Résumé
Often viewed in contrast with modern dance or contemporary dance, classical ballet raises specific philosophical questions. The object of my research is to analyse these questions, by exploring a period from the beginning of the 20th century to the contemporary era, and considering two notions commonly attached to classical ballet: the category of neo-classicism and the notion of grace.Indeed, when refering to choreographical productions of the 20th century and onwards, the category of neo-classical dance is often used rather than that of classical ballet. However, if the analysis of the common uses of the word « neo-classical » helps to discern different conceptions of classical ballet, its full meaning only appears through a firmer historical and philosophical determination of the notion, by making explicit the conception of classicism that is inherent to a truly neo-classical theory of ballet.Yet, such a theory is based on an essentialist conception of classical ballet, which is connected to the common identification of grace as the essence of this art. It is therefore necessary to define the notion of grace, so that it does not constitute an epistemological obstacle, but rather a heuristic tool to consider classical ballet philosophically – not reducing it to an anachronistic form of art, yet not conforming to the neo-classical view on ballet either. Here, the reflection on grace is inextricably linked with the reflection on neo-classicism, for both these perspectives on classical ballet bring to light a tension, inherent to this art, between essence and historicity, and make it possible to adopt a relational approach instead of an essentialist conception of classical ballet.
Source: http://www.theses.fr/2021LILUH026
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