Filippo Taglioni

Filippo Taglioni (1777–1871) was an Italian ballet dancer and choreographer who created La Sylphide (1832), a landmark of Romantic ballet.

La Sylphide: A ballet choreographed by Filippo Taglioni and first performed in Paris in 1832. Taglioni’s best-known creation established a model for Romantic ballet.
Pointe technique: A ballet technique in which dancers support their weight on the tips of their toes, usually with pointe shoes. La Sylphide helped make pointe work central to the image of the ethereal ballerina.
Carlo Taglioni: An Italian dancer and choreographer, and the father of Filippo Taglioni. Filippo was born into the family’s professional dance tradition.
Romantic era: A European cultural period of the late eighteenth and nineteenth centuries emphasizing emotion, imagination, and the sublime. Taglioni’s most influential work belongs to Romanticism’s theatrical fascination with the supernatural.
Marie Taglioni: An Italian-Swedish ballerina celebrated for her light, elevated style and role in Romantic ballet. His daughter made La Sylphide famous in its original leading role.
Ballet blanc: A ballet scene or work featuring a corps of female dancers in white costumes, often with a supernatural or dreamlike atmosphere. The sylphs’ white costumes helped establish a lasting Romantic ballet convention.
Jean-François Coulon: A French ballet dancer and teacher who trained several prominent dancers of the late eighteenth and early nineteenth centuries. Taglioni studied with Coulon in Paris before pursuing his stage career.
Lucien Petipa: A French ballet dancer and choreographer who worked in Russia and was the elder brother of Marius Petipa. He was among the dancers who helped transmit Taglioni’s choreographic influence.
Jean-Madeleine Schneitzhoeffer: A French composer known for the score of the original 1832 La Sylphide. His music accompanied Taglioni’s ballet at its Paris premiere.
Romantic tutu: A bell-shaped, calf-length skirt associated with nineteenth-century Romantic ballet. Its light silhouette became closely associated with the ballet’s supernatural world.

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