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BALET

Balet adalah nama dari salah satu teknik tarian. Karya tari yang dikoreografi menggunakan teknik ini dinamakan balet, dan meliputi: tarian itu sendiri, mime, akting, dan musik (baik musik orkestra ataupun nyanyian). Balet dapat ditampilkan sendiri atau sebagai bagian dari sebuah opera. Balet terkenal dengan teknik virtuosonya seperti pointe work, grand pas de deux, dan mengangkat kaki tinggi-tinggi. Teknik balet banyak yang mirip dengan teknik anggar, barangkali karena keduanya mulai berkembang dalam periode yang sama, dan juga karena keduanya membutuhkan teknik keseimbangan dan pergerakan yang mirip.

Istilah ballo pertama kali digunakan oleh Domenico da Piacenza (dalam De Arte Saltandi et Choreas Ducendi), sehingga karyanya dikenal sebagai balleti atau balli yang kemudian menjadi ballet. Istilah ballet itu sendiri dicetuskan oleh Balthasar de Beaujoyeulx dalam Ballet Comique de la Royne (1581) yang merupakan ballet comique (drama ballet). Pada tahun yang sama, Fabritio Caroso menerbitkan Il Ballarino, yaitu panduan teknis mengenai menari balet, yang membuat Italia menjadi pusat utama berkembangnya tari balet.

Sejarah balet

Giselle Act

Balet berakar pada acara pertemuan para ningrat Italia di masa pencerahan. Selanjutnya, balet dikembangkan dalam ballet de cour, yaitu dansa sosial yang dilakukan bersama musik, pidato, berpuisi, nyanyian, dekor, dan kostum oleh para ningrat Prancis. Balet kemudian berkembang sebagai bentukan seni tersendiri di Prancis pada masa pemerintahan raja Louise XIV yang sangat mencintai seni tari dan bertekad untuk memajukan kualitas seni tari pada masa itu. Sang raja mendirikan Académie Royale de Danse pada tahun 1661, dan pada tahun yang sama, balet komedi karya Jean-Baptist Lully ditampilkan. Bentuk balet awal berupa sebuah seni panggung di mana adegan-adegannya berupa tarian. Lully lalu mendalami balet opera dan mendirikan sekolah untuk mendidik penari balet profesional yang berhubungan dengan Académie Royale de Musique. Di sekolah tersebut, sistem pendidikannya berdasarkan tata krama ningrat.

Abad ke-18 merupakan periode di mana standar teknis balet mnejadi sangat maju. Pada masa ini pula balet menjadi bentukan seni drama yang serius dan setara dengan opera. Kemajuan ini disebabkan oleh karya penting dari Jean-Georges Noverre yang berjudul Lettres sur la danse et les ballets (1760), yang merintis berkembangnya ballet d’action di mana penari diharuskan mengekspresikan karakter dan menampilkan narasi cerita. Musik balet itu sendiri berkembang sangat pesat pada masa itu oleh komponis seperti Christopher Gluck. Pada akhir masa itu, opera menjadi terbagi tiga teknik formal yaitu sérieux, demi-caractère dan comique, dan balet turut menjadi bagian di dalam opera sebagai pengantar adegan yang diistilahkan sebagai divertissements.

Abad ke-19 merupakan periode di mana banyak terjadi perubahan sosial. Perubahan ini juga tercermin dalam balet, yang bergeser jauh dari bentukan seni yang sangat ningrat (Balet romantik). Ballerina seperti Marie Taglioni dan Fanny Elssler merintis teknik baru berupa pointe work yang menyebabkan peran ballerina (penari balet wanita) menjadi sangat penting di atas panggung. Sementara itu, para librettist profesional mulai memasukkan cerita dalam balet, dan guru balet seperti Carlo Blasis mengkodifikasi teknik balet sehingga menjadi teknik dasar yang masih digunakan hingga sekarang. Balet mengalami penurunan pamor setelah 1850 di kebanyakan negara barat selain Denmark dan Rusia (berkat para master seperti August Bournonville, Jules Perrot, dan Marius Petipa). Sanggar balet Rusia, terutama setelah Perang Dunia II, banyak melakukan tur keliling dunia sehingga menjaga balet tetap hidup di dunia dan banyak dikenal oleh masyarakat umum.

Famous Balerina

Gillian Murphy dan Angel Corella dalam Swan Lake

Perintis balet di Indonesia

Penari balet terkenal di Indonesia

Sekolah Balet Sumber Cipta

balet4.jpg

Sekolah ini tak lepas dari kiprah Farida Oetoyo dan almarhumah Yulianti Parani. Kedua sahabat ini mendirikan sekolah balet Nritya Sundara pada 1958. Mereka menyewa ruangan di Metropole atau sekarang dikenal gedung bioskop Megaria di kawasan Cikini. Ini selepas Farida pulang dari Belanda setelah menjalani penari profesional di Ballet der Lage Landen, Amsterdam. Ia juga sempat mengajar di sekolah balet pimpinan Wim Romers di Jakarta.

Pada 1977 barulah Sumber Cipta berdiri. Lokasinya pindah ke Jalan Cempaka no. 8 di Tomang Raya, Jakarta Barat pada 1980, terdiri dari dua ruangan 5×8 meter persegi. Pada 27 Agustus 1995, pindah ke Pondok Pinang, Jakarta Selatan. Tempat inilah yang menjadi lokasi tetap Sumber Cipta sampai sekarang.

Studio latihan berlantai tiga itu persis berseberangan dengan kantor pajak di bilangan Ciputat Raya. Ia dilengkapi prasarana latihan yang memadai. Tiga lantai menari, satu ruangan administrasi, halaman parkir yang luas, dan dikelilingi pepohonan, sejuk dan teduh.

Seperti diakui Farida Oetoyo dalam pengantar pentas Alice in Wonderland, September 2005, Sumber Cipta harus kehilangan sebagian penarinya lantaran berpindahnya lokasi ini. Tempat latihan baru ini terlalu jauh untuk para murid yang menetap di seputaran Tomang.

Pentas tersebut menandai sepuluh tahun kepindahannya dan menjadi persembahan generasi baru Sumber Cipta. Pentas paling anyar terjadi Februari 2007 kemarin di Gedung Kesenian Jakarta. Pentas ini bertajuk Different Dimensions Six Variations on an Introdans Theme. Ini hasil kerjasama tim Introdans Educatie, salah satu sekolah balet terbaik di Belanda. Proyek lokakarya ini dibiayai sepenuhnya oleh Kedutaan Besar Belanda di Jakarta.

Introdans Belanda mengirimkan tiga pelatihnya, awal Februari saat banjir melanda ibukota. Mereka melatih murid pilihan dari usia 8 tahun sampai remaja dan dua minggu kemudian hasilnya bisa dinikmati di atas panggung. Kedatangan mereka juga membawa banyak manfaat untuk Sumber Cipta. Mereka bisa belajar sesuatu dari ketiga pengajar itu. ”Bisa set-up satu pementasan dalam 2 minggu, di mana 75 orang ikut, ini cepat sekali,” kata Farida.

Sumber Cipta akan mementaskan rangkaian tarian balet untuk anak usia 4 tahun sampai remaja berjudul Ballet From Head to Toe. Rencananya tampil di Graha Bhakti Budaya di Taman Ismail Marzuki, 7 April mulai jam 4 sore. Ia merupakan pentas ulangan. Sengaja dihadirkan untuk anak-anak binaan terbaru Sumber Cipta. Seperti dikatakan Farida sendiri, ini ”buat latihan mereka menari di panggung. Buat percaya diri.”

Dari hip-hop sampai balet jazz

JUMLAH murid sekolah balet pimpinan Farida Oetoyo sekira lebih dari 200-an. Selain membuka kelas balet, Sumber Cipta juga menerima kelas tari Jawa, Bali, dan hip-hop maupun jazz. Ia juga jadi tempat latihan senam untuk kalangan ibu-ibu saban
pagi.

Namun fokus kegiatan Sumber Cipta tetap pada balet. Ia pun memiliki sebuah kelompok penari profesional bernama Kreativitat Dance Company, terdiri tak lebih dari 10 penari yang umumnya lulusan terbaik sekaligus pengajar sekolah ini. Jumlah instrukturnya sekitar 12-15 orang, tetap maupun tidak tetap, tersebar ke masing-masing cabang sekolah ini di Puri Kencana, Bintaro, dan Bumi Serpong Indah.
Farida ikut sebagai instruktur juga. Ia membuka murid baru tiap hari. Ada formulir
pendaftaran dan jadwal tetap saban minggu.
Ia membuka kelas balet dari usia 4 tahun sampai kelas dewasa. Masing-masing terbagi
dalam Baby Class untuk umur 4-5 tahun; Pemula 1 & 2 (6-8 tahun); Tingkat 1-5 (8-15
tahun); dan Tingkat Lanjut 1-2 untuk usia dewasa.

Jam latihannya sekitar 50 menit sampai 70 menit, tergantung dari tingkatan
kelas. Ini juga berlaku untuk jam latihan, semakin malam semakin diisi untuk kelas dewasa. Kecuali Baby Class, yang menerima empat kali latihan dalam sebulan, semua kelas lainnya mendapatkan dua kali lipatnya. Para murid menerima ujian balet, uji pentas setiap tahun, lokakarya bersama pengajar tamu, selain ujian bersertifi kat ketika lulus. Untuk orangtua murid sendiri ada open class. Ini dipakai sebagai ajang tukar pendapat dan pertanyaan seluas-luasnya dengan para pengajar mengenai perkembangan anakanak mereka.

Anda butuh uang Rp 150 ribu untuk mendaftarkan anak Anda ke sekolah ini. Bagi yang membayar tiga bulan sekaligus akan mendapat potongan 50 persen uang
pendaftaran. Jika ini diulangi lagi tiga bulan berikutnya maka mendapat diskon 10 persen.
Hitung-hitungan biayanya di bawah ini:
Baby Class Rp 275.000 seminggu sekali; Pemula 1 dan 2 Rp 325.000 seminggu 2x; Tingkat 1 dan 2 Rp 350.000 seminggu 2x; Tingkat 3-5 Rp 375.000 seminggu 2x; Lanjut 1 dan 2 Rp 400.000 seminggu 2x [FAHRI]

Sekolah Balet Sumber Cipta
Jl. Ciputat Raya No. 1, Pondok Pinang
Jakarta 12310
T: 765-9467
F: 765-4602

ballet

Theatrical representation in dance form in which music also plays a major part in telling a story or conveying a mood. Some such form of entertainment existed in ancient Greece, but Western ballet as we know it today first appeared in Renaissance Italy, where it was a court entertainment. From there it was brought by Catherine de’ Medici to France in the form of a spectacle combining singing, dancing, and declamation. During the 18th century there were major developments in technique and ballet gradually became divorced from opera, emerging as an art form in its own right.

In the 20th century Russian ballet had a vital influence on the classical tradition in the West, and ballet developed further in the USA through the work of George Balanchine and the American Ballet Theater, and in the UK through the influence of Marie Rambert.


History

The first important dramatic ballet, the Ballet comique de la reine, was produced in 1581 by the Italian Balthasar de Beaujoyeux at the French court and was performed by male courtiers, with ladies of the court forming the corps de ballet. In 1661 Louis XIV founded the Académie Royale de Danse, to which all subsequent ballet activities throughout the world can be traced. Long, flowing court dress was worn by the dancers until the 1720s when Marie-Anne Camargo, the first great ballerina, shortened her skirt to reveal her ankles, thus allowing greater movement à terre and the development of dancing en l’air

.

During the 18th century ballet spread to virtually every major capital in Europe. Vienna became an important centre and was instrumental in developing the dramatic aspect of the art as opposed to the athletic qualities, which also evolved considerably during this century, particularly among male dancers. In the early 19th century a Paris costumier, Maillot, invented tights, which allowed complete muscular freedom. The first of the great ballet masters was Jean-Georges Noverre, and great contemporary dancers were Teresa Vestris, Anna Friedrike Heinel, Jean Dauberval, and Maximilien Gardel.

Carlo Blasis is regarded as the founder of classical ballet, since he defined the standard conventional steps and accompanying gestures.

Romantic ballet

The great Romantic era of the dancers Marie Taglioni, Fanny Elssler, Carlotta Grisi, Lucile Grahn, and Fanny Cerrito began about 1830 but survives today only in the ballets Giselle (1841) and Les Sylphides (1832). Characteristics of this era were the new calf-length white dress and the introduction of dancing on the toes, sur les pointes. The technique of the female dancer was developed, but the role of the male dancer was reduced to that of being her partner. Important choreographers of the period were Jules Joseph Perrot, Arthur Saint-Léon, and August Bournonville. From 1860 ballet declined rapidly in popular favour in Europe, but its importance was maintained in St Petersburg under Marius Petipa.

Russian ballet

Russian ballet was introduced to the West by Sergei Diaghilev, who set out for Paris in 1909 and founded the Ballets Russes (Russian Ballet), at about the same time that Isadora Duncan, a fervent opponent of classical ballet, was touring Europe. Associated with Diaghilev were Mikhail Fokine, Enrico Cecchetti, Vaslav Nijinsky, Anna Pavlova, Tamara Karsavina, Léonide Massine, Bronislava Nijinska, George Balanchine, and Serge Lifar. Ballets presented by his company, before its break-up after his death in 1929, included Les Sylphides, Schéhérazade, Petrouchka, Le Sacre du printemps/The Rite of Spring, and Les Noces

.

Diaghilev and Fokine pioneered a new and exciting combination of the perfect technique of imperial Russian dancers and the appealing naturalism favoured by Isadora Duncan. In Russia ballet continues to flourish, the two chief companies being the Kirov and the Bolshoi. Best-known ballerinas have been Galina Ulanova and Maya Plisetskaya, and male dancers have included Mikhail Baryshnikov, Irek Mukhamedov, and Alexander Godunov, now dancing in the West.

American ballet

American ballet was firmly established by the founding of Balanchine’s School of American Ballet in 1934, and by de Basil and René Blum’s Ballets Russes de Monte Carlo and Massine’s Ballets Russes de Monte Carlo, which also carried on the Diaghilev tradition. In 1939 the dancer Lucia Chase and ballet director Richard Pleasant founded the American Ballet Theater. From 1948 the New York City Ballet, under the guiding influence of Balanchine, developed a genuine American neoclassic style.

British ballet

Marie Rambert initiated in 1926 the company that developed into the Ballet Rambert, and launched the careers of choreographers such as Frederick Ashton and Anthony Tudor. The national company, the Royal Ballet (so named in 1956), grew from foundations laid by Ninette de Valois and Frederick Ashton in 1928. British dancers include Alicia Markova, Anton Dolin, Margot Fonteyn, Antoinette Sibley, Lynn Seymour, Beryl Grey, Anthony Dowell, David Wall, Merle Park, and Lesley Collier; choreographers include Kenneth MacMillan. Fonteyn’s partners included Robert Helpmann and Rudolf Nureyev

.

Ballet music

During the 16th and 17th centuries there was not always a clear distinction between opera and ballet, since ballet during this period often included singing, and operas often included dance. The influence of the court composer Jean-Baptiste Lully on the development of ballet under Louis XIV in France was significant (Lully was a dancer himself, as was the king). During this period many courtly dances originated, including the gavotte, passepied, bourrée, and minuet. In the 19th century, as public interest in ballet increased, Russia produced composers of international reputation such as Pyotr Il’yich Tchaikovsky, whose ballet scores include Swan Lake (1876), Sleeping Beauty (1890), and The Nutcracker (1892).

With the modern era of ballet which began in 1909 with the founding of the Ballets Russes, innovative choreography transformed the visual aspects of ballet and striking new compositions by Achille Claude Debussy, Maurice Ravel, and especially Igor Stravinsky (in, for example, The Rite of Spring, 1913) left their mark not only on the ballet composers who followed, but on the course of music history itself. Later in the century, the formal tradition of ballet was upset by the influence of jazz, jazz rhythms, and modern dance originating in the USA, which introduced greater freedom of bodily expression.

Today there exists a wide range of musical and choreographic styles, ranging from the classical to the popular. Many full ballet scores have been reduced by composers to ballet suites or purely orchestral works, which incorporate the essential musical elements, tending to omit musically nonthematic and transitional passages which may be, nevertheless, essential to the choreography and visual narration. Examples include Stravinsky’s The Firebird (1910) and Ravel’s Boléro (1928).

//

This article is © Research Machines plc 2009. All rights reserved. Helicon Publishing is a division of Research Machines plc.

ballet – events

1738 Russia The Imperial Ballet School is founded in St Petersburg, Russia.
1841 France The ballet Giselle, by the Italian choreographer Jean Coralli and the French choreographer Jules Joseph Perrot, is first performed, in Paris, France.
1870 France The ballet Coppélia, ou La Fille aux yeux d’émail/Coppelia, or the Girl with Enamel Eyes by the French composer (Clément-Philibert-) Léo Delibes is first performed, in Paris, France. The choreography is by the French choreographer Arthur Saint-Léon.
1890 Russian Empire A new version of the ballet Spyashchaya krasavitsa/The Sleeping Beauty by the Russian composer Peter Illyich Tchaikovsky is first performed, in St Petersburg, Russia. The choreography is by the French choreographer Marius Petipa.
1892 Russian Empire A new version of the ballet Shchelkunchik/Nutcracker by the Russian composer Peter Illyich Tchaikovsky is first performed, in St Petersburg, Russia. The choreography is by the Russian choreographer Lev Ivanovich Ivanov.
1895 Russian Empire A new version of the ballet Lebedinoe ozero/Swan Lake, written in 1877 by the Russian composer Pyotr Ilyich Tchaikovsky, is first performed, in St Petersburg, Russia. The choreography of this, the most familiar version, is by the French choreographer Marius Petipa and the Russian choreographer Lev Ivanovich Ivanov.
1911 The ballet Petrushka, by the Russian composer Igor Stravinsky and Russian choreographer Mikhail Fokine, is first performed in Paris, France, under the Russian impresario Sergei Diaghilev.
1912 The ballet L’Après-midi d’un faune/The Afternoon of a Faun, by the French composer Claude Debussy and the Russian dancer Vaslav Nijinsky, is first performed in Paris, France, under the Russian impresario Sergei Diaghilev. The sets and costumes are by the Russian artist Léon Bakst and Nijinsky dances the central role.
1913 The ballet Le Sacre du printemps/The Rite of Spring, by the Russian composer Igor Stravinsky and the Russian dancer Vaslav Nijinsky, is first performed, in Paris, France, under the Russian impresario Sergei Diaghilev. Nijinsky dances the central role. Audiences riot, judging the work to be crude and offensive.
1924 The US composer George Antheil completes his Ballet mécanique/Mechanical Ballet, scored for aeroplane propellers, anvils, motor horns, and several musical instruments.
1938 Russia, USSR, Czechoslovakia The ballet Romeo i Dzhulyetta/Romeo and Juliet, by the Russian composer Sergey Prokofiev, is first performed, in Brno, USSR. The choreography is by the Czech choreographer Ivo Vána Psoda.
1944 USA The US composer Aaron Copland completes his score for the ballet Appalachian Spring, with choreography by Martha Graham. It is first performed the same year in Washington, DC.
1949 USA The ballet The Age of Anxiety by US choreographer Jerome Robbins and US composer Leonard Bernstein, is first performed, in New York City. It is based on a poem of that title by the English-born US poet W H Auden.
1978 Germany The ballet Orpheus and Eurydice by the German choreographer Pina Bausch, to music by the 18th-century composer Christoph Gluck, is first performed, in Germany