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Continued from page 4 XIV gave it monarchical approval when at the age of 14, dressed in a garish costume depicting the Sun he danced in a ballet at the court in Versailles. Since that day he became know as the “Sun King.”
“Modem” ballet in Russia was given its greatest impetus in 1847 when Marius Petipa, a Frenchman, was hired as a principal dancer by the Imperial Ballet in St. Petersburg. However, it was not as a dancer that he was to make his mark, but as a choreographer of consummate precision and relentless training. He was a ballet master for 56 years but never learned the Russian language. With grunts and gestures he commanded the respect and admiration of all the dancers. There is hardly a classical ballet today that does not bear his imprint.
The toy of the aristocracy has now become the novelty of the masses. Choreographers today are trying to make ballet an integral part of our society and culture. Getting away from classical gestures and attitudes they exploit eccenticity and mirror our drug and alcoholridden ambiance, violence and sadistic sexuality. This cultural absuridty will never replace the classical ballet _the stuff that dreams are made of.
I invoke Keats who wrote:
“Beauty is truth, truth beauty, that is all , Ye know on earth, and all ye need to know.”
BERNARD E. NUNEZ Castleton
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