{"id":3035,"date":"2021-11-30T15:09:04","date_gmt":"2021-11-30T13:09:04","guid":{"rendered":"https:\/\/disco.teak.fi\/tanssin-historia\/?p=3035"},"modified":"2023-10-05T11:32:43","modified_gmt":"2023-10-05T08:32:43","slug":"chapter-2","status":"publish","type":"post","link":"https:\/\/disco.teak.fi\/tanssin-historia\/en\/chapter-2\/","title":{"rendered":"The Transgenerational Continuum of Ballet"},"content":{"rendered":"\n<p>The strength of ballet lies in its narrative of centuries of unbroken artistic development, which began in European courts in the 16th century. However, a closer look at the history of ballet reveals very different ways the art form has understood its content and purpose as part of a wider cultural and historical transformation. The texts in this section explore both the diverse history of ballet and its influence on art dance more broadly.<\/p>\n\n\n\n<div class=\"toc-subloop\">\n<details class=\"toc-item\"><summary>\n      <h2 class=\"toc-title\"><a href=\".\/a-cultural-history-of-ballet-five-centuries-of-a-european-art-form\/\"><span>Hanna J\u00e4rvinen: <\/span>A Cultural History of Ballet \u2013 Five Centuries of a European Art Form<\/a><\/h2>\n<\/summary><ul>\n<li>From a Court Dance to an Art<\/li>\n<li>From Baroque Theatre Space to Horseshoe Theatres<\/li>\n<li>Dance as Writing<\/li>\n<li>Sall\u00e9, Garrick, Noverre and the Stage as a Picture<\/li>\n<li>The Romantic Age \u2013 From Action Ballet to Sensual Impressions<\/li>\n<li>Mime vs Dance<\/li>\n<li>The Second Half of the Nineteenth Century \u2013 Towards an Increasingly Spectacular Spectacle<\/li>\n<li>The \u2018Old\u2019 and the \u2018New\u2019 Ballet in Russia<\/li>\n<li>The Russian Ballet of Diaghilev (and a Few Others)<\/li>\n<li>Avant-garde and Neoclassicism \u2013 Ballet as Manifestation of Music<\/li>\n<li>The Many Styles of the Twentieth Century<\/li>\n<li>Contemporary Ballet<\/li>\n<li>Ballet class<\/li>\n<li>Conclusion<\/li>\n<\/ul><\/details>\n<details class=\"toc-item\"><summary>\n      <h2 class=\"toc-title\"><a href=\".\/postdramatic-ballet\/\"><span>Mikael Aaltonen: <\/span>William Forsythe\u2019s Postdramatic Ballet and Choreographic Installations<\/a><\/h2>\n<\/summary><ul>\n<li>From Balanchine towards Postdramatic Theatre<\/li>\n<li>Installation, Choreographic Object and Social Choreography<\/li>\n<\/ul><\/details>\n<details class=\"toc-item\"><summary>\n      <h2 class=\"toc-title\"><a href=\".\/orientalism-in-ballet\/\"><span>Hanna J\u00e4rvinen: <\/span>Orientalism in Ballet<\/a><\/h2>\n<\/summary><ul>\n<li>Critiques of Orientalism and Whitewashing History<\/li>\n<\/ul><\/details>\n<details class=\"toc-item\"><summary>\n      <h2 class=\"toc-title\"><a href=\".\/the-long-history-of-orientalism\/\"><span>Jukka O. Miettinen: <\/span>The Long History of Orientalism<\/a><\/h2>\n<\/summary><ul>\n<li>World Exhibitions and Dance<\/li>\n<li>The Golden Age of Orientalist Dance<\/li>\n<\/ul><\/details>\n      <h2 class=\"toc-title\"><a href=\".\/the-rite-of-spring\/\"><span>Hanna J\u00e4rvinen: <\/span>The Rite of Spring<\/a><\/h2>\n               \n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>The strength of ballet lies in its narrative of centuries of unbroken artistic development, which [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":2841,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[23,28],"tags":[],"class_list":["post-3035","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-2-the-transgenerational-continuum-of-ballet","category-toc-en"],"acf":[],"_links":{"self":[{"href":"https:\/\/disco.teak.fi\/tanssin-historia\/en\/wp-json\/wp\/v2\/posts\/3035","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/disco.teak.fi\/tanssin-historia\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/disco.teak.fi\/tanssin-historia\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/disco.teak.fi\/tanssin-historia\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/disco.teak.fi\/tanssin-historia\/en\/wp-json\/wp\/v2\/comments?post=3035"}],"version-history":[{"count":11,"href":"https:\/\/disco.teak.fi\/tanssin-historia\/en\/wp-json\/wp\/v2\/posts\/3035\/revisions"}],"predecessor-version":[{"id":3582,"href":"https:\/\/disco.teak.fi\/tanssin-historia\/en\/wp-json\/wp\/v2\/posts\/3035\/revisions\/3582"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/disco.teak.fi\/tanssin-historia\/en\/wp-json\/wp\/v2\/media\/2841"}],"wp:attachment":[{"href":"https:\/\/disco.teak.fi\/tanssin-historia\/en\/wp-json\/wp\/v2\/media?parent=3035"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/disco.teak.fi\/tanssin-historia\/en\/wp-json\/wp\/v2\/categories?post=3035"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/disco.teak.fi\/tanssin-historia\/en\/wp-json\/wp\/v2\/tags?post=3035"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}