Giselle – o ballet por trás das cortinas

Abstract

This work analyzes the criticism of the ballet Giselle in the year of its debut, 1841. Ballet had its apex during its romantic time, begun in 1831, one of the last arts to enter the movement, but this period was extremely fruitful. During the nineteenth century the structure of the ballet is modified and from this period we can see its consolidation in the French scenario, specific schools are created to teach the technique of this art. Opera has invested in several ballets of this kind, but only in 1841, which is considered today a masterpiece of romantic ballet, Giselle, debuted on stage. Théophile Gautier, poet and critic of art and dance, was inspired by a passage in the work De l'Allemagne by the poet Heinrich Heine, in which is told the legend of the Wilis, and writes for the dancer, Carlota Grisi, the history of the repertoire. Among the objectives of the research is interesting to note that there was a concern to understand the social environment in which the ballet was written, Paris of the mid-nineteenth century, correlating with the story that was presented to the public. When investigating the advertisements that were related to the ballet we have an indicative of this relation balé-society. The key point is the analysis of the consolidation of Giselle in the Balé scenario, this repertoire being one of the main works of the romantic ballet.