The stage that hosted the creation of illusion for those who witnessed ballet after 1827 in its “golden age” (Guest, 1) introduced a world new, but which could not be achieved. These illusions were expressed through performance as “Romantic moods.” (5) The Romantic period of the early 19th century emphasized the alienation of an individual, the spectacle of that isolation, and the Romantic ideal that perfection remains mysterious and unattainable, in contrast to the Enlightenment ideals of the late 18th century that supported rationality and tangible beings. Deeper. The spectacle of an alien, supernatural being embodies these elements of Romanticism, as represented in Romantic ballet. Coralli and Perrot's 1841 ballet, Giselle, incorporated these romantic elements into “each of the component parts (of the ballet) – scenography…choreography and dance style” (7), as well as with innovations in narrative. These narratives began to project women as powerful representations of ethereal and supernatural being, as is specifically shown in the character of Giselle in Coralli and Perrot's ballet. Through the novelties of Romantic visual presentation in scene, movement, and narrative, the Golden Age of ballet was able to "effectively "(reveal) the unattainable" (7) and the supernatural. By introducing "new stage construction techniques" (Guest, 14) Romantic ballet productions were able to explode the spectacle of ballet and illusion. Color has become a powerful contributor to setting the aura of a scene in a ballet. In Giselle, this is particularly evident in the contrast between the warm, earthy toned city scenes and the ghostly, white, eerie world of the villas. With the “introduction of gaslighting” the amou...... middle of paper... dancer, both physically and narratively, drew attention to the increasingly vital role of the supernatural and unattainable woman in the ballet. The performance of Romantic ballet could not be so exuberant without its visual presentation in stage design and dance style, yet the pinnacle of Romantic ideals became the woman in her ethereal and otherworldly presence. Giselle was constructed as a vision of Romanticism as changes in lighting and illusion centralized around her plot, floating and skimming dance steps enhanced her ethereal qualities, and the narrative of the ballet itself projected her as an unattainable, otherworldly being . It was an isolated, mysterious and alienated spectacle. The ballerina became the epitome of awe and mystical beauty in reflecting these ideals of Romanticism. The ballerina was the most effective expression of a supernatural presence in Romantic ballet.