The Cultural Legacy of Versailles & "La Belle Danse" continued
Throughout Louis' reign, splendid temporary theatres were created both within and without the palace. Stages for dance and theatricals were erected in the forecourt of Versailles and at various locations in the gardens (see above image). Dancing became a preoccupation of the nobles, as it was known to be a favourite pastime of their illustrious monarch. Lully, whose musical ascendancy went unchallenged in France created ballet after ballet with prologues that extolled the virtues of his royal master in no uncertain terms. From the time of "Le Ballet de la Nuit" onward, the power of these entertainments to send out an unequivocal political message was manifest. This message, namely establishing French supremacy in matters artistic and political continued into the late 1680's through Lully's "tragedies lyriques" (operas).
At the same time the nobility of France were being entertained by the propagandist but beautiful works of Lully, a by-product of the court ballets and operas was the development of a school of French classical dance. The first academy established by the young king was the "Académie Royale de la Danse" in 1661 (the letters patent for the Academy are shown at right). From this grew a tradition of French ballet that endures to our time. Baroque dance, or "belle danse", as it was called embraced a style of movement built around small steps, jumps and turns which played upon the precision of foot positions (1st through 5th). With each musical phrase, there coexists a corresponding movement phrase with a clearly phrased beginning, middle and end. The arms in baroque dance act as an ornament to the steps, and follow specific rules regarding how they move in relation to the footwork. The whole creating a visual impression of richly ornamented movement. This love of ornament was, of course, characteristic of the baroque era in general.
Evolution of Baroque to Classical
French Ballroom scene circa 1770
The ballets, operas and comedies of Lully kept dance at centre stage throughout the late 17th to the mid 18th centuries (in constant revivals even to the time of Louis XVI and Marie Antoinette). The various art forms of opera, ballet and drama did not go their separate ways until the 19th century. During the course of the 18th century, the dance forms so dear to the heart of Louis XIV and his court continued to evolve under the musical inspiration of such composers as Andre Campra, Francois Couperin, Jean Fery Rebel and Jean Philippe Rameau. In other European countries, the French musical and dance forms also gained popularity influencing the works of J.S. Bach, G.F. Handel, Henry Purcell, and Telemann.
(left) Wolfgang Amadeus Mozart (1756-1791) (right) An Austrian court ballet featuring the young Marie Antoinette (1755-1793) dancing at lower right.
This evolution, both in music and dance continued through the early classical period with composers such as C.P.E. Bach, Gluck, Haydn and Mozart evolving new harmonies. Minuet, gavotte, sarabande and chaconne continued to dominate, but both the music and the dances themselves evolved.
Under the guidance of such choreographers and ballet masters as Jean-Georges Noverre (1727 — 1810) and Jean Dauberval (1742 — 1806), the courtly dance steps increased in virtuosity and scope as part of the slow evolution toward classical ballet. Dancing for it's own sake, that is to say, to provide a diversion within a larger entertainment was giving way to something new. The "ballet d'action" whose purpose was "to represent characters and express their feelings" had been born. From this era, a direct line can be traced to the era of the great 19th century ballets.
Baroque dance had completed its transition to a new art form. It was not until the 20th century that serious research into the dance technique of the baroque era commenced, and that these beautiful dances were restored to us.
It is from this rich epoch of the baroque and early classical periods that La Belle Danse chooses to draw its repertoire featuring masterworks, as well as lesser-known treasures of the great composers and dancing masters.
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