John V Chapman
Biographic Data
| ID | 6185557 |
|---|---|
| NAME | John V Chapman |
| GIVEN NAMES | John V |
| FAMILY NAME | Chapman |
| SIGNATURE | CHAPMAN J V |
| VERIFIED | No |
| TOTAL WORKS | 6 |
| TOTAL CITATIONS | 3 |
| WORKS AS AUTHOR | 6 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 1987 |
| LATEST PUBLICATION YEAR | 1991 |
| H-INDEX | 1 |
Dance Critics Association
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Jules Janin and the Ballet
By the early 1830s ballet was being radically altered by the new approaches adopted by ballet masters and by dancers' increasing mastery of a more athletic technique. The resultant shift in the nature of ballet posed a serious challenge to critics. Among the first to respond with a new critical approach was Jules-Gabriel Janin (1804-1874), who adopted a philosophy of art which was completely opposed to the traditional aesthetic which had been app…
The Paris Opéra Ballet School, 1798–1827
(1989). The Paris Opera Ballet School, 1798–1827. Dance Chronicle: Vol. 12, No. 2, pp. 196-220
Forgotten Giant
For three decades Pierre Gardel (1758-1840) held the reins of power at the greatest ballet institution in the world, the Paris Opera. His attributes were considerable; he was intensely loyal, possessed political acuteness and, most importantly, he was a master of his art. All were vital to the successful guidance of the Opera's ballet through some of the most explosive years of French history, through the last days of the Ancien Regime, through R…
Auguste Vestris and the Expansion of Technique
At the end of the eighteenth century, ballet was split between those supporting tours de force and those who believed that “difficulties,” as they were called, should be avoided in favor of a more expressive, refined, graceful, and artless style of execution. Though the controversy neared its most intense period in 1800, as early as 1760 Jean-Georges Noverre (1727-1810) was pleading, in his extremely influential Lettres sur la danse , that his fe…
Silent drama to silent dream
The first three decades of the nineteenth century experienced exceptionally rapid change within the art of ballet. Experimentation in technique was lending the art a new excitement. Dancers were becoming ever more proficient at the athletic part of technique; they could jump higher, turn faster, lift their legs to ever greater heights.1 Developments in acting skills and in the power of ballets to create a convincing illusion brought a new zenith …
Auguste Vestris and the Expansion of Technique
At the end of the eighteenth century, ballet was split between those supporting tours de force and those who believed that “difficulties,” as they were called, should be avoided in favor of a more expressive, refined, graceful, and artless style of execution. Though the controversy neared its most intense period in 1800, as early as 1760 Jean-Georges Noverre (1727-1810) was pleading, in his extremely influential Lettres sur la danse , that his fe…
Forgotten Giant
For three decades Pierre Gardel (1758-1840) held the reins of power at the greatest ballet institution in the world, the Paris Opera. His attributes were considerable; he was intensely loyal, possessed political acuteness and, most importantly, he was a master of his art. All were vital to the successful guidance of the Opera's ballet through some of the most explosive years of French history, through the last days of the Ancien Regime, through R…
Auguste Vestris and the Expansion of Technique
At the end of the eighteenth century, ballet was split between those supporting tours de force and those who believed that “difficulties,” as they were called, should be avoided in favor of a more expressive, refined, graceful, and artless style of execution. Though the controversy neared its most intense period in 1800, as early as 1760 Jean-Georges Noverre (1727-1810) was pleading, in his extremely influential Lettres sur la danse , that his fe…
Silent drama to silent dream
The first three decades of the nineteenth century experienced exceptionally rapid change within the art of ballet. Experimentation in technique was lending the art a new excitement. Dancers were becoming ever more proficient at the athletic part of technique; they could jump higher, turn faster, lift their legs to ever greater heights.1 Developments in acting skills and in the power of ballets to create a convincing illusion brought a new zenith …
Jules Janin and the Ballet
By the early 1830s ballet was being radically altered by the new approaches adopted by ballet masters and by dancers' increasing mastery of a more athletic technique. The resultant shift in the nature of ballet posed a serious challenge to critics. Among the first to respond with a new critical approach was Jules-Gabriel Janin (1804-1874), who adopted a philosophy of art which was completely opposed to the traditional aesthetic which had been app…
The Paris Opéra Ballet School, 1798–1827
(1989). The Paris Opera Ballet School, 1798–1827. Dance Chronicle: Vol. 12, No. 2, pp. 196-220
Dance Critics Association
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Art (6 works) · Visual arts (6 works) · Art history (5 works) · Dance (5 works) · Diversity and Impact of Dance (5 works) · Ballet (4 works) · Historical Art and Culture Studies (3 works) · Historical Studies and Socio-cultural Analysis (3 works) · Aesthetics (2 works) · Historical and Literary Studies (2 works)