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  1. Sleeping Beauty analysis for Humanities  



    Read the attached synopsis of the ballet The Sleeping Beauty, then also read the attached Characteristics of the Classical Style in Ballet. View the Paris Opera Ballet’s production of The Sleeping Beauty, choreographed by Rudolph Nureyev, using the link below. Write an analysis of the ballet in which you identify all of the characteristics of the classical style in ballet. Provide an example from the ballet for each characteristic. The examples must be clear and accurate, not vague. Also, explain what you liked best about the ballet (costumes, music, choreography, dancers, etc.) and what you liked least about it.

    This can be in narrative or bullet point format.

    *Tip: Print out the characteristics in advance and refer to them as you watch the ballet.

    View the attached video:



Subject Literature Pages 4 Style APA


The Sleeping Beauty by Rudolph Nureyev


The currently know Sleeping Beauty story comprises sections of ancient verbal civilizations and documented stories going back hundreds of years. The Ballet is an excellent display of ingenuity of music and choreography, which has become a supporter of the art type and cherished globally. Nureyev’s “The Sleeping Beauty,” performed by the Paris Opera Ballet, is very long, majestic, and lavish. His affluent court is a combination of a clear nod to the company’s roots in court dances and an acknowledgment of the conventional order at its most radiant.The ballet was initially staged at La Scala in Milan before Nureyev brought it to Paris (Gramilano, 2020, para. 1).

Characteristics of the Classical Style in Ballet

  • The Ballet went for two hours and thirty-two minutes, which is typical for ballets.
  • The play’s stories are based on a mythical creature such as fairies and magic. The Lilac Fairy removed her wand to counters the curse on Aurora and make her sleep for 100 years instead of dying.
  • The cast’s setting and costumes are lavish, and the decoration is extravagant with classical pillars elaborated by ornate elements. The costumes are an extremely elegant riot of color and gold braid.
  • Princess Aurora’s footwork is flawlessly glistening, her character modest, in Act I solo, she eases into a lusher, sprawling existence, and she comes to life with escaping enthusiasm. She has a beautiful, floating jump and superbly curved feet.
  • The prince has a sophisticated build, clean performance, and partnering abilities required for the role.
  • The excellent, midair dancing of a cast acting out the Bluebird pas de deux with a competent Valentine Colasante stole the show.

Best Features of the Ballet

The excellent, midair dancing of a cast acting out the Bluebird pas de deux with a competent Valentine Colasante stole the show (Cappelle, 2013, para. 6). The choreographic material is not detailed, but the combination of conventional steps with more modern and pedestrian moves is just right, and all the ballerinas show in the piece’s playful insinuations. The costumes were flawless and perfect for the play.

Dislikes for the Ballet

The lack of dramatic compulsion was aggravated by the speed of the Paris Opera orchestra’s score at melancholic beats. It is the choreography that makes the Lilac Fairy the focus of peaceful authority and power. Using the Lilac Fairy as the mimeequivalent of Carabosse rather than as a dancing fairy also handicaps the narrative.Without being the center of power she just appears as an elegant in a purple dress (Sulcas, 2013, para. 8). The acting all through is subdued, with the battle between good and evil, which is the central theme of the story nonexistent. A clear indication that the company lacks dedicated character dancers. Few of the dancers luxuriate into the movement, fulfilling the music with meaning.

Another theme that does not come out is Aurora’s maturation from an adolescent princess into a woman via the ordeal of the curse. The actor did not display Aurora growing into adulthood through dance, she is mature and confident from the beginning, and when awoken with a kiss, she appears slightly different from her confident self before she slept. There is no transformation of Princess Aurora.




Cappelle, Laura. “The Sleeping Beauty/le Parc, Paris Opera Ballet – Review.” Financial Times, N.p., 10 Dec. 2013, www.ft.com/content/f5f5c092-6184-11e3-b7f1-00144feabdc0.

Gramilano. “Nureyev On Staging the “ballet of Ballets” the Sleeping Beauty.” N.p., 25 Aug. 2020, www.gramilano.com/2020/08/nureyev-on-staging-the-ballet-of-ballets-the-sleeping-beauty/.

“La Belle au Bois Dormant de Noureev à l’Opéra Bastille” YouTube, uploaded by nera, 3 May. 2018, https://www.youtube.com/watch?v=yJPjuxQUf7k

Sulcas, Roslyn. “A Nureyev Ballet, with a Hint of Ambivalence, Takes Its Time.” The New York Times, N.p., 22 Dec. 2013, www.nytimes.com/2013/12/23/arts/dance/the-sleeping-beauty-at-the-paris-opera-ballet.html.


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