In the picture from Alonzo King’s Lines, the ballerina is bent over and looking down. In the classical ballet picture, the ballerina is much stiffer with her head up, lengthening as tall and elongated as she possibly can.
Both of these images contain traditional partnering. In the first picture, the classical image, you see lifted chests and the legs are straight. This is also true of the second picture, however, the chests are towards odd angles. The male is in a really deep lunge and the woman has an open bent leg which is not conventional. The first image displays a peaceful grace while the second image displays pain or deeper emotions. The costumes in the classical pictures are very royal looking and traditional, while those in the second are more nude colored and basic. They seem more down to earth and representative of average pedestrians.
These two picture perfectly contrast Lines to classical ballets. In the picture from Giselle, both dancers have arched backs and are extending their legs away from each other while in the picture from Lines, the dancers have hollow backs and their legs are together but also bent. In most pictures I saw from lines, the dancers’ bodies were bent in interesting ways, but classical choreography had the dancers look as long and straight as possible.
As you can see from the picture, Alonzo Kings’s LINES is a lot more contemporary than traditional classical ballet. In LINES, the movement is a lot more grounded and unique and untraditional positions are explored. In the picture of a classical pa de deux, both the male and female have a sort of uplifted quality to their stance because they are lifting their chest and looking up while their legs are perfectly straight and aligned with one another. However, in LINES, the male is lunging low to the ground and the female’s leg is slightly bent which makes it a rather unique position for a ballet.
I really enjoyed looking at the pictures of LINES because I thought that they were interestingly beautiful.
I tried to find pictures of similar moves but in the totally different styles of classical and contemporary ballet. This was difficult to do since LINES uses such unique movements, but this was the best I could get. The classical picture shows the straight lines and lofty nature of the style. The contemporary picture, from Alonzo King’s LINES, shows the curvature and lowness of his new style. LINES feels much more grounded and earthy than the structured and strict style of the classics.
The first image is from Alonzo King’s LINES ballet. The ballerina is in an unconventional position, her upper body is leaning forward and both her legs are turned in. Her partner is also leaning forward and supporting her. Both dancers also have their arms in a position that would not be acceptable in classical ballet and they are both looking down. This contrasts greatly with the second image, in which both the dancers are looking up. In the second image the dancers also have their legs turned out, unlike the dancers in the first image.
I chose to find images in both the modern and classical ballet era on partnered pieces. I thought that it would be interesting to see how the duo pieces differed overtime, if they did. In the LINES picture (left) it is showing how the male and female dancers are closer and more intertwined with one another while as in the picture on the right the guy is used as more of a support in the piece and the pair dances in straighter lines. I feel as though the LINES picture gives more of an expression of the passion the piece has in just this one scene, while you do not get this expression with the still form of the contemporary picture.