To many of us, classical ballet is a visible heaven. We gaze into it not fully understanding its hypnotic effect or why at moments we are so overwhelmed by the beauty of an arabesque that it takes our breath away. We enjoy "wow" moments when dancers perform extraordinary feats and also enjoy a rush of warmth when dancers gift us with phrasing that heightens our nerves' responses to the music – when they actually make us physically feel the music more intensely.
Even those of us who have stood at the barre for many years, have stood in the rush ticket line for many years, have stood 32 rows back at the Met Opera House for a glimpse of an important Odette/Odile, have stood firmly with an unyielding "higher loyalty" to the art form's classical values while its constitution was being attacked (oh yeah, that book is coming, too) – we often don't take the time to reflect on why we love this art form so much or why we would be willing to go without food in order to buy a ticket. It's not human nature to question our passions; we just live them.
In Celestial Bodies, Laura Jacobs weaves together elements of technique, history, theory, music, and the inter-relationship of the arts to engage the reader in a fresh-eyed look at ballet's tradition and current state. She bourrees on a straight line right into the dancer's obsession with perfection, extends a deep révérence to Tchaikovsky – "Put simply, it is impossible to imagine the art of ballet without Tchaikovsky, impossible to know where it would have gone, or if it could even have survived, without him." – and devotes a chapter to that divine iconic image of the art, the arabesque. This sparkling, eloquent book will make going to the ballet a richer experience for both the novice and the passionate.
Laura Jacobs will be reading from Celestial Bodies on Tuesday May 8th (the release date) at 6PM at The Corner Bookstore, 1313 Madison Avenue @ 93rd St.
26 responses to “Celestial Bodies How To look At Ballet”
This looks like a worthy ballet book by a talented dance writer.
Volvov’s book Balanchine’s Tchaikovsky, which consists of lively interviews, shows Balanchine to be a deep student and lover of Tchaikovsky’s music. So I’m sure he would agree with Laura Jacobs. My first exposure to his music was probably in Disney’s Sleeping Beauty and then Nutcracker. But Tchaikovsky’s music is misused by showmen like Bourne. His gothic, vampire SB is free to watch on PBS. His Swan Lake is also entertaining theater but again, the music is disrespected! Yet Bourne can move a narrative clearly forward–something other current choreographers need to work on. Should Bourne leave the classics alone or is he bringing in a new audience for “real” ballet? Can exposure to Bourne cultivate a love for beautiful refined dance over time?
This looks like a worthy ballet book by a talented dance writer.
Volvov’s book Balanchine’s Tchaikovsky, which consists of lively interviews, shows Balanchine to be a deep student and lover of Tchaikovsky’s music. So I’m sure he would agree with Laura Jacobs. My first exposure to his music was probably in Disney’s Sleeping Beauty and then Nutcracker. But Tchaikovsky’s music is misused by showmen like Bourne. His gothic, vampire SB is free to watch on PBS. His Swan Lake is also entertaining theater but again, the music is disrespected! Yet Bourne can move a narrative clearly forward–something other current choreographers need to work on. Should Bourne leave the classics alone or is he bringing in a new audience for “real” ballet? Can exposure to Bourne cultivate a love for beautiful refined dance over time?
To answer your final question, I would say ‘No’. The bastardization of ballet classics doesn’t bring new audiences to the art form any more than feeding kids McDonald’s french fries tempts them to eat vegetables. If anything, Bourne’s adaptations probably drive audiences away from the values of the classics.
To answer your final question, I would say ‘No’. The bastardization of ballet classics doesn’t bring new audiences to the art form any more than feeding kids McDonald’s french fries tempts them to eat vegetables. If anything, Bourne’s adaptations probably drive audiences away from the values of the classics.
Huzzah, my local bookstore! Thank you for the recommendation.
Huzzah, my local bookstore! Thank you for the recommendation.
Excellent, Pearl. Why not go on the 8th and get yourself a signed copy?
Excellent, Pearl. Why not go on the 8th and get yourself a signed copy?
Thanks for the notice! I’ve enjoyed Laura Jacobs’ articles in the New Criterion for years and will be sure to attend.
Thanks for the notice! I’ve enjoyed Laura Jacobs’ articles in the New Criterion for years and will be sure to attend.
Fabulous, Christine.
Fabulous, Christine.
Sold! Thanks for the review.
Sold! Thanks for the review.
Great, Shawn. Frequently while reading this book, I found myself reflecting on Yuriko Kajiya’s qualities as a classicist.
Great, Shawn. Frequently while reading this book, I found myself reflecting on Yuriko Kajiya’s qualities as a classicist.
Thanks for the advance info, Haglund. I can’t be at the signing but will order the book. I’ve enjoyed Jacobs’s articles. If I recall well, she is an enthusiastic fan of Veronika Part.
Thanks for the advance info, Haglund. I can’t be at the signing but will order the book. I’ve enjoyed Jacobs’s articles. If I recall well, she is an enthusiastic fan of Veronika Part.
True, Marta. Veronika is among the many ballerinas mentioned and quoted in the book.
True, Marta. Veronika is among the many ballerinas mentioned and quoted in the book.
An entire chapter on arabesque–Wow! I ordered the book immediately.
An entire chapter on arabesque–Wow! I ordered the book immediately.
Yes, Angelica, more than a few of us live for our next chance to swoon at a miraculous arabesque. 😸
Yes, Angelica, more than a few of us live for our next chance to swoon at a miraculous arabesque. 😸
Maria Kowroski is going to grace us with many this coming week at NYCB,
Maria Kowroski is going to grace us with many this coming week at NYCB,