The Sleeping Beauty (ballet) in the context of "Music of Pyotr Ilyich Tchaikovsky"

Sleeping Beauty is a 1959 American animated musical fantasy film produced by Walt Disney Productions and released by Buena Vista Film Distribution. Based on Charles Perrault's 1697 fairy tale, the film follows Princess Aurora, who was cursed by the evil fairy Maleficent to die from pricking her finger on the spindle of a spinning wheel on her 16th birthday. She is saved by three good fairies, who alter Aurora's curse so that she falls into a deep sleep and will be awakened by true love's kiss. The production was supervised by Clyde Geronimi, and was directed by Wolfgang Reitherman, Eric Larson, and Les Clark. It features the voices of Mary Costa, Bill Shirley, Eleanor Audley, Verna Felton, Barbara Luddy, Barbara Jo Allen, Taylor Holmes, and Bill Thompson.

Sleeping Beauty began development in 1950. The film took nearly a decade and $6 million (equivalent to $64,719,178 in 2024) to produce, and was Disney's most expensive animated feature at the time. Its tapestry-like art style was devised by Eyvind Earle, who was inspired by pre-Renaissance European art; its score and songs, composed by George Bruns, were based on Pyotr Tchaikovsky's 1889 ballet. Sleeping Beauty was the first animated film to use the Super Technirama 70 widescreen process and was the second full-length animated feature filmed in anamorphic widescreen, following Lady and the Tramp (1955).

Ballet is a formalized italian dance form with its origins in the Italian Renaissance courts of 15th and 16th centuries. Ballet spread from Italy to France with the help of Catherine de' Medici, where ballet developed even further under her aristocratic influence. An early example of Catherine's development of ballet is through 'Le Paradis d' Amour', a piece of work presented at the wedding of her daughter Marguerite de Valois to Henry of Navarre. Aristocratic money was responsible for the initial stages of development in 'court ballet', as it was royal money that dictated the ideas, literature and music used in ballets that were created to primarily entertain the aristocrats of the time. The first formal 'court ballet' ever recognized was staged in 1573, 'Ballet des Polonais'. In true form of royal entertainment, 'Ballet des Polonais' was commissioned by Catherine de' Medici to honor the Polish ambassadors who were visiting Paris upon the accession of Henry of Anjou to the throne of Poland. In 1581, Catherine de' Medici commissioned another court ballet, Ballet Comique de la Reine. However, it was her compatriot, Balthasar de Beaujoyeulx, who organized the ballet. Catherine de' Medici and Balthasar de Beaujoyeulx were responsible for presenting the first court ballet ever to apply the principles of Baif's Academie, by integrating poetry, dance, music and set design to convey a unified dramatic storyline. Moreover, the early organization and development of 'court ballet' was funded by, influenced by and produced by the aristocrats of the time, fulfilling both their personal entertainment and political propaganda needs.

In the late 17th century Louis XIV founded the Académie Royale de Musique (the Paris Opera) within which emerged the first professional theatrical ballet company, the Paris Opera Ballet. The predominance of French in the vocabulary of ballet reflects this history. Theatrical ballet soon became an independent form of art, although still frequently maintaining a close association with opera, and spread from the heart of Europe to other nations. The Royal Danish Ballet and the Imperial Ballet of the Russian Empire were founded in the 1740s and began to flourish, especially after about 1850. In 1907 the Russian ballet in turn moved back to France, where the Ballets Russes of Sergei Diaghilev and its successors were particularly influential. Soon ballet spread around the world with the formation of new companies, including London's The Royal Ballet (1931), the San Francisco Ballet (1933), American Ballet Theatre (1937), the Royal Winnipeg Ballet (1939), The Australian Ballet (1940 as the predecessor Borovansky Ballet), the New York City Ballet (1948), the Cuban National Ballet (1948), the National Ballet of Canada (1951), and the National Ballet Academy and Trust of India (2002).

The Nutcracker (Russian: Щелкунчик, romanized: Shchelkunchik, pronounced [ɕːɪɫˈkunʲt͡ɕɪk] ), Op. 71, is an 1892 two-act classical ballet (conceived as a ballet-féerie; Russian: балет-феерия, romanized: balet-feyeriya) by Pyotr Ilyich Tchaikovsky, set on Christmas Eve at the foot of a Christmas tree in a child's imagination featuring a Nutcracker doll. The plot is an adaptation of Alexandre Dumas's 1844 short story The Nutcracker, itself a retelling of E. T. A. Hoffmann's 1816 short story The Nutcracker and the Mouse King. The ballet's first choreographer was Marius Petipa, with whom Tchaikovsky had worked three years earlier on The Sleeping Beauty, assisted by Lev Ivanov. Although the complete and staged The Nutcracker ballet was not initially as successful as the 20-minute Nutcracker Suite that Tchaikovsky had premiered nine months earlier, it became popular in later years.

Since the late 1960s, The Nutcracker has been danced by many ballet companies, especially in North America. Major American ballet companies generate around 40% of their annual ticket revenues from performances of the ballet. Its score has been used in several film adaptations of Hoffmann's story.

Aurora, also known as Sleeping Beauty or Briar Rose, is a fictional character who appears in Disney Animation's 1959 film Sleeping Beauty. Voiced by Mary Costa, Aurora is the only child of King Stefan and Queen Leah. An evil fairy named Maleficent seeks revenge for not being invited to Aurora's christening and curses the newborn princess, foretelling that she will prick her finger on a spinning wheel's spindle and die before sunset on her sixteenth birthday. Merryweather, one of the three good fairies, weakened the curse so Aurora would only sleep. Determined to prevent this, three good fairies raise Aurora as a peasant in order to protect her, patiently awaiting her sixteenth birthday—the day the spell can only be broken by a kiss from her true love, Prince Phillip.

Aurora is based on the princess in Charles Perrault's fairy tale "Sleeping Beauty". Some elements, such as her name, are derived from the ballet The Sleeping Beauty by Pyotr Ilyich Tchaikovsky.For several years, Walt Disney had struggled to find a suitable actress to voice the princess and nearly abandoned the film entirely until Costa was discovered by composer Walter Schumann. However, Costa's southern accent nearly cost her the role until she proved that she could sustain a British accent for the duration of the film. In order to accommodate the film's unprecedentedly detailed backgrounds, Aurora's refined design demanded more effort than had ever been spent on an animated character before, with the animators drawing inspiration from Art Nouveau. Animated by Marc Davis, Aurora's slender physique was inspired by actress Audrey Hepburn. With 18 lines of dialogue and equally few minutes of screen time, the character speaks less than any speaking main character in a feature-length Disney animated film.

In fairy tales, a true love's kiss is a motif and commonly used trope where by a kiss from a "true love" possesses magical powers and holds significant importance.