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Apollo's Angels: A History of Ballet (Englisch) Audio-CD – Audiobook, CD, Ungekürzte Ausgabe
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“The only truly definitive history of the most impossibly fantastic art form, ballet . . . an eloquent and lasting elegy to an unlasting art.”—The New York Times Book Review
“A delight to read, massively informed yet remarkably agile . . . The story of ballet offers a singular perspective on the evolution of our culture: a fascinating mirror on the arts. Nowhere is this narrative told more amply and compellingly than in Jennifer Homans’s triumphant Apollo’s Angels.”—The Washington Post
“Here is a book of immense ambition—a one-volume history of ballet—and of considerable accomplishment. Jennifer Homans, whom we know primarily as The New Republic’s provocative dance critic, shows herself to be both dogged and graceful as a historian—a rare and welcome combination of qualities.”—The New York Review of Books
“Intellectually rigorous, beautifully written, brilliantly structured.”—San Francisco Chronicle
“Magnificent . . . [a] monumental work.”—The Boston Globe
“Each page of this luminous work delights, enlightens and beckons. Every dancer should live with this book, of course, but every person who loves literature and history, is word-struck and story-addicted, should give themselves a treat with Apollo’s Angels. Treasure this treasure.”—Jacques d’Amboise
“This is a wonderful book about how ballet evolved. Written by a gifted dancer, Apollo’s Angels is dance history seen from the inside. The wonder to me is how much this accessible, beautifully-crafted book reveals about the times and places in which ballets were made; it makes culture come alive.”—Richard Sennett, author of The Craftsman
“A dancer who is also a historian—who ever dreamed of such an improbable creature? But here is Jennifer Homans and her indispensable book. She puts the understanding of ballet on a whole new footing. Finally the delicacies of ballet have been restored to the indelicacies of history, and the art seems even more wondrous for it. Apollo’s Angels is an enlightenment, a remarkable feat of scholarship and sensibility, an affecting mixture of criticism and devotion, an intellectual joy.”—Leon Wieseltier -- Dieser Text bezieht sich auf eine andere Ausgabe: Taschenbuch.
Über den Autor und weitere Mitwirkende
Jennifer Homans was a professional dancer, who trained at the School of American Ballet. When she retired from dancing, she studied European and American cultural history at Columbia and New York Universities and then turned to dance criticism. She is married to the historian Tony Judt, and lives in New York City -- Dieser Text bezieht sich auf eine vergriffene oder nicht verfügbare Ausgabe dieses Titels.Alle Produktbeschreibungen
Das vorliegende Werke jedoch hat eine "ansteckende" Wirkung. Ich kann es jedem empfehlen, der nur einigermaßen bereit ist, sich auf das Thema einzulassen. Es beginnt bereits mit der Einleitung, in der die Autorin dem Leser verdeutlicht, was ein Ballett als Kunstwerk eigentlich darstellt, nämlich eine über Generationen tradierte Aufführungspraxis eines bestimmten Stücks, die von Einzelpersönlichkeiten und Traditionen geprägt, von Schülern memoriert und zwischen Generationen weitergegeben wird. Wenn die Autorin verdeutlich, wie sorgfältig Bewegungsabläufe, Ausdrucksgesten und Pantomimisches von den Tänzern untereinander beobachtet und verinnerlicht werden, wird auch das Interesse des Lesers hell wach. Historische Aufführungen, von denen keine Videoaufzeichnung existiert, leben so in der Erinnerung wieder. Dies beeindruckt zutiefst.
Genauso packend ist auch der Hauptteil des Buches gestaltet: Es beginnt bei der Hochzeit der Maria von Medici, als erstmals - in Anlehnung an die italienischen "balli" - höffische Tanzszenen zum Einsatz kommen und setzt einen ersten Schwerpunkt bei Ludwig XIV. Hier zeigt sich die zweite Stärke des Buches: Es ist bis ins kleinste Detail recherchiert und an keiner Stelle oberflächlich. So werden etwa die Entwicklungsstadien des klassischen Balletts sehr sorgfältig in drei Stadien von der höflichen "belle dance" über die von Molière und Lully entworfene Mischform aus Komödie und Ballett bis hin zu den Opern Lullys mit Balletteinlage nachvollzogen.Lesen Sie weiter... ›
Many thanks for the great Amazon service as usual:-)
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When Balanchine, Ashton,Tudor and the other great lions of dance were creating it was a rare opportunity that the major voices in dance were invited in to make ballets for other companies. Balanchine created only a handful of works outside NYCB and the same is true for Ashton and the Royal. Tudor left Rambert and London and devoted himself to life in New York. Times are different now as evidenced by Christopher Wheeldon and Morphoses or Ratmansky. ABT now does the same Balanchine ballets that they once looked at from a distance. Kylian works are everywhere, done mostly to profit the choreographer rather than enrich a dancers or an audience's experience. Everyone complained in times past that ballet was not run by good business principals and now, more and more, it is and that seems to please few as well. It would be wisest to be patient and offer patronage and support when one can and let the art form take its own course. In any case who made Ms. Homans the voice of authority because she is published?
The actual danger of this book is that someone might not know enough to think for themselves and let the author tell them ballet is dead. More people will go to dance performances than will read this book. When this changes, then worry. Go out and see a ballet.
But this book as so much more. It's written by a thinking ex-dancer who can put the history of dance into a philosophical and cultural context. I'm sure that at nearly every page I was exclaiming ``oh, that's why'' or ``now I know.'' I think her explanation of the origins of ballet in the etiquette and self image of the Sun King's court is the best I've ever read.
I don't think I ever really understood the deep spirituality that underlies Balanchine's choreography until I read this book. It made me go back and spend hours watching videos of long-gone dancers on YouTube.
I'd quibble over a few things. Why didn't she include Mark Morris for example? And what's coming out of China and Japan? And I'm not sure her prognosis about the future of ballet need be quite so glum.
But at bottom, this book is a must for anyone who is halfway interested in the history of ballet, or, for that matter, the cultural history of the early 20th century. Thank you Jennifer Homans!
"Apollo's Angels" is billed as an expansive look at the history of ballet, but it is not that. At least, not after the first quarter or so of the book. The history presented is the party line, what dancers are taught to believe and not question. It is also quite narrow in scope, looking only at the ballet schools that toe the traditional line. The cheaper balletic entertainments and the traveling companies that do specialty presentation are not addressed at all -- and then the author has the audacity to say that there is nothing new in ballet! Well, it's like reading only classic books and then deciding advant garde is dead. It's not good scholarship.
However, the history detailing the evolution of courtly dance to the ballets that are considered classics in our own time is superb. If it's a narrow history, I will applaud the depth of the book in this one narrow area. It's fascinating to find out that ballets I know and like are much changed from their original form even when they are advertised as true classics, the stump speeches of dance.
The author, sadly, never questions her sources or considers their bias. She wrote down the party line even when her own research should have easily shown her the logical inconsistency of it. If Italy had no balletic tradition, where were all these fabulous visiting Italian stars coming from? And, if Balanchine didn't like his dancers a particular way, why on earth do they all look the same in the included pictures. Why was there a terrible backlash against his physical ideals. She can't just say "oh, he liked variety" and think that covers the entirety of the controversy.
Things I very much WISH the author had talked about -- Chinese Ballet, the Trocks, Cirque Du Soliel (which incorporates quite a bit of ballet), Bob Fosse, the obsession with dance and althleticism in the 70s and 80s that left a profound mark on how people viewed dance. Also, the development of the toe shoe from what it was to what it is (completely glossed over!) and the controversies of the twentieth century.
In the end I was very disappointed with the overall scholarship and the lack of real breadth in the work. What was written was generally good, however. But what was missing was ultimately conspicuous.
Ps. Several of the images were originally in color but were printed in black and white even though they appeared on the special pages for color images within the book. Not clear on why that was done.