The Romantic movement in art, literature, and theatre was a reaction against formal constraints and the mechanics of industrialization. The zeitgeist led choreographers to compose romantic ballets that appeared light, airy and free that would act as a contrast to the spread of reductionist science through many aspects of daily life that had, in the words of Poe, "driven the hamadryad from the woods". These "unreal" ballets portrayed women as fragile unearthly beings, ethereal creatures who could be lifted effortlessly and almost seemed to float in the air. Ballerinas began to wear costumes with pastel, flowing skirts that bared the shins. The stories revolved around uncanny, folkloric spirits. An example of one such romantic ballet is La Sylphide , one of the oldest romantic ballets still performed today.
Why bring this up now? This year marks the 50th anniversary of her book's publication, and in celebration, food scholar Meryl Rosofsky is curating a program exploring the context of the book. Held on November 5 and 6 at the Guggenheim Museum, the program will include live performance excerpts with roles originated by Ballet Cook Book contributors including Balanchine's The Four Temperaments, Bugaku, Stars and Stripes and Western Symphony as well as a panel conversation with d'Amboise and Kent (both of whom were at the original book signing) and current NYCB principals Jared Angle and Adrian Danchig-Waring, both talented certainly seems like plenty of excitement to us, but attendees can also stop into the Guggneheim's Wright Restaurant to taste select dishes from The Ballet Cook Book including Le Clercq's Chicken Vermouth, Balanchine's Slow Beet Borschok, Hayden's Potato Latkes and Kent's Walnut Apple Cake.