Celestial Bodies: How to Look at Ballet

by Laura Jacobs

A distinguished dance critic offers an enchanting introduction to the art of balletAs much as we may enjoy Swan Lake or The Nutcracker, for many of us ballet is a foreign language. It communicates through movement, not words, and its history lies almost entirely abroad-in Russia, Italy, and France. In Celestial Bodies, dance critic Laura Jacobs makes the foreign familiar, providing a lively, poetic, and uniquely accessible introduction to the world of classical dance. Combining history, interviews with dancers, technical definitions, descriptions of performances, and personal stories, Jacobs offers an intimate and passionate guide to watching ballet and understanding the central elements of choreography.Beautifully written and elegantly illustrated with original drawings, Celestial Bodies is essential reading for all lovers of this magnificent art form.

Genres: Nonfiction, Art, Audiobook, Essays, History

Audio CD

First published May 8, 2018

Reviews

[Sarah]

This book made me wish for a ballet-specific book club of opinionated ballet people to discuss with. It’s such a hodge-podge that I’m not sure what to make of it, and I felt some divisiveness within myself as I read it - perfect fodder for debate.

There were parts I thought would be practical and useful for an audience member who was trying to understand ballet more (such as an explanation of ballet company ranks and what it means both for the dancer’s career and for the performance you’re watching; also, an interesting chapter on the striving for perfection inherent in ballet). There were parts I was glad to see because the general public just needs to know (such as the chapter on the gloriousness of men in ballet). There isn’t much cohesion between the themes, however, and there isn’t an indication of what might be coming next. The chapters range from early history, to the impact of Tchaikovsky on ballet, to an examination of the arabesque, to a deep dive on Giselle, etc. – I wished it came together a bit more.

I’d also read some critiques that Jacobs lets her prose get away from her at times. I am sympathetic to the verbal ecstasy – what bunhead doesn’t get carried away about ballet? – but agree it was a slog to get through some of the more colorful ones (“Giselle is a gift that keeps on giving, a sustainable source, solar and lunar, that purrs like an engine beneath the art form” or “When a female dancer lets the inner energy of sous-us manifest outwardly, then sous-sus becomes the step called pas de bourree” - I giggled picturing a novice trying to identify a pas de bourree based on this description, like, “Wait, is it manifesting? What about now?”). Looking back, I wish the book explained the rhapsodic feelings instead of just giving voice to them. Why, as a dancer, do I feel this way about ballet? Why do non-dancers go to the ballet? Why does it matter? There’s a lot in here, but the style and structure sort of distracted from the message, at least for me.

Things I’d want to debate with my mythical ballet book club:

- Jacobs gives a full chapter to Giselle, describing it as “a lightning strike in a drawing room. No other ballet takes up the subject of energy as literally as Giselle.” Is Giselle still a necessary representation of ballet? What other ballet could fill this role?

- Jacobs points out that dualities exist in ballet because they are part of human nature: “Reality/fantasy. Society/soul. Life/afterlife. True Odette/false Odile. West/East. Awake/dreaming. These paired states need no explanation, no words. We all know them from having lived them, and we recognize them on stage. Opposition is built into classical dance, almost as if it were a fifth law of thermodynamics.” Is dualism as prominent in contemporary ballet? Couldn’t some of these dualities signal the discourse of the times in which they were created (e.g., isn’t the West/East dichotomy in ballet just an expression of 19th/20th century British and French orientalism?).

- The point that resonated most for me was: “Finding your favorites and then explaining why they move, excite, or delight you is an exercise we in the audience are expected to do. It can be elusive, actually, this pinning down what attracts you.” Do ballet audiences engage with the performances in this way?

- Who dancing today do you consider a ballerina? Is it Maria Kowroski of the New York City Ballet?

Actually I’m really just dying to have a good discussion with someone about how beautiful Maria Kowroski is. If this is you, please volunteer in the comments!

[G.G. · Rating 4 out of 5]

I always like to begin the reading year with a book that’s uplifting rather than depressing, and Laura Jacobs’ introduction to classical ballet fits the bill. In twelve short chapters, she takes the reader through everything from the five positions of the feet, “the point of the pointe” shoe, the arabesque, and the pirouette; to readings of ballets such as Giselle (1841), Swan Lake (1877, 1895), and Serenade (1935); to the organizational structure of ballet companies and the qualities of some of their stars. There are also interesting chapters on the notion of perfection and an illuminating discussion of balance.

The author wears her learning lightly: there’s nothing encyclopedia-like about the arrangement of chapters or the writing. Jacobs often arrives at a description that feels exactly right: Vaslav Nijinsky’s Le Sacre du Printemps (1913) is “a dark hinge between classicism and modernism,” for example (p. 164). As other reviewers have observed, however, occasionally one feels that Jacobs’ striving for effect leads her astray: “When a ballet has a feeling of epochal importance…its momentum can feel like a meteorological or scientific phenomenon. Think of spontaneous combustion or centrifugal force, a magnetic field or a perfect storm or an atom bomb” (p. 129). An atom bomb? Really?

In an ideal world I’d have read this at the computer, stopping to look up steps and scenes on YouTube. For now, it was enough to be reminded that “ballet is energy and energy is life” (xiii).

[Therése Mellby · Rating 1 out of 5]

Ibland blir man besviken på böcker. Jag trodde att det här skulle vara en hjälpsam guide om how to look at Ballet eftersom det faktiskt är undertiteln, men den den är mest bara ett hopkok av allt möjligt: rörelser, positioner, Tjajkovskij, diverse dansare. Och varför tillbringar författaren så mycket tid med att prata om dansare vars dans inte finns filmad och uruppsättningar av baletter som inte bevarats och som därför ingen av oss någonsin kommer att kunna se? Och vad är grejen med den överspända prosan och de litterära citaten (ibland tre eller fyra på samma sida!) som inte belyser ämnet? Och det irriterande greppet att allt ska liknas vid något annat, speciellt balett. I den här boken hinner balett likna allt från tyg till byggnader, balett är som ett minne, en hägring, och (I kid you not) som
”Cheshirekattens svävande leende”. Man blir ju alldeles matt. Jag fortsätter nog bara att se på balett som jag brukar göra för den här boken gjorde mig verkligen inte klokare.

[Marks54 · Rating 4 out of 5]

Laura Jacobs is an accomplished dance critic whose new book is an introduction to the art form aimed at the audience members. The book is a series of semi-connected introductions that audience members need to know to make sense of what they are watching - and what they have paid a lot to see. The book covers lots of material and introduces many of the classic ballets that are most frequently staged (Swan Lake, Giselle, etc.), including basic nomenclature and techniques and some background on the big stars of the 20th century.

I have recently gotten very interested in ballet (after reading Apollo’s Angels) and saw Giselle for the first time.last year (and was blown away). This book is helpful for someone with limited knowledge of the field but wants to learn more - like me. It has made me fairly certain that I will subscribe in the coming year. I am convinced that to appreciate ballet requires some homework. This is like Opera, although with reduced language demands. Jacobs’ book is a good start and she provides references for getting more depth. There is also lots of historically important videos on YouTube that tie into the book’s content..

The book is well written and enjoyable - and even short. A more developed overall story would help new readers a little. More recent ballet work receives less attention but that is ok. I am still working on learning about the classic corpus anyway and loved the book.

[Denise D'angelo · Rating 4 out of 5]

I enjoyed reading this intro to viewing the art of classical ballet by Laura Jacobs. I've spent my whole life in classical ballet, from a 3 year old pre-ballet to pre-professional student, to professional dancer, to long time instructor, teaching 10 year olds through college age, and found Jacobs writing about ballet really touching and beautiful, especially when writing about Balanchine's Serenade, (which I also had the pleasure of dancing). She's done a lot of research in ballet history, and the chapter on Tchaikovsky and The Nutcracker literally "cracked" me up! She went to a place that I never had with this famous work and I thought maybe for book selling interest, she needed to intrigue the "outside of the industry" reader by expressing her thoughts about what that Christmas tree growing really means. My favorite chapter was on the ballerina, how subjective the art form is, and basically to decide for yourself what you like to see and what you don't. Everyone has an opinion on art, and it's yours to have. This dance critic did a good job of writing a book about how to view ballet with the care of someone who has studied, viewed, and loved the art form.

[Willy Marz Thiessam · Rating 5 out of 5]

This approach by Laura Jacobs with her book "Celestial Bodies: How to Look at Ballet" is innovative and I think the publisher was taking a chance that will pay off. This book explains ballet from the perspective of the person who interacts with it, not as some historical subject or esoteric subject that is beyond the ability of the average person. It isn't a mystery, its beautiful. Jacobs makes the subject an experience not a lecture.

In comparison to other books on the subject of ballet, it does not compartmentalize like an encyclopedia, but builds understanding in a very pleasant and fulfilling way. You are not overload, you are immersed in the world of ballet and will be able to draw on this book to greater enjoy one of the greatest artistic endeavours of humanity.

[Kirsten Vega · Rating 2 out of 5]

Laura Jacobs is definitely a skilled viewer of ballet and there is a lot of good information here thanks to her encyclopedic knowledge of technique.

To her credit, she is comprehensive, though she'd gain more trust from her readers if she were keener on citing archival sources and explaining her research methods within the text, like her peer ethnographers' Stacy Schiff (The Witches) or Sabine Melchoir-Bonnet (The Mirror).

For me, this book is not The One. I kind of suspect that only a poet could write The One with due rapture. For that I nominate Emily Fragos. Read her beautiful interview with Suzanne Farrell in BOMB Magazine (October 2003). https://bombmagazine.org/articles/suz...

I really appreciated her curation of the quotes and passages embedded in the chapters. She'd be an ace editor of letters/quotes/poems about dance, like Everyman Library's "The Dance". "Ballet's Magic Kingdom", the 2008 collection of Russian critic Akim Volynsky's ballet reviews is frequently cited by Jacobs, though that habit mainly throws her own prose in unfavorable contrast.

Perhaps because no history of ballet has yet been a literary masterpiece, Jacobs felt moved to write authoritatively AND lyrically. But she bit off too much. Probably her editors at Basic Books were most willing to publish and market an authoritative book marketed at beginners. The result is a kind of slapdash panorama whose main source of authority is her conceited tone of voice.

[Billy · Rating 2 out of 5]

Written by a prominent ballet critic, it reads almost like a parody of how a prominent ballet critic would write. Lots of gushing language, lots of praise of ballerinas the critic could not possibly have seen (i.e., women who danced before the age of video recording) and lots of self references. The book does provide some good information on ballet history and technique, if you're willing to sift through a lot of fluff. Best line of the book (paraphrased): A nation's character is best represented by its ballerinas. Good to know.

[Margaryta · Rating 2 out of 5]

"Celestial Bodies" is not a detailed book about ballet, about its history or the inevitable problems it has. Jacobs makes this clear in the introduction: if you want a book that gives you a flowing narrative across time, you will need to do more research. Instead, this is more of a crash-course on ballet, if you will, focusing mostly on the technical aspects and only towards the end expanding more to talking about male dancers and the concept of the ballerina. "Celestial Bodies" made me realize that both that I already have some prior knowledge of ballet from my few years worth of lessons years back, and that this was not the book I was expecting or hoping for. The technical side and somewhat arbitrary focus of the chapters in this book may frustrate or bore some; I found myself skimming the first few. But what struck me most was seeing how nonetheless "conservative" and "safe" Jacobs' narrative was. This was especially the case with chapter nine, entitled "Sex and the Single Girl", a chapter that was nothing like what I hoped for. Predominantly a summary/focus on the ballet Giselle, I felt like Jacobs missed the opportunity to really add some contemporary criticism to the genre. It was only in the final chapter, with the mention of the American ballerina Maria Tallchief, that I finally got a glimpse into what I'd wanted. Jacobs clearly is expecting a certain type of reader, one that will follow her metaphors, similies, and sometimes borderline-ridiculous and elaborate language without being repelled by it. "Celestial Bodies" made me remember why I stopped taking ballet lessons - not only was I not physically capable of doing many things, I also could not see many of the things Jacobs sees and describes, at least not to the same extent. If you want to begin understanding ballet then "Celestial Bodies" isn't a bad place to start. There is quite a bit of name dropping and summarizing and sometimes the elaborations don't suffice, but for the really keen reader that'll be enough of a starting point to pick up more books on the history of ballet and to watch the performances themselves. For me, having always admired ballet first and foremost for the discipline and strength it requires, Jacobs failed me by playing it safe and familiar, by continuing to promote a pantheon of ideals that, while great, I want to now see challenged and critiqued, because there's quite a bit there to critique. There was too many dull personal asides,too much flowery feminine language for ballerinas and manly and sexualized statements about male dancers for my taste, or for what I was looking for.

[Kristen · Rating 3 out of 5]

It doesn’t really live up to its purported role as a guide to viewing ballet. I was expecting more of a primer on archetypal storylines, commedia dell’arte characters, musical expression, and (while redundant for me) steps & patterns.

While some of these elements are included, they are not woven together in any meaningful way. Instead, we get a seemingly random collection of essays on the author’s personal favorites of ballet, with no clear central organizational structure.

I did appreciate the glittering imagery of dancers as orbiting planets, especially around the original ballet master, Sun King Louis XIV. Cannot wait to read more about him and his insane 13 hr (?) ballet production that he pressed nobles into performing to keep their place in court (LOL).

The author uses the elevated language of the old critics and deploys some very pretty turns of phrase, and her enthusiasm shines—but her snobbishness seems misplaced and off-putting.

Also, she weirdly sexualizes many elements of ballet, which was uncomfortable to read.

While reading this book, I happily discovered renowned ballet critic Alastair McCauley of the NYT and his many essays which are available for free on his website! He writes from rich personal experience and abundant interviews with the twentieth century’s stars of ballet, supplying the texture that Jacobs’ work lacks. I think I’d prefer to read her criticism of individual productions—her magnum opus simply takes on too much and comes across as reading too much into the art form.

[Luna · Rating 3 out of 5]

It's been so long since I've left a Goodreads review, but I want to try keeping up to date with this again.

With that in mind -

I'm a sucker for ballet and tend to devour anything even remotely related, so when I saw this in my local bookstore, I quickly snapped it up.

As other reviewers have mentioned, this book is a strange hodgepodge of ballet topics that don't really have any cohesive structure beyond being about ballet. One chapter is entirely about Giselle, another is about the constant quest for unachievable perfection, and a third chapter is entirely about the role of men in ballet with a strong angle about Russian defectors to the West. While I can understand Laura Jacobs wishing to cover all of her clear points of interest, it doesn't really create a wholeness to the book.

Jacobs also has a tendency to get carried away with metaphors. While this didn't detract from my reading of the book, I can see some people growing sick of it.

Ultimately, I would have enjoyed a more narrowed focus into a particular topic as opposed to a broad sweep of ballet without really landing on anything.

[Beth · Rating 4 out of 5]

This book took the poetry of motion that is ballet and turned it into poetry on the page. Laura Jacobs' adoration for dance is obvious in her detailed descriptions of the history and techniques of ballet, and in her impassioned portrayals of the most famous and impactful ballets and dancers. The way she explains the various forces at work both in a dancer's body and within choreography itself will completely change the way you look at a performance. My only criticism is that I wish there were more drawings or photographs to help illustrate some of the points she made and to show off more of the dancers and ballets she describes.

*Thanks to NetGalley for the ARC, provided by the author and/or the publisher in exchange for an honest review.

[Ellie · Rating 5 out of 5]

I am so grateful for this book. I teach Dance Aesthetics and this book will be incredibly valuable for use in my course. I love Laura Jacobs view on Ballet History, and I love her viewpoint on Ballet, as well as her view on Modern Dance. i have way too many dance students that have no idea who Nureyev was, nor Nijinsky. Thank you to Ms. Jacobs, for her wonderful section on Diagelev, the Ballet Russes, and Nijinsky. This is a very important book for anyone who teaches Dance History. Ms. Jacobs take on Ballet and all things dance is terrific. Thank you to NetGalley and Perseus Books, Basic Books Publishers for the perusal. I am so happy for this book and cannot wait to buy my copy.

[starduest · Rating 1 out of 5]

I picked up this book because of the tagline "how to look at ballet" and was expecting a guide to ballet similar to practical criticism in literature class at school. Sadly it was sorely lacking in that department - there were some good bits but most of it was Jacobs getting lost in gushing over how much or why she loves this and that with repetition and too many words to say very little. Someone looking to increase their appreciation of ballet is unlikely to learn much, even less so if they're not already a ballet enthusiast. I was bored halfway though and skipped though at least half the book.

[Suzanne · Rating 5 out of 5]

This book was gifted to me with the recommendation that this was an essential read for a Balletomane, which I am. It really is a perfect resource. Each of the 12 chapters could be published on its own, a perfect deep dive into a specific topic. I especially enjoyed the chapter on “the point of the pointe,” with history and science of the coveted “toe shoe.” I learned the most in the chapter about “reading the program” which describes the organization of ballet companies and roles, with historical examples and context. Fantastic read!

[Rosemary · Rating 4 out of 5]

I’ve enjoyed ballet for many years but I think I will love it now that I’ve read this book. It filled in the gaps of my knowledge about the art of ballet with just enough history to give me the sense of staying power this art form has had across 400 years. I’ve put a few ballets on my list to seek out, and a few favorites to re-experience. Balanchine’s Serenade is in the repertoire of Ballet Arizona this season, so I’ll get the chance to see it soon. And I will watch recordings of some masters.

[mad · Rating 3 out of 5]

passionate and convincing.

“Think iron hand and velvet glove”
"Ethereal and sculpturesque, an oxymoron"
“Why do you do it? Because its impossible. Ballet is an impossible ideal.”
“A balance that is not present at the start, but found, flashed, and released”
“Make people forget me, but do not forget me”
"At the ballet, beauty is an open question in continuous play"

[Stephen Benson · Rating 2 out of 5]

It isn’t horrible, but it isn’t particularly good either. Informative at times, mainly from a historical perspective, but so clearly based on the author’s own experiences, readings and observations it feels like a memoir of the author’s appreciation of dance. The same exact information could be gleaned from Wikipedia, most likely.

[Jennifer · Rating 3 out of 5]

A flowery examination of how to watch ballet — with a lot of history and dance technique thrown in. I listened to the audiobook, and the reader was exuberant about all things ballet, but I’m grateful I had a little bit of knowledge before reading. I would have been completely lost if I was going at this without those beginner ballet classes under my hypothetical tutu.

[Fran · Rating 5 out of 5]

The author discusses many aspects of the ballet, ranging from important steps to great performances. I read this book with my tablet next to me so I could watch everything she discussed on You Tube. Recommend for all dance fans.

[Danielle · Rating 3 out of 5]

Good introduction to ballet if you have a passing interest in it or want to know enough to carry a conversation. It describes positions and movements in a way that's easy to understand. For anyone who is involved in ballet, it's boring and a lot of flowery language over the technique

[Gina · Rating 4 out of 5]

I love how Laura Jacobs covers every aspect of the dance from the 5 basic positions, to how to read a performance program, toe shoes, the plot of major ballets, to the complications turns. This is a great book for anyone who enjoys the art of dance!

[Helen McClory · Rating 3 out of 5]

Some lovely elevated language and insights for the newbie - but I can't recommend listening to the audiobook, unless you just want all that language (the technical and the fanciful) to just wash through your head like so much effervescent water.

[Jamie · Rating 4 out of 5]

This was a lot more interesting than I expected it to be! I only wish the narrator was more familiar with ballet, as there were many mispronunciations. I really enjoyed the history and explanations of all the story ballets included here.

[Savannah Newman · Rating 5 out of 5]

A deep and methodical read. Went through slowly as not to miss any of the vivid and creative writing and descriptions. Great use of ballet history, and present day. Wonderful way to represent and bring honor to this incredible art form.

[Adam Gossman · Rating 4 out of 5]

Very well done.

[Galina Krasskova · Rating 5 out of 5]

beautiful liquid prose that at times becomes transcendent poetry. A lovely journey through the affective world of ballet...highly recommended.

[Mills College Library]

792.8 J173 2018

[David Askanase · Rating 4 out of 5]

A good, short introduction to (basically) classical ballet. Not a easy read, but a rewarding one.

[Kara · Rating 4 out of 5]

Primer on ballet written by a student of dance an clear lover of ballet. Makes you appreciate the physical demands and art of ballet but a lot of detail if you aren't already a huge ballet fan