theater performances combined performance form, can be said to be the prototype of ballet, later people called it "banquet ballet".

Court Ballet

With the intermarriage of the Italian nobility and the French court, Italian "ballet" performances were brought to France, and in 1581, at the wedding celebration of Marguerite, sister of Empress Henri III, the "Comedy Ballet of the Empress" was performed. The Queen's Comedy Ballet" was performed in 1581 at the wedding celebration of Marguerite, the sister of Queen Henry III. There was no stage and the audience sat in a two-story gallery with three walls. The king and dignitaries sat on the altar platform and the performance took place on the floor of the hall. The choreographer, Beaujolais, was an Italian employed in France. The content showed how the siren Circe conquered Apollo, but had to submit to His Majesty the King of France. The performance was a mixture of theater, music, dance, recitation, and acrobatics. During the period of Louis XIV (1643-1715), the French ballet developed to its peak, Louis XIV himself loved dancing and was well trained. 15 years old, he took part in the performance of the court ballet "Cassandra", playing the god Apollo.

Plot Ballet

The European Enlightenment in the 18th century profoundly affected the development of French ballet. Its innovative ideas expressed in the opposition to the ballet as a pastime for the aristocrats as a decorative object, to make the ballet like a play, the performance of real life, and advocate the ballet to have a social content and educational significance, which is the "plot ballet" produced by the background of the times. Norville represented the mainstream of European ballet innovation, which centrally embodied the democratic spirit of the Enlightenment, and he put forward his innovative ideas on ballet in his Epistles on Dance and Drama. The dance drama "Unprofitable Prudence" created by Jean Dobelwal, a student of Neuville's, is still being performed today and has become the reserved repertoire of major contemporary ballet companies.

Romantic Ballet

Romantic ballet is the "golden age" of ballet development, which experienced a brilliant phase in terms of dance technique, choreography and performance form. Nymphs", "Giselle", "Esmeralda", "Pirates" and other choreography, creating a number of ballet talents, such as Perrault, Bournonville, Tanioni, Elsler and so on. The characteristics of ballet in this period are summarized as follows:

1, changes in content and subject matter. Transcendental nymphs and ghosts replaced the characters in myths and legends and ancient heroic stories. Reflecting a mood of dissatisfaction and disappointment with reality, a pursuit of transcendence of the earthly to another world of love, or death to get rid of the disappointment of reality, or an unrealistic pursuit instead of the desire for life. Representative works include The Nymphs (1832) and Giselle (1841). Giselle" brought together the French style and became the pinnacle of Romantic ballet, and since then there has been a gradual combination of Romanticism and realism.

2. There was a significant development in both dance technique and performance, with pointe technique emerging as an important factor in the means of expression of female dancers, and men's dance technique further improved.

3. In the form of performance, the lighting of gas lamps and the big curtain were adopted, and the ballet costumes and dancing shoes were reformed to produce a poetic and light style.

The golden age of Romantic ballet was extremely short-lived, from the 1830s to the 1840s, with stagnation and withering occurring in just over 10 years. From the second half of the 19th century, the center of European ballet gradually moved to Russia.

Russian Ballet

In the second half of the 19th century, European Romantic ballet declined, and the mission of reviving ballet historically fell on the shoulders of Russia. From the 1940s onwards, foreign dancers frequently visited Russia. The performing and choreographing activities of the Tallioni father and daughter, Perrault, St. Leon and others, and especially the teaching activities of Bournonville's students Johnson (in St. Petersburg) and Blas (in Moscow), taught the Russian dance world the essence of the two major schools of dance, French and Italian, and gradually formed a new school of thought - the Russian school of dance. In the construction of the repertoire, Mattipa and Ivanov played a decisive role. Tchaikovsky, through Swan Lake, Sleeping Beauty and The Nutcracker, realized a revolution in dance music, making music the basis for shaping images and recounting events in dance dramas, which inspired and enriched the choreographer's idea of symphonization of dance. The second act of Swan Lake reaches the peak of dance poetry and is regarded as an example of symphonic dance. Later on, Glazunov wrote Raimonda (1898) and The Four Seasons (1900), which embodied the tradition of Russian realism while inheriting the tradition of Romantic ballet.

At the beginning of the 20th century, Russian ballet had already dominated the world ballet scene, with its own reserved repertoire, performance style and teaching system, as well as a number of choreographers and performers. Since then, a group of young people in the Russian ballet world demanded innovation and explored new performance methods and development paths. Gorsky and Fokine were their leaders. Fokine's innovative ideas could not be realized in the Imperial Theatre, and his major works were rehearsed and staged abroad for the Jagiyev Ballet. Jagiyev organized Russian seasons for three consecutive years from 1909, and in 1913 established the Jagiyev Ballet Russes, a permanent troupe based in Monte Carlo, which toured Europe and the United States, making a huge impact and returning the classical repertoire preserved by Russia to its original form. The company toured Europe and America with great influence, sending the classical repertoire preserved by Russia back to Europe and contributing to the revival of European ballet. After the disbandment of the troupe, its members were dispersed in Europe and the United States, Lifar in France, Dvarova in the United Kingdom, Balanchine and Fokine in the United States, making an important contribution to the revival or creation of ballet in various countries.

Contemporary ballet

Late in 1929, Lifar became the permanent choreographer and principal dancer of the Paris Opera Ballet, where he remained until his departure in 1958, actually carrying out a reform, such as abolishing the century-old right of patrons to go backstage and chat with the dancers before a ballet performance. There were also weekly opening ceremonies.In the 1932 revival of Giselle, Lifar played Albert, a man of great talent. Two of France's leading choreographers, Laurent Petit, choreographed Notre Dame de Paris to music by Jarre in 1965, with brilliant success. Maurice Béjart's 1970 choreography of The Firebird was a most chic production. The Paris Opera Ballet's repertoire also includes Giselle, Gabrielle, and Sylvia.

British ballet owes much to the life's work of three great women: Madame Adeline Genet, who for many years was principal female ballet dancer at the Theatre Royal; Madame Ninette de Valois, whose monumental work was the Royal Ballet; and Madame Marie Lambert, the founder of the ballet company which bears her name. There are also the Festival Ballet and the Scottish Ballet.

The United States did not have a national ballet; Balanchine and Lincoln Kirstein were invited to host the American School of Dance at a meeting in 1933. transformed into the New York City Ballet in 1948, Balanchine was artistic director and principal choreographer, and the associate artistic adviser was Jerome Robbins. A typically American style of dance had developed. Another important ballet company was the American Ballet Theater, which became active in 1940. Successive choreographers have been Fokine, Massing, Anthony Tudor and others. There was also the Joffrey Ballet, Arthur Mitchell's Harlem Dance Theater, the first black classical ballet company.

The Royal Danish Ballet is a fine heir to the Danish national tradition, and Bournonville's choreography, created a hundred years ago, is still performed in Copenhagen in pure style. (Old French style, in fact.) A sense of tradition has always been strong in Danish ballet, and Harald Randall's appointment as ballet director of the Royal Theatre in 1932, which lasted until 1952, and his revivals of the Exercises for France and England, were a splendid exhibition of ballet technique.

Influential Russian choreographers of the early 20th century were Gorsky, Puni and Fokine. Anna Pavlova ideally embodied Fokine's conception, with "The Death of the Swan" in 1905.

In Russia, after the October Revolution, Gorsky's insistence on the expressive nature of the theater led its dancers to adopt Stanislavski's way of living in character, and the ballet that had originally arisen in the court did not perish. 1927 saw the performance of The Red Poppies in Moscow, Russia's first heroic, modern-themed choreography, which signaled the triumph of the classical school, pointing to the following of the The classical ballet gained a new reputation. Semyonova and Ulanova made their debuts, and the newly created dances focused on dramatic structure and made greater use of folk dances to enrich the vocabulary of the choreography. Russian ballet began a renaissance.

From the French performance of the Queen's Comedy Ballet in 1581 to the present day for more than four hundred years, ballet has spread all over the world, recognized as an important part of the cultural heritage of mankind, and has become a worldwide art, with many countries in the five continents establishing their own professional ballet schools and ballet performance groups. In today's world, the art of ballet is flourishing, classical ballet and modern ballet, theater ballet and symphonic ballet and other different genres of competition, a large number of talents and repertoire, many countries have gradually formed their own style characteristics, in the artistic expression of the ballet continue to appear new exploration and creation.

How to appreciate ballet

There are two ways to appreciate ballet. One is traditional and the other is modern. Generally speaking, it is advocated that the method of appreciation should be unified with the object of appreciation: i.e., to use the meticulous traditional thinking to appreciate the three traditional periods of "early", "romantic" and "classical" ballet, musical ballet, ballet, music ballet and ballet. ballet, musical ballet and pure ballet.

Traditional appreciation requires the audience to arrive at the theater about half an hour in advance, so that they can leave all the trivialities and worries of daily life outside the door of the theater or in the checkroom in that earthly space, and then calm down and devote themselves to the theater as a very special aesthetic field that has nothing to do with the congestion of the road, the noise of the market, the disputes in the unit, or the trivialities in the family, and enter into the "Nymphs", "Nymphs", "Nymphs" and "Nymphs". Instead, we can enter an artificial fairyland such as The Nymphs, Giselle, and Gabrielle, and a dream world such as The Sleeping Beauty, The Nutcracker, and Swan Lake, and escape from the hustle and bustle of the city and the pressure of the spirit for a few hours at a time. Next, we can also attentively study the program, read the synopsis of the plot, reviews, a brief history of the company, choreographers and dancers, and other related materials, looking for recognized ballet stars, imagining the intoxicating musical hits, looking forward to the lavish costumes and magnificent sets ......

Modern appreciation of the modern world is not only a way of life, it is also a way of life. p>

The modern way of thinking about appreciation does not make any harsh demands on the audience, but rather provides them with a philosophy of taking things as they come, because the pace of modern life simply does not allow the audience, especially the professional audience, to arrive at the theater half an hour in advance, but rather emphasizes that the audience does not need to have any preconceived notions in the process of appreciating the show, and that they only need to understand it with the rational knowledge that is carried around and varied, and participate in the show with the sensual experiences that come from the life of the world, with the many colors of the world. The audience only needs to understand with the rational knowledge they carry with them, and to participate with the perceptual experience from life, with all its colors.

This way of thinking about appreciation suggests that the program is simply a trap set by the choreographers or a panacea peddled to compensate for the incoherence of the choreographers or the ballet choreographers themselves, and that it can be watched but not seen, or even better, not seen! Plot in the end is how to "write" is insignificant, the success or otherwise can only look at his stage how to "dance". Ballet in the final analysis, or to dance as the main, to play as a supplement, otherwise, it will not be able to explain the ballet in the leading actors in the dance after the pas de deux, and even after jumping in which the variations, they will be to the audience frequently salute the phenomenon. If the play is more important than the dance, this kind of behavior is not out of the "play", and how can Western audiences and critics endure for a whole century?

This appreciation of the idea that the stars can be appreciated, but do not have to worship to the ground, the trend of star worship really seems too classical! Instead of following the opinions of critics, we should follow our own aesthetic standards, and look for the stars in our own eyes and hearts, instead of following the crowd.

The course of Chinese ballet

Haha

If the staging of the French "Queen's Comedy Ballet" in 1581 has been regarded as the beginning of the ballet - the embryo, the spread and development of ballet in China is almost more than three centuries late. However, although the start is late, it is a leap forward.

At the beginning of the 20th century, there were foreign ballet troupes performing in China, but on a limited scale. Since then, one after another, the Russians came to China to open amateur private ballet schools, Shanghai, Tianjin, Harbin and other places more influential - the Chinese ballet enlightenment education has a positive effect. Undoubtedly, the real rise and development of ballet in China, but also after the establishment of the People's Republic of China **** and the country, which has a close relationship with the Chinese government of all the world significance of excellent culture and art have taken the basic policy of actively absorbing, support.

Initially, it was the Russian school that had an influence on Chinese ballet. From February 54, the first Soviet expert O-A-YEALINA (O-A-YEALINA) was invited to Beijing to open the first "teacher training class", to 58 years China staged the first classic ballet "Swan Lake", China's ballet has realized the initial period of the speed of the "3 jumps During this period, the Chinese ballet realized a rapid "3-level jump" in its infancy. During this period, Dai Ailian, who is familiar with the art of ballet, also played an important role.

The first phase of the "teacher training class" students (most of whom had received some ballet training), in half a year's time, miraculously completed the Soviet Union Dance School 1 - 6 grade syllabus, through a rigorous examination of all qualified. They became the teaching backbone of the Beijing Dance School, which was founded in the same year and specialized in ballet. Since then, they have continued to improve in practice, and have grown into real ballet educators - training one batch of outstanding talents after another. The important step to realize the "3-level jump" is to train and practice performance. During this period, famous Soviet ballet artists often came to China to perform, and the superb performances attracted a large number of audiences, and the Chinese people gradually became familiar with and loved this art.

In 1957, under the guidance of Chaplin, China staged a ballet for the first time in its entirety--"Unprofitable Prudence" (LA FILLE MAL GARDEE), which was a work of Jean Dobelwal at the end of the 18th century, with a realistic style suitable for the actual level of the Chinese ballerinas at that time. The actual level of Chinese ballet dancers at that time, and the team was improved through the performance.

In October 1958, under the guidance of Gusev, the Beijing Dance School concentrated all its efforts and successfully staged the world-famous classic ballet "Swan Lake" (Ojeda played by Pak Shuk-sheung) (SWAN LAKE), which aroused a strong reaction at home and abroad. Through strict rehearsals, a ballet team with multi-faceted talents has been created at a high speed. Today, "Swan Lake" has "settled" in China - becoming the most appealing ballet repertoire to the audience. 59 the end of the year, the Beijing Dance School Experimental Ballet Troupe was established, which was the first professional ballet troupe ever in China. The following year, Shanghai set up a dance school with the same establishment as Beijing, and also assumed the task of training professional ballet talents. From then on, the north and the south echoed each other in their efforts to open up new horizons in the ballet business. Following the "Swan Lake", 59, 60 years, under the guidance of Gusev, and successfully staged one after another, "Man of the Sea" (LECORSAIRE), "Giselle" (GISELLE) young Chinese ballet team to undertake the two different styles of the famous ballet has appeared to be more comfortable.

This period China sent Jiang Zuhui (1934 -), Wang Xixian (1933 -) and other successive to the Moscow State Theatre Institute choreography department for further study, the results are excellent. After returning to China, Jiang Zuhui presented her graduation work, The Daughter of Spain (based on the famous Renaissance poetic drama The Village of Sheep Springs by the famous European writer Lope de Vega, premiered at the Tianjin Song and Dance Theatre in 1961); and Wang Xixian directed and staged his graduation work, The Fountain of Tears in Beijing (BAKHCH I SARAY). BAKHCH I SARAY (based on the famous poem by the Russian poet Pushkin, premiered by the Experimental Ballet Theater of the Beijing Dance School.

In 1963, when the Central Opera and Dance Theater was established, the ballet troupe attached to the school ended its experimental phase and was returned to the national theater. Soon after, Jiang Zuhui directed another famous ballet, NORTRE-DAME DERARIS (based on the novel of the same name by the famous French writer Victor Hugo, premiered by the Central Opera and Dance Theater. ...... In just 10 years, Chinese choreographers, directors and performers have basically been able to independently manage the creation, rehearsal and stage performance of classic ballets.

Since '64, the practice of creating Chinese ballets has begun. In fact, the first generation of ballet choreographers and directors, mostly from the study of folk dance to the ballet profession, his or her national cultural background, undoubtedly help the exploration of ballet nationalization. Large-scale Chinese ballet "Red Detachment of Women" (THE RED DEPACHMENT OF WOMEN) staged, although not strictly speaking, "the first record", (before this, there have been different types, different scales, different results of the ballet nationalization of the exploration), but can be said to be the first and most successful large-scale Chinese ballet - from the content to the form has a distinctive Chinese style, Chinese style.

The Red Detachment of Women premiered in 1964, choreographed and directed by Li Chengxiang, Wang Xixian and Jiang Zuhui; composed by Wu Zuqiang and Du Mingxin; premiered by the Central Opera and Dance Theatre; heroine: Bai Shuxiang as Qionghua; Wu Jingzhu as Company Commander; hero: Liu Qingtang as Hong Changqing; Li Chengxiang as Nanbatian; main supporting actresses: Zhao Ruhang as Qionghua's comrade-in-arms; and Wan Qimu as Lao Si. It is based on the movie of the same name. It tells the story of China's second revolution: the tortured Qiong Hua, unable to endure the oppression of the landlord Nan Batian, escapes from the tiger's mouth, and coincidentally encounters the Red Army's party representative, Hong Changqing, who guides her to join the Maiden Scouts, where she grows up to become an outstanding revolutionary warrior through trials and tribulations. After Hong Changqing's death, she takes over the red flag and goes forward bravely. This dance drama with shocking tragic plot, magnificent and gorgeous scenes, distinctive characters and the regional flavor of Hainan Island, from its birth, it has won a lot of praise. It is unprecedented in the ballet stage portrayed a valiant "wearing pointe shoes" image of the Chinese Women's Soldiers, the essence of the ballet and the Chinese style into one, for the world ballet world has added a strange flower.

The "White Hair" by Hu Rongrong (1929--), Fu Aidi (1936--), Cheng Daohui (1932--), Lin Yangyang (1939--), was a great success.

The White Haired Girl (THE WHITE HAIR GIRL) premiered in 1965, composed by Yan Jinxuan; premiered by Shanghai Ballet; female lead: Cai Guoying (A), Mao Huifang (B) as Xier; Gu Xiaomei (A), Shi Zhongqin (B) as the White Haired Girl; male lead: Ling Guiming as Dachun; the main supporting male role: Dong Xilin as Yang Bailao. Based on the opera of the same name, it tells the story of Xi'er, the daughter of a poor farmer, who is forced to sell her to the evil landlord Huang Shiren to pay off a debt, and, unable to withstand the abuse, flees into the mountains. After years of exposure, her hair turns white, and the uninformed call her a "white-haired fairy goddess" (a ghost). In the end, she was rescued by the Eighth Route Army and reunited with her young lover, Dachun, who was already a soldier in the Eighth Route Army. The opera "White-haired Girl" has touched millions of Chinese people with the true story of "the old society forces people to become ghosts, and the new society turns ghosts into people".

The ballet did not follow the original work - take shortcuts, but according to the characteristics of ballet art, re-creation. It cleverly uses the material of Chinese classical and folk dances, and combines realism and romance to present the drama in a balletic way. The main characters of the play, such as: Xier's innocence, sweetness and tenacity after becoming "White-haired Girl"; Dachun's simplicity, generosity and bravery after joining the army, as well as Huang Shiren's insidiousness and venomousness,......, etc., are all sharply and vividly portrayed.

The Red Detachment of Women and The White-haired Girl are milestones in the development of Chinese ballet. They are the deeper practice of "foreign for Chinese", standing on its own in the world of ballet art with its unique Chinese characteristics. Collective wisdom to make up for the lack of experience, so that the exploration of the Chinese ballet, a higher starting point, started very quickly. Unlike the fate of other dance and dance drama works, these two works were designated as "model plays" during the Cultural Revolution - two of the few dance dramas allowed to be staged at that time. Having stood the test of time and society, The Red Detachment of Women and The White-haired Girl still retain their artistic vitality. Both works have been recognized as "classics of the 20th century". Literary recovery in the field of ballet performance, first of all, the resumption of the classic Western ballet repertoire, so that the long only see 1 "red" 1 "white" audience, after a long absence of colorful ballet art, set off a "Swan Lake" fanaticism.

Chinese ballet in the new period, showing a vigorous development trend:

First of all, with a more open vision, the world widely absorbed, borrowing, and not limited to a single Russian school of influence. From the beginning of the 80s, there have been famous ballet artists from Britain, France, Germany, Switzerland, Canada and other countries in the form of friendly exchanges to teach skills. There were ballet veteran Anton Dowling, famous ballet choreographer Ben Stevenson (B-STEVENSON), etc. in the Central Ballet guided the rehearsal of their own works: purely classical style of male and female "Four Dancers" (TE-PASDE QUIXOTE), the "Prelude", and the famous ballet master BALANCHINE's "Dance of Four Dancers". BALANCHINE's SERENDE ...... etc., most of which have become the Company's regular repertoire.

In addition, over the past decade, China has staged a number of different styles of Western classic repertoire, such as: in 1980, by the Paris Opera ballet master Lisette Sanvall personally guided, the Central Ballet performed the famous French Romantic ballet "Sylvia" (SYLVIA); in 1984, by the renowned British ballet artists Belinda Wright and Yulissa Tjelkau couple re-rehearsal performance. In 1984, by the famous British ballet artists Belinda Wright and Yurisha Jelkow couple re-rehearsed the performance of Anton Dowling version of the "Giselle"; in 1985, in the world-class ballet artist Rudolf Nureyev (R-NUREYEV) and ballet master Eugene Poliakov personally guided the performance of the "Don Gioconda" (Don Quixote); and the "Zoumio and Juliet" (Romeo and Julliet) (). 1989, directed by Roman Walker) and SLEEPING BEAUTY (1994, Macmillan MAC MILLAN version, directed by Morrico Parker) ...... were both successful. In particular, Nureyev, with his unrivaled virtuosity and deep understanding of the dramatic characters, combined with the reality of the Central Ballet, conducted rigorous training, which greatly contributed to the improvement of the level of the actors - leaving a precious page in the history of Chinese ballet. In the many international exchange activities mentioned above, Dai Ailian played a good role as a bridge. At the same time, the Beijing Dance Academy adhered to the tradition of combining study and practice, staging Gebelia (1979) and Dancing Girl (1981); the Shanghai Ballet staged Act 3 of Napoli (also known as The Fisherman and the Bride); the Tianjin Opera and Dance Theater revived Daughter of Spain (1982); and the Liaoning Ballet, which was formed in 1981, presented The Sea Man (1983). Sea Man" (1983) ...... This not only enriches the cultural life of the masses, but also through the world ballet authority to guide the performance of pure classical ballet masterpieces, so that a new generation of ballet talent grows rapidly.

In May 1980, Wang Qifeng (female, Shanghai) took part in the Third World Ballet Competition held in Osaka, Japan, and won 14th place, winning the first ballet medal for China.

In June 1982, Wang Qifeng (female, Shanghai) and Zhang Weiqiang (Beijing) won the third prize for performance in the Jackson International Ballet Competition.

In November 1984 the first Paris International Ballet Dance Competition, Wang Qifeng (Shanghai) and Wang Caijun (Beijing) were awarded the Prize of the Association for the Development of the Paris Opera.

Since then, Chinese competitors have frequently participated in various international ballet competitions, showing strong strength. The more prominent ones are:

1985 - 13th Lausanne International Ballet Dance Competition, Li Ying (female, Beijing) won the first place and Xu Gang (Beijing) won the second place;

1985 - 5th Moscow International Ballet Dance Competition, Tang Min (female) won the Best Performance Technique Award, Zhang Weiqiang and Zhao Minhua won the third place in Men's Pair Dance and and Solo Dance respectively (all from Beijing).

1992 - the 5th Paris International Ballet Competition Tam Yuan Yuan (Shanghai) won the first prize; in the same year, Tam Yuan Yuan won the 1st Japan Ballet International Competition Gold Medal in the Women's Junior Category (China's Liaoning's female competitor Yu Xiaonan won the Silver Medal in the Junior Category in the same session); Poland's Nijin? /div>