Marie Taglioni


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Taglioni, Marie

 

Born Apr. 23, 1804, in Stockholm; died Apr. 22, 1884, in Marseille. Italian ballerina; prominent exponent of the romantic ballet.

Taglioni studied under her father, the famous choreographer F. Taglioni, and made her debut in 1822 in Vienna. From 1827 to 1835 she appeared in Paris, where she won international fame in 1832 for creating the title role in Schneitzhöffer’s La Sylphide, choreographed by her father. Taglioni greatly influenced the development of ballet. Her dancing was characterized by spirituality, purity, exceptional grace, and fluidity. With the assistance of her father, who staged nearly all the ballets in which she appeared, she introduced new methods of expression into ballet, notably point work. The diaphanous costume created for her by the artist E. Lami promoted the romantic reform in ballet dancing.

Taglioni appeared annually in St. Petersburg from 1837 to 1842. She later toured in London, where J. Perrot choreographed parts for her in C. Pugni’s Pas de Quatre (1845) and The Judgement of Paris (1846). Taglioni left the stage in 1847 and taught dancing to the children of English aristocrats. The famous ballerina E. Livry was one of Taglioni’s students. Taglioni died in poverty.

REFERENCES

Solov’ev, N. V. Mania Tal’oni, 1804–1884. St. Petersburg, 1912.
Slonimskii, Iu. “Sil’fida”: Balet. Leningrad, 1927.
Krasovskaia, V. Russkii baletnyi teatr ol vozniknoveniia do serediny XIX veka. Leningrad-Moscow, 1958.
Levinson, A. Marie Taglioni (1804–1884). Paris, 1929.
Guest, I. The Romantic Ballet in Paris. London, 1966.
References in classic literature ?
Marie Taglioni, a dancer, became Comtesse Gilbert des Voisins.
In October, Jennifer Stahl wrote about rule breakers, asking, "Where would we be if Marie Taglioni had never risen on her toes?
Its grand monuments are not the striving sculptures of Max Ernst, Victor Brauner, or the duo Lalanne--on the sale of whose dubious work bias eventually built an international network of galleries--but the exquisite miniature boxes of Joseph Cornell assembled in obsessional devotion to the stars of the Romantic ballet, such as Marie Taglioni.
Existen diversos tipos: romantico, popularizado por Marie Taglioni en 1832, en el ballet La Sylphide; clasico de campana, como los que aparecen en las pinturas de Degas; clasico pancake; el diseno Balanchine/Karinska, obra del famoso coreografo y de la modista rusa Barbara Karinska, el cual, simbolicamente es un <<soplo de polvo>>; y tutu platter.
But only those with pins like [19th-century Italian ballerina] Marie Taglioni should ever consider it.
These figures included Mlle Marie Salle (1707-56), Marie Taglioni (1804-84) and Kate Vaughan.
Marie Taglioni, Fanny Cerrito, Carlotta Grisi, and Fanny Elssler were among the first dancers to be renowned internationally, and they remain heralded in the annals of ballet today for their early virtuosity and expressive capacities.
Reviews and articles written at the time by prominent writers such as Theophile Gautier focused as much on the physical charms of the leading dancers as on their artistic interpretations, fanning the passions of competing male balletomanes who argued vehemently for either the ethereal quality of a Marie Taglioni or the sensuality of a Fanny Elssler.
Where would we be if Marie Taglioni had never risen on her toes or if Yvonne Rainer had never said "No"?
Elsewhere is a late- 1870s Degas sketch of dancers' feet, and two vitrines showcasing ephemera from sources such as the Royal Ballet School: Cornell-designed copies of the journal Dance Index, antique prints of Marie Taglioni and her clan, Margot Fonteyn's paste tiara from a 1956 production of Frederick Ashton's La Peri.
In addition, we have "The Story of the Tutu," which traces the development of that quintessential ballet dress since Marie Taglioni donned one in 1832.
Marie Taglioni, performing on pointe (also a novel development then) and wearing a costume sometimes credited to Eugene Lami, danced the title role in the Paris Opera Ballet's production of her father Filippo's La Sylphide.