The history and future of ballet - Unit 6

C1 Advanced · Multiple Choice Reading · Complete Advanced Workbook, Cambridge University Press

You are going to read an article about ballet. Choose the answer (A, B, C or D) which you think fits best according to the text.

As a young child learning ballet, I was bemused by the language the teacher used: plié, and pas de chat, jeté. Having been told the words were French, I assumed, wrongly as it turned out, that France was the country of origin of the dance form. In fact, it first emerged at the Italian royal court in the 15th century. It was Catherine de Medici, married to the French monarch, who financially supported the art form in the French court, beginning an association that lasts to the present day. A century after its introduction to the aristocracy of France, another of their number, Louis XIV the ‘sun king’, standardised and popularised ballet. As a dancer himself, he raised its status from enjoyable pastime to profession. Nevertheless, unlike many commentators, I would give more credit for the development of ballet as we know it now to balletmaster Jean Georges Noverre, who began using the dance form to relate popular tales. As with other art forms, Romanticism started to heavily shape the development of ballet in the 19th century. This movement concerned itself with the supernatural world of spirits and magic, and ballerinas were portrayed as passive and fragile. Around this time, another superpower of the dance form – Russia – entered the stage, producing some of the greatest classical ballets of all time, such as Swan Lake and The Nutcracker. The purpose was to display classical techniques, including pointe work (ballerinas on tiptoe) and high extensions. In my view, it was not so much the lack of plot or the intense focus on human emotion that made modern ballets unpopular with audiences when they were first introduced in the early 20th century. They were probably more offended by the impromptu music, whose meaning and purpose they are likely to have misunderstood. Throughout its history, ballet has been accused of elitism, which in my experience here in the UK is fully justified. In Britain, it is generally the preserve of the wealthy or middle classes, and it is unlikely that a working-class individual will take it up as a career. This is partly a result of the perception of ballet as being part of an inaccessible world – hardly surprising given its origins in the royal court. While many UK ballet schools and companies have tried hard to diversify by offering scholarships to less affluent and talented dancers, the reality is that this is insufficient to attract any but the most determined. The chances of working-class youngsters even being exposed to ballet are low, since live performances are prohibitively expensive and little coverage is given to the art form on TV. Since most ballet dancers begin their training at a young age, what I’ve noticed is that it is those whose parents are aware of the dance form and have a high income who have access to classes. Like so many spheres of human activity, ballet has inherited a legacy of sexism. As anyone who has attended a ballet class will attest, females greatly outnumber males and in classical ballet at least, gender roles are fixed. Two mainstays of ballet – lifting and pointe work – emphasise the strength of the male and the female’s need for support. Dancing on tiptoe makes the woman look delicate and weightless. I’ve always wondered why so few boys take ballet classes; after all, they appear strong and proactive on stage. If anything, it is the women I would expect to be discouraged by the passive role allotted to them. Conversely, senior management within the world of ballet is overwhelmingly male; sadly, only a few women have managed to break through the glass ceiling and become creative directors of ballet companies. The talent, strength and stamina of dancers have held crowds in thrall for centuries, and to this day, ballet continues to fascinate and inspire. Its regal beginnings and romantic associations set it apart from other types of dance, yet those involved in ballet, here in the UK at least, have more work to do to make the art form accessible to all, or its very existence may be threatened. It would be unrealistic to suggest governments should fund initiatives to widen participation in the arts while other more basic needs are left unmet. Instead, those who love ballet could be more proactive in enrolling anyone with an interest to get involved either as dancers or supporters. Taking such steps could help secure the future of this beautiful art form.

Italian not French should be the language of ballet.

King Louis had a negative impact on ballet’s development.

Noverre’s influence has not received sufficient recognition.

Catherine de Medici’s role in ballet’s development has been misrepresented.

In the first paragraph, the writer expresses the opinion that

The ballets didn’t tell stories like classical ballets did.

Classical techniques such as ‘pointe’ work were not included.

People weren’t ready for strong displays of emotion.

People couldn’t comprehend the role the music played.

In the second paragraph, which view is expressed about why modern ballets were initially disliked?

Ballet is more accessible than it is perceived to be.

It is still very apparent in spite of industry attempts to combat it.

It will only change when the cost of going to performances reduces.

Efforts to widen access to ballet have made a real difference.

In the third paragraph, what does the writer say about elitism in ballet in the UK?

female dancers are expected to appear so light.

writers continue to create stereotypical roles.

more boys are not interested in doing ballet.

there are not many women in management roles.

In the fourth paragraph, the writer shows surprise at the fact that

to emphasise the strong influence ballet has on audiences.

to suggest audiences find ballet difficult to understand.

to imply the strength and stamina of dancers is an illusion.

to remind readers of the royal origins of the dance form.

Why does the writer use the phrase ‘in thrall’ in line 23?

It is up to governments to ensure its future success.

There is a chance the dance form might not survive.

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