Until 1689, ballet in Russia was no

Until 1689, ballet in Russia was nonexistent. The Tsarist control and isolationism in Russia allowed for little influence from the West. While the West went through the revolutions of “the Reformation, the Renaissance, and science…Russia remained cut off and bound up in the timeless liturgies of the Orthodox faith”.[1] It wasn't until the rise of Peter the Great that Russian society opened up to the West. St. Petersburg was erected to embrace the West and compete against Moscow’s backwardness. Yet the challenge to become “European” collided with the reality of Russian isolationism: “In striking contrast to their west European counterparts, the Russian elite lived unadorned lives: in wooden houses and slept on benches (or on top of the warm stove) and their clothing and manners resembled those of peasants: rough and indecorous. Men coveted long and bushy black beards, which they took to be a sign of godliness and masculinity (God was bearded and women couldn't grow one). Only demons were depicted as clean-shaven. Fancy foreign dress was prohibited, and foreigners living in Moscow were quarantined in their own ‘German Suburb,’ a ghetto of European culture coveted by a few and dismissed by most. Muscovite society was not society in any form recognizable in the West.[2]

Peter the Great created a new Russia which rivaled the society of the West with magnificent courts and palaces. His vision was not to bring Russia to the West, but to bring the West to Russia. He created a court system like that in the West through legal edicts and strict rules. In the West art was an evidence of cultural freedom, but in Russia it was a deliberately controlled expression and advancement. “The rules were carefully laid out in The Honorable Mirror of Youth, a compilation of Western courtesy books designed to educate courtiers in the intricacies of refined behavior, including dancing.”[3] Classical ballet entered the realm of Russia not as entertainment, but as a “standard of physical comportment to be emulated and internalized-an idealized way of behaving.”[4] The aim wasn’t to entertain the masses of Russians, but to create a cultivated and new Russian people.

Hasil (Bahasa Indonesia) 2:

Sampai 1689, balet di Rusia tidak ada. Kontrol Tsar dan isolasionisme di Rusia diizinkan untuk sedikit pengaruh dari Barat. Sementara Barat pergi melalui revolusi dari "Reformasi, Renaissance, dan ilmu pengetahuan ... Rusia tetap dipotong dan terikat dalam liturgi abadi iman Ortodoks". [1] Ia tidak sampai munculnya Peter Agung yang masyarakat Rusia membuka ke Barat. Petersburg didirikan untuk merangkul Barat dan bersaing keterbelakangan Moskow. Namun tantangan untuk menjadi "Eropa" bertabrakan dengan realitas isolasionisme Rusia: "Dalam mencolok Berbeda dengan rekan-rekan mereka barat Eropa, elit Rusia menjalani hidup tanpa hiasan: di rumah-rumah kayu dan tidur di bangku-bangku (atau di atas kompor hangat) dan pakaian dan perilaku mereka menyerupai orang-orang dari petani: kasar dan tdk pantas. Pria didambakan jenggot hitam panjang dan lebat, yang mereka mengambil untuk menjadi tanda kesalehan dan maskulinitas (Allah berjenggot dan wanita tidak bisa tumbuh satu). Hanya setan yang digambarkan sebagai dicukur bersih. Dress asing mewah dilarang, dan orang asing yang tinggal di Moskow yang dikarantina di mereka sendiri 'Suburb Jerman,' ghetto budaya Eropa didambakan oleh beberapa dan diberhentikan oleh kebanyakan. Masyarakat Moskow tidak masyarakat dalam bentuk apapun dikenali di Barat. [2] Peter Agung menciptakan Rusia baru yang disaingi masyarakat Barat dengan lapangan megah dan istana. Visinya adalah untuk tidak membawa Rusia ke Barat, tetapi untuk membawa Barat ke Rusia. Dia menciptakan sebuah sistem pengadilan seperti itu di Barat melalui fatwa hukum dan aturan yang ketat. Dalam seni Barat adalah bukti kebebasan budaya, tetapi di Rusia itu ekspresi sengaja dikendalikan dan kemajuan. "Aturan hati-hati diletakkan di The Mirror Terhormat Pemuda, kompilasi buku courtesy Barat dirancang untuk mendidik istana dalam seluk-beluk perilaku halus, termasuk menari." [3] Klasik balet memasuki ranah Rusia tidak sebagai hiburan, tetapi sebagai "standar hodeng fisik yang akan ditiru dan diinternalisasi-cara ideal berperilaku." [4] Tujuannya adalah tidak untuk menghibur massa Rusia, tetapi untuk menciptakan dibudidayakan dan baru orang Rusia.