Ballet

The keynote of the stylization achieved in ballet is: weightlessness. Paradoxically, ballet presents man as almost disembodied: it does not distort man’s body, it selects the kinds of movements that are normally possible to man (such as walking on tiptoe) and exaggerates them, stressing their beauty—and defying the law of gravitation. A gracefully effortless floating, flowing and flying are the essentials of the ballet’s image of man. It projects a fragile kind of strength and a certain inflexible precision, but it is man with a fine steel skeleton and without flesh, man the spirit, not controlling, but transcending this earth . . . .

Strong passions or negative emotions cannot be projected in ballet, regardless of its librettos; it cannot express tragedy or fear—or sexuality; it is a perfect medium for the expression of spiritual love.

The Romantic Manifesto “Art and Cognition,” The Romantic Manifesto, Jan. 68.

See also ART; CHOREOGRAPHER; DANCE; MUSIC; PERFORMING ARTS.

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