Ballet in America: The State of the Art with Damian Woetzel.
The New York City Ballet's Damian Woetzel discusses ballet and the state of art in America.
Some of the most inspired and provocative thinkers, writers, artists, business people, teachers and other leaders drawn from myriad fields and from across the country and around the world all gathered in a single place - to teach, speak, lead, question, and answer at the 2006 Aspen Ideas Festival. Throughout the week, they all interacted with an audience of thoughtful people who stepped back from their day-to-day routines to delve deeply into a world of ideas, thought, and discussion.
Bio
Damian Woetzel
Damian Woetzel is director of the Aspen Institute's arts program and Harman-Eisner Artist-in-Residence Program. A former principal dancer with New York City Ballet, Woetzel is also the artistic director of the Vail International Dance Festival, the founding director of the Jerome Robbins Foundation's New Essential Works Program, and he works with Yo-Yo Ma and his Silk Road Connect Program in the New York City public schools. He is active as a director and producer, and among his recent projects, Woetzel was the director of the first performance of the White House Dance Series hosted by First Lady Michelle Obama and an arts salute to Stephen Hawking at Lincoln Center for the World Science Festival. Woetzel has been a visiting lecturer at Harvard Law School. In 2009, President Obama appointed Woetzel to the President's Committee on the Arts and Humanities.
Theatrical dance in which a formal academic technique (the danse d'école) is combined with music, costume, and stage scenery. Developed from court productions of the Renaissance, ballet was renewed under Louis XIV, who in 1661 established France's Académie Royale de Danse, where Pierre Beauchamp developed the five ballet positions. Early ballets were often accompanied by singing and incorporated into opera-ballets by composers such as Jean-Baptiste Lully. In the 18th century Jean-Georges Noverre and Gasparo Angiolini separately developed the dramatic ballet (ballet d'action) to tell a story through dance steps and mime, a reform echoed in Christoph Willibald Gluck's music. Significant developments in the early 19th century included pointe work (balance on the extreme tip of the toe) and the emergence of the prima ballerina, exemplified by Marie Taglioni and Fanny Elssler. In the late 19th and early 20th centuries, Russia became the centre of ballet production and performance, through the work of innovators such as Sergey Diaghilev, Anna Pavlova, Vaslav Nijinsky, Marius Petipa, and Michel Fokine; great ballets were composed by Pyotr Tchaikovsky and Igor Stravinsky. Since then, ballet schools in Great Britain and the U.S. have elevated ballet in those countries to Russia's level and greatly increased its audience. See alsoAmerican Ballet Theatre; Ballet Russe de Monte Carlo; Ballets Russes; Bolshoi Ballet; New York City Ballet; Royal Ballet.