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Music-dance (and design) relations in ballet productions of Ravel's Daphnis et Chloé.
Research output: Contribution in Book/Report/Proceedings › Chapter (peer-reviewed)
Published
Associated organisation
| Publication date | 1/09/2012 |
|---|---|
| Host publication | Danse et musique: dialogues en mouvement [refereed conference proceedings] |
| Editors | Steven Huebner |
| Place of publication | Montreal |
| Publisher | Cahiers de la Société québécoise de recherche en musique |
| Pages | 77-85 |
| Number of pages | 9 |
| Volume | 13 |
| Edition | 1-2 |
| Original language | English |
Abstract
This paper looks at balletic challenges and music-dance interplay in Daphnis et Chloé, focusing on the Ravel-Ashton(-Craxton) production for The Royal Ballet (1951, 2004), in comparison with the Ravel-Fokine original (1912). Beyond issues of unity versus independence, or consonance versus dissonance, a case is made for complexes, transformation, and plurality.