Vì Một Cuộc Đời Không Hối Tiếc tải xuống LIT miễn phí

Simran Randhawa _2ec9 — ** spoiler alert ** First a bit of a disclaimer: I am merely someone who was fascinated enough with dance and ballet (as a spectator) to look up a book such as this as a way of perhaps becoming better acquainted with the art form. I rented the audiobook version originally to build up some background knowledge for a character in friend's RP that used to be a court dancer in the Renaissance period, but found that I became interested in the history for it's own sake. I have no direct experience as a ballet dancer, nor would I be able to (or want to) become a ballet dancer. I'm simply just someone who enjoys going to see live performance art (whether it's a circus performance, a ballet, a concert or a play). With that being said, the opinions expressed in this review are simply just that. I hope it's a somewhat more educated set of opinions after having read this impressively compiled history book, but if I make assumptions that you cannot accept, I will understand. I know I am not an expert on the subject of ballet, but I do appreciate it as an art form and I feel that the author's argument worth ruminating on. This is a very informative and comprehensive history of ballet from its earliest beginnings up until the present day. I found myself discussing the epilogue and what it might mean for ballet (as well as other performance art)'s future with my family after finishing it. It's clear that ballet cannot (and should not in my opinion, whatever that's worth as someone who has next to no experience with ballet directly) return to its roots, as it's near impossible to do so. The contexts and the crowd that sustained those older forms of the dance are all but gone (as is discussed in the epilogue of the book). I find that in some ways this may be a good thing, as although it is always disheartening to lose the more beautiful works of art in any medium, it becomes necessary to move on and find new ways to express new works of art. Not very much comes of trying to ape the styles of the old ballets, which are themselves loosely adapted from still older forms of dance. It is completely understandable why, like oral storytelling for example, some want to make sure the old ways don't die out. It's a one-of-a-kind way to create and experience art. At the same time, if we concentrate too much on what may or may not be lost in any art form, we will miss opportunities to experiment and come up with new ways of expressing ourselves through dance. I find there's a parallel to this in film, as well as music. Many film buffs are currently unsure of what the future holds for films as an art form, understandably as there has been a rash of overly commercial and watered down films as of late that are either derived from older works, based on older works or adapted from other sources that are often superior to their film counterparts. I do not claim to have a definite answer for where film or ballet should go to find new inspiration and life for their respective art forms. I do know this though: neither is going to really "die." And to be honest, bringing it back to the book, I believe that ballet will transform again, not die. I think the only death ballet will see is of its oldest self, which again in my own opinion it may have needed to do a long time ago. There will always be echoes of the old ways of ballet that filter through to present choreographers and dancers productions. I think what ballet is doing right now is struggling to shed its old skin (to use a very tired phrase) without destroying what little remnants of itself it has to refer back to. There should always be a respect for what it has of it's classical past, but clinging so hard to the old ways may be what makes it that much harder to keep up. And now I feel a bit conflicted after writing all that. After all, since ballet's history is (to use the author's words) contained in the dancers' bodies themselves and the dancers are becoming much less connected to the roots of ballet perhaps ballet will cease to exist. I cannot quite say that though without still doubting that. After all, there are now many film recordings that have preserved these dances. These recordings together with ballet masters that still care enough to teach the older styles along with the more contemporary forms, I hope, will at least keep new dancers aware of where ballet came from. I think that, although to those more closely involved with ballet may despair of what the death of Balanchine and twentieth century advancements may mean for classical ballet, I think it's a blessing in disguise. I think what ballet needs right now is as much new blood as possible.