Away? Oh! Not in the hands of ignoble men belonging to the immoral club but carried by the wind of romance with steps similar to heroic ballerinas like Taglioni and Cerrito. No one can describe that feeling better. No one can depict the imagination and express it in terms easy to understand than the excellent flexible and portable ballerina with graceful moves, steps and turns that drive the heart of the audience to the land of eternal bliss where romance reigns supreme.
With the solo production of gracious music and the body movements on the heroic stage of wonders, from simple demi-plie to complex enchainement, one is swept off the feet, and fallen to the ground only to open one’s eyes to the reality of the imagination. This is what ballet can. Indeed, it is the ultimate expression of the romantic imagination. If you check out the message on display, the music that dictates and the serene environment that fills the hall, one comes to the conclusion that if grand opera were a god, it would bow when it sees ‘ballet’ and exclaims: ‘I am great and gracious.
I bring music in its serenity and divinity. I fill the atmosphere with the grand performance of musicians, their notes and instruments. I do capture the imagination of romance in words and music lines but lack one thing: the calculated moves and accurate body characters of the ballet dancer; the language it speaks is far more reaching than words; it creates the imagination in acts eyes can behold, and sends the mind into the scene with a leader’ Is anything left to say? MATERIALS: Fiero, Gloria K. ; The Humanistic Tradition, Fifth Edition; Volume 5, Chapter 29. Fonteyn, M. (1980). The magic of dance. BBC Books, London