Known as the father of what we now know as the Danish style of ballet, August Bournonville was a multi-talented choreographer and dancer who fell in love with the classic French ballet and created a whole new philosophy with his distinctive traits.
He created and staged more than 50 ballets in his career, which only became internationally acclaimed when the wars had settled.
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August Bournonville’s Biography
- Birthname: Antoine Auguste Bournonville
- Born: August 21st, 1805
- Died: November 30th, 1879
- Nationality: Denmark
- Parents: Antoine & Lovisa Sundberg Bournonville
- Siblings: Five siblings
- Spouse: Helena Fredrika Håkansson
- Height: N/A
Early Life
Bournonville was born in Copenhagen, the son of Antoine Bournonville, a ballet master from France. The Bournonville family had five children, and August was the only one of them who harbored a passion for art and dancing.
When young August was 8, his education began at the Royal Ballet School.
Back then, the school was closely associated with the Christiansborg Palace because ballet was more of a court art. His first teachers were no one other than his father and master Vincenzo Galeotti.
In the same year, he had his first stage performance in Galeotti’s Lagertha, playing the role of a Viking prince. Not so long after, he was entrusted with a solo Hungarian dance and received his first individual applause.
Aside from ballet, Bournonville was also extremely interested in reading, violin, acting, singing, and learning French. He showcased all these talents to the Queen when he was only twelve years old.
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Inspiration from Paris
Bournonville received an endowment from the sovereign to study ballet in Paris for a short while. His father was his only teacher during this experience, yet the exposure to accomplished dancers and favorite trends was a life-changer.
What he learned from Paris completely changed his point of view on Danish ballet. And the repertoire waiting for him back at the Royal Theatre was much less appealing compared to before.
In 1824, 19-year-old Bournonville once again came to Paris and went through the last phase of his education and prepared for exams at the Paris Opera.
The sojourn was estimated to take no more than 15 months, but it extended to 5 years. And it was 5 disastrous years for Danish ballet.
During Bournonville’s stay, Louis Nivelon constantly offered meals, friendship, and entrance to society here. It was a lifebuoy for the young man because the studio he wished to join was permanently inactive until Auguste Vestris took him in.
In one of the home letters that were found, Bournonville described his teacher to his father as someone who took teaching very seriously, knew how to be strict and nurture a talent as well as how to be considerate of his students.
Bournonville was with the Paris Opera Ballet during 1820 – 1828, often partnered with Marie Taglioni, another acclaimed dancer.
Back to Copenhagen
After finishing his studies, Bournonville came back to Copenhagen and joined the Royal Ballet as a soloist.
For over 18 years (1830 – 1848), he was also the main choreographer here with approximately 50 ballets known for a unique style only seen in August Bournonville’s choreography.
It was undoubted that French ballet had a great influence on Bournonville, though he incorporated the lightness and exuberance in his movements into his works, which set him apart from others.
Bournonville took inspiration from European countries to the South American region, though it was not until WWII ended did his creations gain the popularity they deserved.
In the 1950s, the Danish Royal Ballet went on tour and brought his ballets to America, where they welcomed and popularized his pieces right away.
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Contribution To Ballet: The Bournonville Technique
Also known as the August Bournonville Technique, it is a system of training methods and ballet techniques developed by the masters of Danish ballet.
The early training Bournonville got from his father and French masters was a great influence on him. He maintained his original philosophy even when European ballet was starting to move on from its French-influenced era.
A natural grace, a harmonized connection with the music, and a dramatic impact are expected from dancers practicing the Bournonville method.
Some of the signature techniques include:
- Graceful yet simple epaulement: The body is usually twisted and directed at the moving foot, so the movement will be emphasized and the attention will be there.
- Instead of raising the eye-line to express pride, the dancer will lower their gaze and convey kindness. Their eyes are all on the active legs naturally.
- The arm movements are always executed with much attention, so the placement and shape must always be precise.
- Quick footwork will develop with time, which is a requirement in Bournonville’s routines.
- Even the grandest steps can be executed seemingly effortlessly.
- The arms and the torso are gentle, but the legs are powerful. It is the contrast and connection between rhythms and melodies, and a Bournonville dancer must achieve it.
The Bournonville method is one for a more tender upper torso and a drastically contrasting, agile footwork. It challenged dancers of both genders and allowed the steps to flow smoothly without discrepancies in emphasis.
Death & Legacy
In early 1877, Bournonville sensed the deterioration in his health and decided to give up on adult dance classes.
On November 30, 1879, Bournonville was stricken while returning home from the church. He was immediately hospitalized, yet unable to make it through. Now, he rests in peace at Asminderød Church, Fredensborg.
Bournonville’s legacy is hard to put into a mere few words because of its connection with traditions that are not within our reach anymore.
However, most dancers acknowledge his flair and vision for not being biased towards either female or male roles, while everyone around him focuses on ballerinas.
Furthermore, while his contemporary dancers as well as choreographers were keen on expressing the most extreme emotions in a human, Bournonville leaned more toward the balance in a human with fluidity and enthusiasm in his footwork.
Personal Life
In 1830, Bournonville got married to Helena Fredrika Håkansson, and their relationship was life-long.
They had seven children together, two sons and five daughters. Both sons passed away not so long after they were born, and one daughter named Charlotte inherited the passion for music from Bournonville.
Charlotte Bournonville then became an actress and opera singer.
Final Words
La Sylphide, Le Conservatoire, A Folk Tale, Napoli, and more well-known ballets we practice, perform, and enjoy today came from August Bournonville, the prodigy and genius from Denmark.
His legacy also includes a training method named after him, which differentiates him from his gifted contemporaries. Bournonville’s vision on technique and equality came so ahead of time that it will continue to surprise future generations.