- History through 1945
- The emergence of ballet in the courts of Europe
- Ballet as an adjunct to opera
- The establishment of the ballet d’action
- The age of Gardel
- Ballet as an aspect of Romanticism
- The Imperial Russian Ballet
- The era of the Ballets Russes
- Russian ballet in the Soviet era
- The growth of national ballet companies in Europe and North America
- Ballet after 1945
Ballet in the cultural milieu
Ballet survives because it has not ignored its own historical achievements yet has always managed to provide the grounds to explore particular local or regional problems within internationally accepted and understood ways. This dynamic relationship between the past and the present is illustrated by many of the younger ballet foundations in many countries: The Australian Ballet gave its first performance in 1962, and it has countered classical, established works with a contemporary repertoire that engages Australian and internationally renowned artists. Australian choreographer Graeme Murphy is committed to working with Australian dancers and musicians, exploring uniquely Australian themes, and working for and with Australian audiences. Like other Canadian ballet companies, the National Ballet of Canada (founded 1951) has carefully nurtured the classical tradition and has also supported contemporary works by Canadian choreographers that address Canadian issues. The company’s “You dance” campaign introduces Canadian middle-school students to classical and modern ballet. The Ballet Nacional de Cuba was founded in 1948 by Cuban ballerina Alicia Alonso, who also headed the National School of Ballet Alicia Alonso (founded 1950). It provides a good model of how a western European tradition is taken up and reinterpreted to suit national and local needs. By the early 21st century, a strong and distinctive Cuban style of ballet dance and technique had developed. In Cuba as elsewhere, the careful mixture of classical works revisited and contemporary works that often include the local colour has made ballet a wide success.
During the 20th century ballet became acutely aware of its heritage. Companies revisited historical dance forms and ballet practices (the revival of the Baroque dance since the 1980s is one example). Artists reconceived much-loved Romantic ballets such as Giselle, The Nutcracker, and Swan Lake. Many contemporary dancer-choreographers, including Mats Ek (Swedish) and Matthew Bourne (British), reinterpreted and refreshed well-known ballets. Ballet is a resilient and evolving art form, but its further existence depends on the way modern industrialized societies develop and nurture their complex artistic institutions.