THE WORK OF LA BELLE DANSE
The work of La Belle Danse is to present dance pieces in the style of the 17th and 18th centuries. This includes dances that were performed in the baroque era, as well new pieces created in the baroque style. We collaborate with musicians, singers and actors to mount works such as opera-ballets, prologues and masques. We prefer to work with musicians, but have also used recorded music in some of our multimedia presentations. We also work with singers and actors in the baroque spirit of creating a true amalgamation of the arts.
(left) A page of Feuillet notation for "Le balet de 9 danseurs" (click to see larger image) (right) A page from an 18th century score of Thesee.
PRIMARY SOURCES FOR BAROQUE DANCE
Our work begins in libraries, consulting collections of 18th century dance notation scores, as well as other primary sources such as portraits, sculpture, manuals, correspondence and journals of the period. Armed with these tools, we move to the studio where the dancers physicalize the material. Similarly our costume designers take this research into their workrooms to execute designs based on historical models. Our music director begins with the score, preferably an example from the period. But slavish reconstruction is not our goal. Applying our own contemporary creativity to the historical evidence is crucial in creating new works that breathe with a fresh spirit.
The 18th century dancer Marie Camargo, as painted by Lancret, was a wonderful inspiration for our costume designers who recreated her costume in a workable and danceable design.
HISTORICAL INSPIRATION I: FEUILLET NOTATION AND BAROQUE DANCE
An 18th century illustration depicts how Feuillet notation scores function as floor patterns.
Most of the period choreography that we work with is written in "Beauchamps-Feuillet notation". This form of choreology was developed under the aegis of Louis XIV (1638 — 1715), primarily by the king's dancing master, Pierre Beauchamps (1631 — 1705). It consists of a series of markings representing the path of dance steps in various floor patterns. The step symbols are ornamented with a range of markings that denote various movements: bending, rising, sliding, springing, etc. In the year 1700, this system of shorthand was published by another dancing master, Raoul Auger Feuillet (c.1653 — c.1709). More than 300 examples of both ballroom and theatrical dances of the period have survived, written in this notation.
HISTORICAL INSPIRATION II
(left) A 17th century engraving shows Louis XIV dancing a minuet before the court. (right) The 15 year old Louis XIV as the rising sun in "Le Ballet de la Nuit (1653)
The Cultural Legacy of Versailles & "La Belle Danse"
The works from which we draw inspiration come largely from the period of France's artistic ascendancy in the 17th and 18th centuries. The court of Versailles under Louis XIV represents a quintessence of European art and culture. The king patronized the foremost writers and artists of his time, including Molière, Racine, Le Brun and Mansart. At Versailles he surrounded himself not only with the finest art and architecture, but was also instrumental in creating a flowering of the performing arts.
With Jean-Baptiste Lully (1632 — 1687) as his favoured composer, lavish entertainments were conceived prominently featuring dance. The king partook as a performer not only in court balls, but also in staged theatricals. Early in his reign, the young king consolidated his power after successfully quelling a series of popular rebellions known as the "Frondes". As a means of celebration, he danced the role of the rising sun in "Le Ballet de la Nuit" in 1653. Woe to any who did not recognize the might of this young Apollo of dance (and of warfare).
The Work of La Belle Danse continues on page 2