The Reforms of Michel Fokine Essays - 1373 Words

The Reforms of Michel Fokine nbsp;nbsp;nbsp;nbsp;nbsp; nbsp;nbsp;nbsp;nbsp;nbsp;Photography, painting, videography, and literature have all progressed over time. New technology, and new ways of thinking have brought these arts to new levels. There seems to be a broad misconception, though, that ballet is an art form that does not progress; does not change. Many people assume that ballet’s set vocabulary of movement places limitations on how far the art can expand. Little do many people realize that this vocabulary is a mere foundation for the myriad of interpretations that the art went and will continue to go in. Michel Fokine is one revolutionary ballet choreographers, whose reforms have taken this previously monotonous art to†¦show more content†¦This compliments her simple mind and flirtatious tendencies. nbsp;nbsp;nbsp;nbsp;nbsp;He also made sure that the background was appropriate and related directly to the content of the scene. For example, the â€Å"sumptuous and colorful quarters of the Moor†, (Reynolds) parallels his personality perfectly. Fokine hired some of the most popular contemporary artists of his time to create these scenes, such as Picasso. In Petrouchka’s barren cell, the walls are painted black, which reflects the sorrow that he is going through, during this scene. Also, the street market scenes show a carousel, street vendors, and a large fair booth, which were all completely realistic and appropriate for the occasion. Many artists before and after Fokine did not put thoughts into these sorts of things, thinking that the ballet technique is the only important part of the production. nbsp;nbsp;nbsp;nbsp;nbsp;Fokine was also a strong believer in the ballet being â€Å"a complete artistic creation and not a series of separate numbers (Fokine quoted in Cass). His belief in this explained his hatred towards the practice of frequent applause interrupting ballets. He thought that this took away the focus of the dancer, both literally, and figuratively. This belief is integrated into his pieces by the movement that he gives his characters. He would never give a character movement that does not express that character, such as, choreographing large leaps and many turns just to show