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HISTORIA.........

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LE BALET COMIQUE DE LA REINE:
AN ANALYSIS
by Elizabeth Cooper
PART I
CONTENTS OF THIS DOCUMENT:
Introduction
In late Renaissance society, dance was not considered merely a source of light-hearted entertainment or physical recreation, but a profoundly intellectual experience for both participants and spectators. Sixteenth century dance, like the arts of poetry, music and painting, was infused with new meaning and innovations as a direct result of the findings of humanist scholars as they poured over ancient Greek texts in an attempt to recreate the powerful and effects of ancient Greek drama.
The court ballets of the sixteenth and seventeenth centuries were intended to enlighten and edify audiences. As the art of choreography developed it became increasingly informed by humanist ideals and imbibed with layers of meaning that were moral, philosophical, and political, in nature. It was the task and the delight of the educated viewers of these court spectacles to decipher the "truths" underlying the dances.

Le Balet Comique de la Reine
Let us take one of the most illustrious of the Valois court spectacles, Le Balet Comique de la Reine, as a model for a more detailed examination of the sixteenth century court spectacle.
Le Balet Comique de la Reine represents a significant moment in Western theater dance history. As the first known work to intentionally combine dance, verse and music into a coherent dramatic statement, it is considered the first ballet de cour. In addition, we are extremely fortunate to have a complete libretto for the production, including verse, music, allegorical interpretations and illustrations of the scenic elements and costume. It is therefore possible to reconstruct the event with a certain degree of accuracy, enabling us to examine its artistic significance and ponder its reception by the court audience.

Renaissance Dance: Some Questions
Focusing on this production, should help to elucidate some key questions surrounding the development and practice of late Renaissance court dance:

o What are the philosophical underpinnings of Renaissance dance?
o What were the prevailing attitudes towards dance in the Renaissance?
o How are these attitudes indebted to classical Greek sources?
o How might the court spectators interpret the various meanings of dances seen in a court spectacle, and was there a commonality of interpretation among this elite group?
o What parallels, if any, exist between the role of dance in ancient Greek society versus Renaissance court society?

The Occasion
Le Balet Comique de la Reine was performed on Sunday, October 15, 1581 in either the Louvre's Great Salle or in the Salle de Bourbon of the Petit Palais, and lasted from ten in the evening to three o'clock in the morning. It was commissioned by Queen Louise as part of a series of lavish and extraordinary events held to celebrate the marriage of her sister, Marguerite de Lorraine to the King's favorite, Anne, Duc de Joyeuse.
The festivities, which lasted several days, included mock tournaments arranged in allegorical settings, a water fete, a horse ballet, and an impressive display of fireworks. This collection of magnificences established the court of Henri III as the most refined, artistic and musical in all of Europe.

An Artistic Collaboration
In Le Balet Comique de la Reine, Balthazar Beaujoyeulx states that, promptly after Queen Louise requested his services in devising a scheme for the wedding festivities, he was forced to leave the "noisy court" and go into seclusion for a few days in order to find "peace and freedom of mind". After several days, Beaujoyeulx returned to court to read a description of his subjects and inventions to Queen Louise and her ladies-in-waiting. Beaujoyeulx's plans for the production were composed of three parts:

o "verse which must be recited;
o different musical compositions which must be sung;
o a variety of things which must be presented in painting."

Collaboration
Realizing that it was beyond his artistic capabilities, Beaujoyeulx requested that Queen Louise enlist the services of other talented members of the court.
Lambert de Beaulieu was chosen to compose the music and Jacques Salmon, maitre de la musique de la chambre du Roi, for the performance of it. The Sieur de la Chesnaye, the King's poet and almoner, wrote the text, and Jacque Patin, the King's painter provided the scenery and perhaps the costumes. Beaujoyeulx assumed the roles of inventor of the ballet's plot, stage manager and choreographer.

The Plot
The plot for Le Balet Comique de la Reine is based on the Circe fable from Homer's Odyssey. The Circe story, as revealed in the ballet, is concerned with the taming of man's innate emotions and with the establishment of order and harmony by means of enlisting reason and moral virtue. In the production, the evil enchantress Circe is pitted against the powerful and virtuous King of France, for whom she is ultimately no match. As the plot unfolds, the gods Mercury, Pan, Minerva and Jupiter are summoned to vanquish Circe and force her to release the performers from her spell, but a lasting peace and order can not be restored until the King himself is called to aid in the struggle.
Plots involving a powerful and malicious sorceress who causes mayhem and brings disorder to all aspects of life were extremely popular in Renaissance court spectacles. These stories inevitably concluded with the performers beseeching the monarch to intervene, restore order and liberate his subjects from the chaos of the enchantress's spell.
Mythological plots of this type provided the court dance organizers with a pretext for including a diversity of characters and actions while offering an overriding rationale for their existence.
Perhaps more importantly, plots of this type were suited to address contemporary social and political concerns, to reaffirm the existing hierarchical power structure, and to glorify the monarch, his subjects and his kingdom.

Choreography in Le Balet Comique de la Reine
Balthazar Beaujoyeulx choreographed and staged the three geometrical dance entries in Le Balet Comique de la Reine. Unlike earlier spectacle choreography, which served as decorative divertissements between dramatic acts, these dances were carefully woven into the plot of the production. They functioned as a part of the action and provide continuity between periods of poetic declamation, song and instrumental music.

Classical Antecedents
According to the libretto, the dances in the production were inspired by the ancient Greeks. Billard, in a poetic dedication to the choreographer, praised Beaujoyeulx for his scholariness and his creativity:
Beaujoyeulx, you who first bring back from the ashes of Greece the plan and accomplishments of the ballet,who ever outdo yourself in divine spirit; mathematician, inventive, alone in your knowledge, if ever honor is deserved, your is assured. Beaujoyeulx's indeptedness to the ancient Greeks was primarily of a theoretical or philosophical nature. The influence of Pythagorean and Platonic concepts pertaining to universal harmony and order is manifested in Beaujoyeulx's attention to the rhythm and proportion of the choreographed spatial patterns and, in establishing a synchronicity between the ballet's artistic components.

The actual dance steps, however, are not related to ancient Greek forms, of which very little is known. The steps are borrowed from Renaissance social dances familiar to the members of the Valois court. Beaujoyeulx's task as choreographer was to expand, embellish and diversify the known dance steps to make them appear as new additions to the dance repertoire.

The Dances
The first dance in Le Balet Comique de la Reine was performed by twenty-four dancers, twelve naiades(water nymphs) and twelve pages. Unfortunately, Beaujoyeulx provides more description regarding staging and scenic decor, then he does choreography. We know that these dancers performed twelve geometric figures, each different, before they are immobilized by an angered Circe. The first figure was in the form of a triangle, recalling the triangular head ornaments worn by the naiades:

The nymphs [Naiades] moved dancing up to the King and the Queen Mother, in the following pattern. At the first passage of the entrée there were six abreast in one line across the hall and three in front in a broad triangle, of which the Queen marked the apex, and three others behind her did the same. Then, as the music changed, they also moved in and out among each other, now in one direction, now in another, and then returned to their first position.

The triangle is extremely important in Plato's model of the Cosmos based on geometric solids. It seems plausible that the naiades were representing, through their measured dance, the concept of a universe based on number and proportion.
Mercury intervened to rescue the dancers and musicians from their petrified condition. The dance resumed after Mercury has sprinkled the juice of the Moly root over the heads of the performers. However, Circe returned almost immediately restoring the dancers to their immobilized state. Beaujoyeulx does not include any mention of the choreographic patterns in this segment of the ballet.

Entrèe of the Grand Ballet
The next choreographed sequence is the entrée of the Grand Ballet. As the violins began to play an entrée, the dryads (wood nymphs) left their niches in Pan's grove and presented themselves in the middle of the hall, before the king. Then, turning their backs to the king they danced towards Circe's enchanted garden where they greeted the naiads, who had just been freed from Circe's spell.

The naiades then proceeded, two by two, to the middle of the room where they were joined by the dryads. The violins, once again, changed their tone and commenced playing the entree to the Grand ballet. "It was composed of fifteen figures, arranged in such a way that at the end of each figure all the ladies turned to face the king." (This was danced to twelve measures of music, sung by five voices in 4/4 tempo.)

The Final Grand Ballet
This danced entrée went immediately into the final Grand Ballet, composed of forty distinct geometric figures ( La grand entrée is written in 4/4 for five voices and is seventy-eight measures ):
These were all exact and well-planned in their shapes, sometimes square, sometimes round, in several diverse fashions; then in triangles accompanied by a small square, and other small figures. These figures were no sooner formed by the Naiads, dresses in white, than the four Dryads, dressed in green, arrived to change the shape, so that as one ended, the other began. At the middle of the Ballet a chain was formed, composed of four interlacings, each different from the others, so that to watch them one would say that it was in battle array, so well was order kept, and so cleverly did everyone keep his place and his cadence. The spectators thought Archimedes could not have understood geometric proportions any better than the princesses and ladies observed in this Ballet.
As before, Beaujoyeulx does not provide the reader with the precise spatial configurations traced by the dancers. One does get a sense, however, of the interplay between the two groups of ladies dressed in contrasting colors. In these danced passages, the naiads and dryads move in a contrapuntal relationship, such that stasis and flux are juxtaposed, not only sequentially, but spatially. One group of dancers breaks out of a pattern at the precise moment when the other group establishes a formation. There is a continual generation and disintegration of form which must have set up a visual and kinetic tension between the two opposing groups.
Perhaps Beaujoyeulx, inspired by the ancient Greek notion of the cosmic dance, intended for the passages of the final ballet entrée to mirror the progression of the seasons, the mutation of the elements, and the circling of the stars and planets in the heavens.

The final grand ballet was followed by a grand ball in which the performers invited the spectators to join them on the dance floor in branles and "other dances customary in great feasts and celebrations."

Artistic Significance of Le Balet Comique de la Reine
Le Balet Comique de la Reine is considered to be the starting point of the composite art form because its creators made a conscious effort to harmoniously blend verse, music, dance, scenic elements and costume into a coherent theatrical statement. Balthazar Beaujoyeulx, the organizer and choreographer of the production, seems to have been acutely aware of the artistic significance of the event . In planning this event Beaujoyeulx was no doubt striving to meet the King's high standards for court entertainment, which should be, "marvelous in variety, inimitable in beauty, and incomparable in novelty."

Beaujoyeulx's Artistic Intentions
In his preface " To the Reader", Beaujoyeulx elaborates on his artistic intentions,
For, as to the Ballet, even though it may be a modern invention, or at least repeated so far distinct from antiquity that it can be so called, being, in truth only some geometric mixtures of several persons dancing together to a diverse harmony of several instruments, I confess to you that simply represented by [means of visual] impression it would have had much novelty, and little beauty, the recitation of a simple comedy. Also it would have been neither very excellent nor worthy of such a great queen, who wished to do something truly magnificent and triumphant.
Because of this I decided it would not be a bad idea to mix one and the other together and to diversify the music with poetry, and most often to merge the two together; for in antiquity they never recited poetry without music, and Orpheus never played without words. I have, however, given first place and honor to the dance, and second place to the substance, which I have called "comic" more for the beautiful, tranquil and happy conclusion than for the quality of the personages, who are almost all gods and goddesses, or other heroic persons.
Thus I have animated and made the Ballet speak, and Comedy sing and resound, and have added many rare and rich scenes and ornaments. I may say that within a single well-proportioned body I have pleased eye, ear, and mind.

A Composite of Theatrical Devices
There is no doubt that Le Balet Comique de la Reine was a unique theatrical event , but that does not mean that it was entirely new. According to Prunieres, the artistic devices found in Le Balet Comique stem from a composite of medieval forms of court entertainment, the masquerades, Italian intermedio, and tourneys. Beaujoyeulx displayed his creative abilities in joining these disparate theatrical elements and organizing and presenting them in an entirely new manner.
The novelty and inventiveness of Le Balet Comique de la Reine was manifested in the dancing. The dancers' measured steps, performed in synchronicity with the accompanying measured verse and music was a conscious reflection of the metrical and musical labors of Baïf's Academy in their effort to rediscover the effects of ancient poetry and music. Dance was intended to please the eye, song the ear, and poetry the mind, but as a corporeal enactment of harmony, dance acted as a unifying presence and as the visual representation of harmony for the audience.
It was not important that the dance steps were borrowed from the court social dances, rather than being of ancient origin. The dancing mirrored the music and verse, and this was enough to make it "antique". Like many of his contemporaries, Beaujoyeulx had a talent for borrowing from the past only that which suited his artistic purposes and supported and justified his aesthetic and moral beliefs.

Allegorical Interpretations
Issues of political, moral and philosophical import were not stated outright in the court spectacles. These edifying messages were commonly veiled in allegories and revealed to the spectators by means of spoken or sung verse, iconographic emblems, choreographic figures, and written text. In the libretto to Le Balet Comique de la Reine, the author includes four allegorical interpretations of the Circe fable. The allegorical interpretations are philosophical, moral and political in nature, and are of particular interest because they bring into question whether there was a commonality of understanding or interpretation among the elite court spectators.

In L'Art du Ballet de Cour en France 1581-1643, Margaret McGowan asserts that ballets, like other types of court spectacle, aimed at mass appeal, among an elite and educated audience. There was no limit to the complexity of allusions contained within the allegories. Several levels of meaning operated simultaneously, pleasing King, courtiers and ladies of the court, each at their own intellectual capacity. Surrounded as they were in an atmosphere of humanism, it is difficult to surmise, let alone, measure the exact effect that these allegorical allusions had on the consciousness of the court spectators.
There existed a hierarchy in the various interpretations of each allegory. The philosophical significance, where the image and the idea were harmoniously joined to reveal a higher or superior reality was the most important as well as the most difficult to grasp. The moral interpretation was next in line, followed by historical, political and social applications. The last in the hierarchy of interpretation was the literal meaning of the fable.
Le Balet Comique de la Reine

Balthasar de Beaujoyeulx
BALLET COMIQUE DE LA REINE

Translated from the French by Mary-Jean Covvell

Baltazarini di Belgiojoso, wise to the ways of political promotion, took a French name when he left Italy for Paris around 1555 as a member of a band of violinists. He became court valet to Catherine de' Medici and as such was responsible for the royal entertainments.
In the "first ballet," dancing was only one of several important elements: instrumental music, songs, spoken verses, costumes, and scenic effects all received attention. In fact, the author of this libretto devotes far more space to the texts of the speeches and songs and to descriptions of the decorations than he does to the dances. After all, most of his readers knew the steps from their own experience in court ballrooms, where rules like Caroso's prevailed. The Ballet Comique was first of all a grand spectacle designed to enhance the glory of France. Since the audience consisted exclusively of invited dignitaries, the publication of the libretto provided a means of extending recognition of the national image.

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LE BALET COMIQUE DE LA REINE: AN ANALYSIS by Elizabeth Cooper PART I CONTENTS OF THIS DOCUMENT:IntroductionIn late Renaissance society, dance was not considered merely a source of light-hearted entertainment or physical recreation, but a profoundly intellectual experience for both participants and spectators.

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1670 LES AMANTS MAGNIFIQUES

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Comédie en cinq actes " mêlée de musique et d'entrées de ballet ", Les Amants magnifiques résultent d'une commande faite par Louis XIV à Molière (1622-1673) et Jean-Baptiste Lully (1632-1687) pour les festivités du carnaval de 1670. La collaboration entre les deux artistes avait commencé dès 1664 et elle se prolongera jusqu'en 1672.
Cette fructueuse complicité artistique permettra à Lully d'explorer les voies qui le conduiront vers l'opéra dont il fixera bientôt la formule avec Cadmus et Hermione (1673). L'inventivité du musicien alliée au talent du dramaturge donne naissance à un spectacle mêlant toutes les ressources de la scène, la " comédie-ballet " - dont Les Amants magnifiques constituent une sorte d'apothéose.

Fait pour séduire en éblouissant, ce divertissement théâtral offre une grande diversité de formules. Dans l'atmosphère de poésie et de fantaisie de la pastorale, les scènes dansées succèdent aux scènes parlées. Au milieu des interventions chantées par des solistes ou des chœurs, la danse et la pantomime doivent permettre aux interprètes amateurs de se mêler aux professionnels. Louis XIV passionné par la danse devait danser lui-même sous le costume de Neptune, puis sous celui d'Apollon. Il y renoncera finalement dans un nouveau souci de dignité.
Le recours aux machines accroît encore la féérie d'un spectacle qui met lui-même en scène une succession de scènes censées être offertes par deux rois qui rivalisent pour gagner le cœur d'une princesse. Cette mise en abyme constitue un des attraits majeurs des Amants magnifiques.

Comme l'indique l'" Avant-Propos ", c'est le Roi lui-même qui a choisi le sujet très romanesque et conventionnel de ce spectacle, représenté pour la première fois devant la Cour à Saint-Germain, dans le cadre du Grand Divertissement royal. Les Amants magnifiques qui nécessitaient une mise en scène fastueuse ne seront pas repris pour le public parisien. Publiée dans l'édition posthume des œuvres de Molière parue en 1682, cette comédie-ballet sera toutefois donnée par la troupe du Théâtre Guénégaud en 1688. Puis ce fut l'oubli. D'inutiles préventions ont conduit à distinguer des grandes comédies de Molière la comédie-ballet, mise à l'écart comme un genre hybride uniquement conçu pour contribuer aux divertissements de la cour. Dans ce type de spectacle, le texte a pour première fonction d'assurer l'union de l'action dramatique avec la musique et la danse. Mais Molière ajoute une touche de réalisme à cette comédie sentimentale pleine de délicatesse en y introduisant une critique de l'astrologie très en vogue à la cour. Chacun pouvait d'ailleurs à l'époque reconnaître dans le personnage d'Anaxarque Jean-Baptiste Morin, un influent astrologue passé maître dans l'art de s'attirer la faveur des plus grands.

Résumé

Dans une Grèce de convention mêlant la mythologie à l'idylle champêtre, deux rois rivalisent d'invention pour conquérir Eriphile en déployant pour elle et sa mère, les enchantements de fêtes fastueuses. C'est sans compter sur celui qui règne déjà sur son cœur, Sostrate, un courageux général dont le seul défaut est d'être sans naissance. Comment la fille de la Princesse Aristione pourrait-elle envisager une mésalliance ? Sostrate deviendra digne d'Eriphile en sauvant sa mère menacée par un féroce sanglier.

Acte 1

En Thessalie, dans la délicieuse vallée de Tempé, Sostrate promène sa mélancolie tandis que se déroule la somptueuse fête que le prince Iphicrate donne en l'honneur d'Eriphile et de sa mère Aristione. Sostrate ne peut cacher son amour pour la belle Eriphile tout en se désolant de ne pas pouvoir prétendre à sa main que se disputent deux princes par " mille et mille magnificences ". Mais Eriphile semble insensible aux efforts de ses deux prétendants, Timoclès et Iphicrate. Aristione, la mère d'Eriphile, charge Sostrate de sonder le cœur de sa fille.

Acte 2

Clitidas plaide habilement auprès d'Eriphile la cause de Sostrate qui avoue à la jeune fille qu'il a été chargé de sonder son cœur. Eriphile demande à Sostrate de lui dire qui elle doit choisir entre Timoclès et Iphicrate. On vient convier la princesse à de nouvelles réjouissances ce qui dispense fort heureusement Sostrate d'avoir à lui donner une réponse.

acte 3

On presse Eriphile de choisir entre ses deux prétendants. Aristione l'assure qu'elle respectera ses sentiments. Sostrate est de nouveau érigé en juge. L'astrologue Anaxarque propose d'avoir recours à son art pour trancher la question. Une discussion s'engage sur les mérites de l'astrologie à laquelle Aristione fait toute confiance.

Acte 4

Aristione engage sa fille à lui parler à cœur ouvert. Vénus fait alors son apparition pour enjoindre Aristione de choisir pour gendre celui qui lui sauvera la vie. On découvre qu'Anaxarque est surtout préoccupé d'assurer sa fortune et celle de son fils en aidant Iphicrate dont les promesses sont plus alléchantes que celles de son rival. Une fausse embuscade doit permettre à Iphicrate de voler au secours d'Aristione pour respecter la prophétie de Vénus. La réussite de ce stratagème assurera le mariage d'Iphicrate avec Eriphile. Cette dernière confie à Sostrate qu'elle l'aime mais qu'elle ne peut l'épouser en raison de la différence de leur condition. Le jeune homme est désespéré.

Acte 5

Eriphile est en proie à une profonde tristesse quand Clitidas vient lui annoncer qu'elle peut épouser Sostrate, lequel vient de sauver sa mère de l'attaque d'un hideux sanglier. Le fourbe Anaxarque est démasqué et les deux princes qu'il a abusés avec de fausses promesses sont furieux contre lui. Iphicrate et Timoclès profèrent des menaces contre Aristione qui a préféré donner sa fille à Sostrate. La mère d'Eriphile leur accorde son pardon en invitant chacun à assister à la fête des jeux Pythiens.

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Les Amants magnifiques (Œuvre - Jean Baptiste Lully/Jean-Baptiste Poquelin) | Opera Online - Le site des amateurs d'art lyrique

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Comédie en cinq actes " mêlée de musique et d'entrées de ballet ", Les Amants magnifiques résultent d'une commande faite par Louis XIV à Molière (1622-1673) et Jean-Baptiste Lully (1632-1687) pour les festivités du carnaval de 1670. La collaboration entre les deux artistes avait commencé dès 1664 et elle se prolongera jusqu'en 1672.

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1671 LA DANZA COMO PROFESIÓN
Hoy en día para muchas personas la danza es una manera de vivir, de expresarse, de existir, la esencia de las personas.

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6 expertos que viven la danza desde adentro responden a una pregunta casi existencial: ¿qué es la danza? Realizado por Angélica Sánchez, para Revista Su Casa.

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1700 PIERRE BEAUCHAMP
Creador de las 5 posiciones basicas de la danza clasica.

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1786 LA FILLE MAL GARDEE DE JEAN DAUVERBAL

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1786 LA FILLE MAL GARDEE DE JEAN DAUVERBAL

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Probablemente el primer ballet cómico

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La fille mal gardée es un antiguo ballet pantomima estrenando nada menos que en 1789 en Burdeos, tal vez la única obra del siglo XVIII que aún se representa. A diferencia de los ballets "heroicos" de su época, propios de la corte de Luis XIV, esta obra trata de la vida simple y sencilla de una campesina y su inocente amor, lo cual contribuyó a su éxito en una sociedad harta de las historias provenientes de héroes mitológicos, y en su época se le acusó de melodrama popular.

Este ballet es el más conocido de Jean Bercher Dauberval (1742-1806), cuyo título original fue Le ballet de la paille, ou Il n'est qu'un pas du mal au bien (El ballet de la paja, o del mal al bien no hay más que un paso), mejor conocido como La fille mal gardée (La hija mal cuidada) al parecer Dauberval se inspira en un grabado de Chauffard que muestra a un campesino huyendo de una matrona enojada que agita el sombrero, mientras a sus espaldas lloraba una chica.

A finales del siglo XVIII la música que acompañaba a los ballets era frecuentemente una colección de melodías populares o fragmentos de óperas sin que esto fuera visto como un plagio, todo lo contrario, un homenaje. Esta es la razón por la que la música de La fille mal gardée ha cambiado al menos cinco veces de partitura a lo largo de los siglos; hoy en día prevalecen dos versiones, la rusa y la inglesa. En la primera escuchamos melodías de Rossini (Barbero de Sevilla) y Donizetti (El elixir de amor) entrelazadas con otras danzas anónimas. El estudio de esta partitura y sus orígenes puede abarcar todo un voluminoso ensayo.

La Compañía Nacional de Danza (CND) del INBA ha repuesto esta obra fundamental en un recinto universitario; el teatro Miguel Covarrubias del Centro Cultural Universitario. Asistimos al estreno donde se presentó Agustina Galizzi como la protagonista Lisette. Se trata de una experimentada primera solista que baila de maravilla al personaje. Estupenda su pantomima y el histrionismo generoso con que dibuja cada una de las muchas emociones en este complejo papel. Su compañero Colín fue interpretado por el joven bailarín Rodrigo Ortega, estupendo, con gran soltura y dominio del rol. La madre de Lisette, la vieja viuda Simonne, fue Yared Tobón, quien deleitó al público con su actuación llena de gracia y fluida actuación; su baile, aunque de pantomima, no está exento de arduas dificultades técnicas. El par de niñas chismosas fue interpretado por Cecilia Rodríguez y Natalia Lemus (ésta de reciente incorporación a la compañía) muy bien, con mucha experiencia y muy graciosas, al igual que los demás personajes y el cuerpo de baile.

Lo malo fue el sonido: muy opaco, le faltó brillantez y volumen. La función en la sala Covarrubias no tuvo orquesta en vivo, se hizo con una grabación; ya sea que ésta fuera lamentable de origen o el equipo de audio de muy baja calidad o no supieron usarlo, pero el resultado resultó muy malo.

Una vez más los programas de mano escasearon, los pocos que había traían poca información e inadecuada. En fin, se recibe con mucho placer esta joya del repertorio dancístico, excelente puerto de entrada a la danza clásica.

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La fille mal gardée es un antiguo ballet pantomima estrenando nada menos que en 1789 en Burdeos, tal vez la única obra del siglo XVIII que aún se representa.

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1801 CHARLES DIDELOT ES NOMBRADO COREÓGRAFO DEL TEATRO IMPERIAL RUSO 

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1801 CHARLES DIDELOT ES NOMBRADO COREÓGRAFO DEL TEATRO IMPERIAL RUSO 

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ES CONOCIDO COMO EL PADRE DEL BALLET RUSO

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Charles-Louis Didelot, French choreographer in St. Petersburg, Russia

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Charles-Louis Didelot was a French ballet master in Saint Petersburg. Short biography of Charles-Louis Didelot and other famous Frenchmen in St Petersburg, Russia

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Creador junto con Jean Coralli creadores de Giselle, pas de quatre entre otros.

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(Extractos del segundo acto)

REPERTORIO CND

Coreografía: Jean Coralli y Jules Perrot

Adaptación de la coreografía: José Carlos Martínez

Música: Adolphe Adam

Duración: 17 minutos

Estreno absoluto por el Ballet de la Opéra de Paris en la Opéra national de Paris (Francia), el 28 de junio de 1841.

Estreno por la Compañía Nacional de Danza en el Teatro Guerra, Lorca (España), el 18 de octubre de 2013.

Obra maestra del ballet romántico, Giselle fue creada en 1841, en la Ópera de París, con coreografía de Coralli y Perrot. Habiendo desaparecido del repertorio de la Ópera en 1868, Giselle fue sin embargo conservada y transmitida por los maestros de ballet francés establecidos en Rusia (Jules Perrot primero y después Marius Petipa). Giselle volvió a bailarse en París en 1910 por los Ballets Rusos de Diaghilev.

Albrecht, que ha acudido a ponerle lirios a la tumba de su amada, ve surgir la blanca imagen de la joven, fantasma al que quiere atrapar pero que se le escapa sin cesar. Por las noches, el bosque está dominado por las Willis, espíritus de las novias abandonadas por sus prometidos antes de casarse. Giselle se ha convertido en una de ellas. Un destino mortal espera a Albercht, pero Giselle, que le ha perdonado su traición, le salva del poder de las willis, justo con los primeros rayos del alba.

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Giselle. Jean Coralli y Jules Perrot - Compañía Nacional de Danza - España

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Coreografía: Jean Coralli y Jules Perrot adaptada por José Carlos Martínez Música: Adolphe Adam Estreno absoluto por el Ballet de la Opera de París el 28 de junio de 1841 en Palais Garnier. Estrenado por la Compañía Nacional de Danza el 18 de octubre de 2013 en el Teatro Guerra de Lorca.

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1905 MICHEL FOKIN CREA LA MUERTE DEL CISNE PARA ANA PAVLOVA

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1905 MICHEL FOKIN CREA LA MUERTE DEL CISNE PARA ANA PAVLOVA

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Fundador del clasicismo ruso

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Nacido en Marsella, el 11 de marzo de 1818, vivió y bailó tres años en España, cuya influencia marcó su Don Quijote, es el artista más importante de la historia de la danza y sus ballets siguen vivos en las principales compañías del mundo

Pregunten a cualquier persona por el título de un ballet y seguro que lo primero que contesta es El lago de los cisnes. O, quizás, El cascanueces, Don Quijote y La bella durmiente. Incluso si le respondiese Giselle, también estaría nombrando, implícitamente, al creador de los anteriores -y de otros cincuenta más-, a Marius Petipa (Marsella, Francia, 1818-Gurzuf, Imperio ruso, 1910).

Y es que el ballet estrenado en la Ópera de París, en 1841, como también el más antiguo que se conserva, La fille mal gardée(1789), han llegado hasta nosotros gracias a su reposición en el Teatro Mariinsky de San Petersburgo, donde Petipa trabajó cinco décadas, tres de ellas como autoridad máxima del ballet, en la segunda mitad del siglo XIX.

Con la conmemoración de su bicentenario, el domingo 11 de marzo, la ciudad rusa que le nutrió y a la que puso en el mapa del ballet ha organizado un congreso internacional dedicado a su figura, sus creaciones coreográficas, el eco de su legado y a otros minuciosos estudios científicos que renovarán perspectivas sobre el considerado como "padre" del ballet clásico.

Con el Ballet Mariinsky, además, ofreciendo sus más importantes títulos en esta temporada, y una gala en su honor el domingo, en San Petersburgo, por tanto, se está viendo en escena y subrayando científicamente con el congreso sus grandes aportaciones. Como su maestría para mover al cuerpo de baile; también, su 'marca de la casa', el paso a dos, estructurado en entrada, adagio, variaciones individuales y coda, para el lucimiento de las estrellas; o los actos de ballet puro que introducía en medio de la narración; y, por supuesto, su apego a las danzas características europeas, como las rusas, húngaras y, sí, también españolas.

Y es que entre sus actuaciones en Bruselas, Burdeos o Nantes, además de en Norteamérica, y su llegada a Rusia, Petipa vivió, bailó y coreografió en España. Fue entre 1844 y 1847, contratado por el Teatro Circo de Madrid y su principal pareja de baile fue Marie Guy-Stéphan quien, precisamente, también nació en 1818. Durante esos años, se empapó de nuestros bailes -influencia que dio luz a sus creaciones rusas Paquita o Don Quijote-, fue quien primero llevó a escena la historia de Merimée, con la coreografía Carmen y su torero, además de otros ballets españoles como La perla de Sevilla o La flor de Granada, pero tuvo que huir de Madrid porque sus amores con una marquesa le llevaron incluso a batirse en duelo.

De vuelta a París, su célebre hermano Lucien, estrella del Ballet de la Ópera, arregló todo para que, junto a su padre, prestigioso maestro, fuesen contratados en Rusia, con unos teatros imperiales financiados por los zares, que atesoraban el ballet y donde Petipa supo moverse bien entre los jerarcas, además de demostrar su genialidad escénica.

El día que Marius Petipa hubiese cumplido 200 años, los organizadores del congreso de San Petersburgo impondrán una corona de flores en su tumba, en el cementerio Tikhvin, la necrópolis de los artistas en el monasterio Alexander Nevsky, donde descansan también Tchaikovsky y Dostoievsky, e instalarán una placa con su nombre en la Escuela de Ballet del Mariinsky, la prestigiosa Vaganova.

Petipa estuvo activo hasta los 85 años y porque los jóvenes con nuevas ideas forzaron su retirada, porque él hubiese seguido. Entre ellos estaba Michael Fokine, primer coreógrafo de los Ballets Russes de Diaghilev. Y, aunque el empresario impulsó a los más vanguardistas, para no caer en bancarrota tuvo que recurrir al legado de Petipa y su Bella durmiente, como también a Giselle y el segundo acto de El lago de los cisnes, aunque aquí la autoría es de quien fue su ayudante, Lev Ivanov, cada vez más considerado en su papel junto a Petipa.

En 1862, quince años después de su llegada a San Petersburgo, fue nombrado ballet master, el equivalente a coreógrafo principal, y comenzó a afianzar su propio estilo. Era la época en la que este arte comenzaba a languidecer en el París del post Romanticismo. Petipa no sólo impulsó este arte coreográfico en el Mariinsky, sino que también dio nacimiento al gran estilo clásico ruso que todavía hoy es sinónimo de ballet clásico en todo el mundo.

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Marius Petipa, el "padre" del ballet clásico

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Nacido en Marsella, el 11 de marzo de 1818, vivió y bailó tres años en España, cuya influencia marcó su Don Quijote, es el artista más importante de la historia de la danza y sus ballets siguen vivos en las principales compañías del mundo Pregunten a cualquier persona por el título de un ballet y seguro que lo primero que contesta es El lago de los cisnes.

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1825 EL TEATRO BOLSHOI ABRE SUS PUERTAS EN MOSCÚ RUSIA 

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1825 EL TEATRO BOLSHOI ABRE SUS PUERTAS EN MOSCÚ RUSIA 

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El ballet de Moscú baila en este teatro hasta 1939 convirtiendose en el principal teatro sovietico.

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1858 APERTURA DE ROYAL OPERA HOUSE EN LONDRES

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1858 APERTURA DE ROYAL OPERA HOUSE EN LONDRES

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1875 SE INAUGURA LA OPERA DE PARIS
1883 ABRE SUS PUERTAS THE METROPOLITAN OPERA HOUSE EN NUEVA YORK
1920 SE FUNDA LA ACADEMIA REAL DE DANZA EN LONDRES
1921 INICIA LA ESCUELA FOKINE EN NEW YORK
1934 THE SCHOOL OF AMERICAN BALLET ABRE SUS PUERTAS EN NEW YORK
1935 AMERICAN BALLET THEATRE SE CONVIERTE EN THE METROPOLITAN OPERA

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