The period of the creation of romanticism and classical ballet coincidentally overlays the timeline from the period when the power of absolute kingship (royal authority) is emphasized until the time of emergence of the modern capitalism. For the maturity of the bourgeoisie class which emerged during...
The period of the creation of romanticism and classical ballet coincidentally overlays the timeline from the period when the power of absolute kingship (royal authority) is emphasized until the time of emergence of the modern capitalism. For the maturity of the bourgeoisie class which emerged during the period of sovereignty by absolute royal power, the predominant social emphases were imposed on revival of the social constituents and the reservation of the sexual roles of those housewives, which were then socially perceived as the least value to the nation/society.
It might have been superficially conceived that the minimum social value of such traditional sexual roles by women was somewhat alleviated and perhaps augmented due to technological advance through the Industrial Revolution and maturity of people's democracy, often delineated as the symbol of French Revolution. However, from the sexuality standpoint it was indeed the beginning of the sexual oppression by the political power preceded by the formation of the bourgeoisie class along with emergence of capitalism.
While the fixation of the women's sexual roles and the sexual inequality were worsened by the political powers in order to enhance the bourgeoisie's labor force, one of the methods that were employed was the art of ballet. However, the wave fronts of the post-modernism after 1960's did not allow such detrimental values of art of ballet. In particular, the parodies, which were the primary production techniques, had a significant influence not only on novels, poetry, plays, cinema, advertising, fine art, and music, but also on ballet. Therefore, many of today's contemporary ballet choreographers use parody styles to produce ballet that challenges today's sexual morality and political ideologies.
The research on the subject of parody ballet works reveals that it is often discovered that the subject mostly deals with one's sexual freedom that embodies his/her sexual identity as well as sexual desire. In other words, the parody style frequently adopted by today's ballet choreographers is viewed as one of the most adequate and effective ways of reflecting the reality of changing social structures. The interests of these choreographers reside not only in redefining the sexual roles and dissolution of its structure but also in overcoming the sexual identity originally unveiled by the classical ballet. Today, given these values and morals obtained by the parody ballet choreographers, they often criticize those that are still steadfast and are enjoying the classical ballet.
This research revolves around Swan Lake, one of the most representative work of Matthew Bourne, who is known to be the most active even amongst those parody ballet choreographers, to embrace the reassignment of the traditional sexual roles and to discover the aggressive efforts made by not only in the works of Matthew Bouren himself, but also in those of the other parody ballet choreographers through close observation of Bournen's sexual ideology based on the characteristics of the parodies of ballet.
Especially, the original version of Swan Lake is the most popular classical ballet and thus, is performed the most frequently worldwide today. On the other hand, it is the most challenged ballet by many of today's ballet choreographers for promoting fixation of the typical sexual roles. Therefore, in conclusion, the evaluation based on Bourne's Swan Lake was worth the trial. In other words, it is representative of those ballets that challenged the reversal of the existing conceptual formulation by the conflict between the distorted and/or suppressed women's sexuality based on men's desire and its opposite image.
Again, the main objective of this research is to illustrate based on the presumption that different types of art works are like a mirror that reflects the atmosphere of different time periods, that 1) the parodical style, founded on mutual text and mixed imitation, is truly the best to accommodate the ever changing awareness, 2) especially, the attempts made by the political powers for fixation of the sexual roles is most clearly depicted, 3)raises the question of a genre art of ballet which most clearly displays the perception by the controlled class, 4) the parody was the most effective way the ballet choreographers employed to encourage aggressive and proactive method of expressing oneself, 5) and finally to show through these parodies that their ultimate goal was to revise the misplaced gender and assignment of the sexuality that were resulted from the intents of the political powers.
The period of the creation of romanticism and classical ballet coincidentally overlays the timeline from the period when the power of absolute kingship (royal authority) is emphasized until the time of emergence of the modern capitalism. For the maturity of the bourgeoisie class which emerged during the period of sovereignty by absolute royal power, the predominant social emphases were imposed on revival of the social constituents and the reservation of the sexual roles of those housewives, which were then socially perceived as the least value to the nation/society.
It might have been superficially conceived that the minimum social value of such traditional sexual roles by women was somewhat alleviated and perhaps augmented due to technological advance through the Industrial Revolution and maturity of people's democracy, often delineated as the symbol of French Revolution. However, from the sexuality standpoint it was indeed the beginning of the sexual oppression by the political power preceded by the formation of the bourgeoisie class along with emergence of capitalism.
While the fixation of the women's sexual roles and the sexual inequality were worsened by the political powers in order to enhance the bourgeoisie's labor force, one of the methods that were employed was the art of ballet. However, the wave fronts of the post-modernism after 1960's did not allow such detrimental values of art of ballet. In particular, the parodies, which were the primary production techniques, had a significant influence not only on novels, poetry, plays, cinema, advertising, fine art, and music, but also on ballet. Therefore, many of today's contemporary ballet choreographers use parody styles to produce ballet that challenges today's sexual morality and political ideologies.
The research on the subject of parody ballet works reveals that it is often discovered that the subject mostly deals with one's sexual freedom that embodies his/her sexual identity as well as sexual desire. In other words, the parody style frequently adopted by today's ballet choreographers is viewed as one of the most adequate and effective ways of reflecting the reality of changing social structures. The interests of these choreographers reside not only in redefining the sexual roles and dissolution of its structure but also in overcoming the sexual identity originally unveiled by the classical ballet. Today, given these values and morals obtained by the parody ballet choreographers, they often criticize those that are still steadfast and are enjoying the classical ballet.
This research revolves around Swan Lake, one of the most representative work of Matthew Bourne, who is known to be the most active even amongst those parody ballet choreographers, to embrace the reassignment of the traditional sexual roles and to discover the aggressive efforts made by not only in the works of Matthew Bouren himself, but also in those of the other parody ballet choreographers through close observation of Bournen's sexual ideology based on the characteristics of the parodies of ballet.
Especially, the original version of Swan Lake is the most popular classical ballet and thus, is performed the most frequently worldwide today. On the other hand, it is the most challenged ballet by many of today's ballet choreographers for promoting fixation of the typical sexual roles. Therefore, in conclusion, the evaluation based on Bourne's Swan Lake was worth the trial. In other words, it is representative of those ballets that challenged the reversal of the existing conceptual formulation by the conflict between the distorted and/or suppressed women's sexuality based on men's desire and its opposite image.
Again, the main objective of this research is to illustrate based on the presumption that different types of art works are like a mirror that reflects the atmosphere of different time periods, that 1) the parodical style, founded on mutual text and mixed imitation, is truly the best to accommodate the ever changing awareness, 2) especially, the attempts made by the political powers for fixation of the sexual roles is most clearly depicted, 3)raises the question of a genre art of ballet which most clearly displays the perception by the controlled class, 4) the parody was the most effective way the ballet choreographers employed to encourage aggressive and proactive method of expressing oneself, 5) and finally to show through these parodies that their ultimate goal was to revise the misplaced gender and assignment of the sexuality that were resulted from the intents of the political powers.
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