Romantic Landscapes for Dance
Ballet Narratives and Edmund Burke's Theory of the Sublime
Bibliographic Data
| ID | 11211287 |
|---|---|
| Authors | Debra Hickenlooper Sowell (corresponding author) |
| Year | 2011 |
| Volume | 34 |
| Issue | 2 |
| Pages | 183-216 |
| Publication date | 2011-05-01 |
| Open Access | No |
| Type | ARTICLE |
| Venue | Dance Chronicle (JOURNAL) |
| Journal identifiers | ISSN: 0147-2526 • E-ISSN: 1532-4257 |
| Publisher | Informa UK Limited (PUBLISHER • GB) |
| DOI | 10.1080/01472526.2011.580237 |
| OpenAlex | W1965400753 |
| Language | EN |
During the Romantic period ballet narratives often transpired in natural settings that reflected landscape traditions in the other arts. Jay Appleton's modern interdisciplinary landscape theory provides three useful concepts for analyzing the role of landscape in the ballet repertory: prospect, refuge, and hazard. Elements of hazard evoke Edmund Burke's eighteenth-century theory of the sublime, but the ballerinas' beauty and pointe technique may have better reflected William Gilpin's “picturesque” style. This article explores repertory in London and Paris from 1830 to 1850 and culminates philosophically in a landscape-oriented analysis of Giselle that also draws on Burke's theories
Aesthetics · Art · Art history · Ballet · Beauty · Dance · Literature · Narrative · Romance · Romanticism · Style (visual arts) · Sublime · The arts · Visual arts · Geographies of human-animal interactions · Landscape and Cultural Studies
| Highly cited | No |
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