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Giselle endures in the collective imagination as a charming, sorrowful, supernatural love story. Premièred in Paris in 1841, this keystone romantic ballet concerns a peasant girl whose trust in a disguised nobleman destroys her fragile mind and heart. Little wonder, given the ballet's mixture of sunniness, deception, spooky woe and redemption, that it retains a timeless grip or that the title role has become the ballerina equivalent of Hamlet.

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Choreography:

Marius Petipa
after Jean Coralli and Jules Perrot

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...a tale of betrayal, the supernatural and love that transcends death.

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...the tale of Giselle, a gentle peasant girl who is driven to her death when deceived by her aristocratic lover Albrecht.

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Romanticism was a movement, in which Madame de Stael, was its biggest patron, through the publication of her book, De L' Allemange, in 1814. This literary work was to become a Bible for the Romantics. 

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Romanticism was a movement, in which Madame de Stael, was its biggest patron, through the publication of her book, De L' Allemange, in 1814. This literary work was to become a Bible for the Romantics. 

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***Romanticism is characterised on emotion and individualism, as well as nature, landscapes and the supernatural and the exotic***

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***Romanticism is characterised on emotion and individualism, as well as nature, landscapes and the supernatural and the exotic***

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Very importantly, the movement emphasized intense emotion, placing new emphasis on such emotions as apprehension, horror and terror, and awe—especially that experienced in confronting the new aesthetic categories of the sublimity and beauty of nature.

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Bit of fun, Beth this one is for you!!! Enjoy!

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Bit of fun, Beth this one is for you!!! Enjoy!

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https://en.wikipedia.org/wiki/Vegetarianism_in_the_Romantic_Era

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Romanticism started in the late 1700's and was in its peak from the 1800's-1850's:

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Romanticism started in the late 1700's and was in its peak from the 1800's-1850's:

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There was an obsession/belief that people can attain happiness as equals only away from society, in the natural setting of, for example, the mountains above Lake Geneva.

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...refers to a body of works in early nineteenth-century Europe that exalted the expression of personal feelings and emotion over reason, found inspiration in the exotic or the fantastic, explored both sentimental and passionate love (often unrequited), supported nationalist agendas, promoted the Promethean myth and the Byronic hero, idealized the notion of the eternal feminine, and found inspiration in nature.

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During the Romantic period ballet narratives often transpired in natural settings that reflected landscape traditions in the other arts.
The Romantic view of landscape ran counter to the tradition of Newtonian physics, in which the universe was compared to a mechanical clock and could be understood according to principles of reason and order. Broadly speaking, the Romantics replaced this rationalist approach with a more personal and aesthetic appreciation for nature—both its beauties and its terrors. As part of this shift, the Romantic approach to nature privileged the emotions and the imagination, which provided the route to inspiration through communion with nature.

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"The ballerina of the romantic period still pleased audiences with her grace, but no longer with her nobility". 

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"The ballerina of the romantic period still pleased audiences with her grace, but no longer with her nobility". 

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Harvard Reference:

Cohen, S.J. 1976, "The English Critic and the Romantic Ballet", Theatre Survey, vol. 17, no. 1, pp. 82-91.

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Please read the below definition of the Romantic era of ballet, written by Craine, D. and Mackrell, J. for the Oxford Dictionary for Dance
Harvard reference:

Romantic ballet 2010, , 2nd edn, Oxford University Press.

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The era of the 19th century Romantic Ballet era, which was a part of the wider movement with the other Art forms, called 'Romanticism'. 

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The era of the 19th century Romantic Ballet era, which was a part of the wider movement with the other Art forms, called 'Romanticism'. 

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Romanticism was a movement happening in all the Arts. It came to dance, later than paining, poetry and sculpture. Romanticism was a direct reaction to the Industrial revolution.

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Modern identity:
Ballet achieved its modern identity during the 19th century, or at least acquired many of the characteristics the public can identify with: such as the Pointe technique, the tutu, the desire to create an illusion of weightlessness and effortlessness and the association of the female dancer with ethereal creatures of fantasy such as sylphs and fairies.
Decline of the prestige of the male dancer:
Please note that many of these characteristics apply solely to the female dancer, for in the course of the 19th century the male dancer suffered a crashing loss of prestige. Romanticism was perhaps the most important single influence on 19th century ballet, though it came later to ballet than to literature, music or the visual arts.
Romantic movement: Romantic ballet uncovered...
The Romantic Era saw a deepened appreciation of the beauties of nature. An obsessive interest in the exotic, the remote, the mysterious, the weird, the monstrous, the diseased and even the satanic. The 1830s were the heart of the Romantic age. The artists and poets of this era--Keats, Byron, Shelley and Chopin--were often concerned with beauty, passion, with nature and with the supernatural and the power of love. The great Romantic ballets of the time are almost always passionate but include tragic encounters between a mortal, terrestrial man and supernatural female. The ballerina's characters are usually inhabitants of the supernatural world: La Sylphide, the wilis in Giselle, the water nymph Ondine. This supernatural woman is the symbol of beauty, nature, love, the supernatural and immortality. The woman was depicted as a woman not bound to the earth.

La Sylphide (1832)
La Sylphide (1832) was the first masterpiece of the Romanic Ballet. Marie Taglioni who danced the leading role infused her role with such poetry that dancers strove to imitate her and people were inspired to learn to dance on the tips of their toes. Before then pointe shoes were known to be used as an acrobatic feat.

Why dance on pointe?
Narrative themes in Romantic ballets:
The obsession with the mystical and irrational. The themes in ballets dealt with supernatural, usually feminine, creatures such as sylphides, (supernatural beings who inhabit the air - folklore) water nymphs, (beautiful maidens who inhabit the sea/woods/meadows/rivers/trees/moutnains) fire spirits, peris, (fairylike beings descended from fallen angels), demons and the like.
Attraction to exotic locations.
Ballet in the 19th century
Romantic Ballet: no immediate end, rather a slow decline in popularity
Romanticism: Movement in the Arts: originated in Europe toward the end of the eighteenth century and in most areas was at its peak between the period 1800-1850.
Marie Taglioni often gets the credit and blame for being the first to dance en pointe. In 1832 Marie danced in the full length La Sylphide en pointe. Taglioni pioneered and developed the technique and revolutionised ballet as a result.
Ballet costume evolved radically from the cumbersome court dresses of the eighteenth century. In her long, white, billowy Romantic tutu, starkly simple from the ornate costumes of the previous century, she is all feminine purity and virtue. The Romantic ballet relied very much on the creation of a mysterious and dream-like atmosphere to complement to complement its supernatural themes. When she rises on pointe she achieves an ethereal lightness , an otherworldly grace. She enters the realm of the spirit. She appears to hover and skim the stage weightlessly. It enhanced the drama of the Romantic narratives and wasn't just a technical feat.

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Modern identity: Ballet achieved its modern identity during the 19th century, or at least acquired many of the characteristics the public can identify with: such as the Pointe technique, the tutu, the desire to create an illusion of weightlessness and effortlessness and the association of the female dancer with ethereal creatures of fantasy such as sylphs and fairies.Decline of the prestige of the male dancer:Please note that many of these characteristics apply solely to the female dancer, for in the course of the 19th century the male dancer suffered a crashing loss of prestige.

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Understanding the world focus of ballet shifted from Italy and France to Russia and then on to Britain and America. 

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Understanding the world focus of ballet shifted from Italy and France to Russia and then on to Britain and America. 