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- Title
Beyond Petipa and Before the Academy: Plato, Socrates, and Alexei Ratmansky's Serenade After Plato's Symposium.
- Authors
Boyce, Kristin
- Abstract
In 2016, having already risen to international prominence as a choreographer breathing new life into an art form that had seemed to many to be losing its relevance, Alexei Ratmansky choreographed a piece for American Ballet Theater (the company where he currently serves as Choreographer-in-Residence), I Serenade After Plato's Symposium i , set to Leonard Bernstein's 1954 composition of the same name for solo violin, strings, and percussion. Especially given Ratmansky's passionate commitment to the artistic importance of ballet's past for its present and future, it is perhaps fruitful to consider I Serenade i within the context of the most controversial aspect of his recent work: his labor-intensive, time-consuming and expensive efforts to reconstruct the traditional money-making ballet warhorses - I The Sleeping Beauty, La Bayadere i and I Swan Lake i - in a way that is faithful to the spirit, style, and the particular I steps i of the Petipa originals as accurately as possible. If Socrates and Plato have been with ballet from its beginnings, for much of its life its relationship to them has been mediated by I The Birth of Tragedy i which both tells a "story" about the birth of Greek Tragedy - out of the conflict between two fundamental artistic principles, the "Apollonian" and the "Dionysian" - and its death, which is brought about when the "Apollonian" principle is succeeded by an "altogether newborn daemon called Socrates" (Nietzsche [12], 60).
- Subjects
RATMANSKY, Alexei, 1968-; DANCE rehearsals; BUREAUCRACY; PRAISE; HISTORY of dance; MODERN dance; ART; CONFERENCES &; conventions
- Publication
Midwest Studies In Philosophy (Wiley-Blackwell), 2019, Vol 44, Issue 1, p260
- ISSN
0363-6550
- Publication type
Article
- DOI
10.1111/misp.12132