Her en pointe dancing form had an aesthetic rationale which involved ungraceful arm movements and exertions, as was considered of dancers in the late s and not merely an acrobatic stunt. It was here that she reached the apex of her career. After her last performance in Russia, her pointe shoes were sold for two hundred rubles.
However, Taglioni gave her last performance in and retired. She was selected one of the six-member juries which were selected for the first annual competition held for the corps de ballet on 13 April Later she taught social dance and ballroom dance to children as well as ladies in London. She died on 22 April in France, a day before her 80 th birthday. Her body was moved to Paris. Sophie and Filippo had two sons, Marie and Paul, who became a dancer and choreographer, and was the partner of Marie is some of her performances.
Marie Taglioni started taking ballet lessons at a very young age, but her teacher discarded her soon in , at the age of six because of her hunchback. This was the reason why her father Filippo decided to start teaching her ballet with a really hard training to follow, composed of six hours of daily practice.
It was during these years of training that her muscles started getting stronger and her skills were disclosed. The hard training showed his results during the first public debut of Marie, which took place in Vienna in , when the dancer was 18 years old. Fanny Ellsler, who became later one of the rivals of Marie Taglioni, danced in the corps de ballet for this performance. In fact this used to be just an acrobatic exercise. She used to dance in soft ballet shoes, which allowed her to stand very high on demi-pointe.
She performed in Paris for the next 10 years, becoming famous not only for her legendary grace in supernatural story ballets, but also for her excellent character dancing. A curiosity is that she was not using the pointe shoes as we know them right now, but she used to dance with normal ballet slippers with reinforcement in the block of the shoes Fig.
I think that the print made by Alfred Edward Chalon in shows perfectly this image and idea of the Romantic ballerina Fig. La Sylphide is a dramatic Romantic ballet which speaks about a young Scottish man who falls in love with a sylph, when he was about to be married. Unfortunately when he finally succeeds in catching the fairy she dies. Through the en pointe performance, Taglioni wanted to make an illusion that the young sylph was a spirit floating in the stage, creating a big contrast with the rustic movements of the Scottish peasant.
There are two version of La Syplhide. The second one was created by the choreographer August Bournonville, and it is the version that it is still performed in our theatre. Women of her period started emulating her hairstyle, and little girls used to play with La Sylphide dolls.
She is credited with though not confirmed being the first ballerina to truly dance en pointe. Her brother, Paul — , was also a dancer and an influential choreographer; they performed together early in their careers. The couple had one daughter, Eugenie-Marie Edwige.
Training Taglioni moved to Vienna with her family at a very young age where she began her ballet training under the direction of her father.
Filippo created a rigorous training regimen for his daughter that consisted of holding positions for counts and engaging in two hour long intervals of conditioning exercises, adagio, and jumping combinations. Designed as a showcase for Taglioni's talent, it was the first ballet where dancing en pointe had an aesthetic rationale and was not merely an acrobatic stunt, often involving ungraceful arm movements and exertions, as had been the approach of dancers in the late s.
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