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Entrée De Ballet
An entrée de ballet ("ballet entrance") is an autonomous scene of ballet de cour, divertissement, comédie-ballet, opéra-ballet, even tragédie lyrique, which brings together several dancers in and out of the scenario. In the seventeenth and eighteenth centuries, baroque dance distinguished several types of entrances, according to their character and step style: serious, severe, comical or grotesque. In his , Raoul Auger Feuillet Raoul Auger (or Anger) Feuillet (c.1660–1710) was a French dance notator, publisher and choreographer most well-known today for his ''Chorégraphie, ou l'art de décrire la danse'' (Paris, 1700) which described Beauchamp–Feuillet notation, ... qualified the entrances he described according to the number of characters and sometimes their sex: ''entrance alone'', ''entrance of a woman'', ''entrance for two'', etc. This choreographic form disappeared in the 1720s. External links "Entrée"on Ballet glossary on History of ballet Ballet termi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ballet De Cour
''Ballet de cour'' ("court ballet") is the name given to ballets performed in the 16th and 17th centuries at courts. The court ballet was a gathering of noblemen and women, as the cast and audience were largely supplied by the ruling class. The festivities, which were descendants of festivals, processions and mummeries dating back to the Middle Ages, looked more like a modern-day parade, than what people today would identify as a ballet performance. Where early court ballet differed from its predecessors, is that it was a secular, not religious happening. It was a carefully crafted mixture of art, socializing, and politics, with its primary objective being to exalt the State. Because these celebrations occurred long before the proscenium stage had been invented, and were instead executed in large halls with audience members stacked up on three sides of the performance, early court ballet’s choreography was constructed as a series of patterns and geometric shapes that were inten ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Divertissement
''Divertissement'' (from the French 'diversion' or 'amusement') is used, in a similar sense to the Italian 'divertimento', for a light piece of music for a small group of players, however the French term has additional meanings. During the 17th and 18th century, the term implied incidental aspects of an entertainment (usually involving singing and dancing) that might be inserted in an opera or ballet or other stage performance. In the operas produced by the Académie Royale de Musique, both tragédies lyriques and comédies lyriques, these 'divertissements' were sometimes linked to the main plot, or performed at the close of the performance. (Similar examples during the 19th century include Charles Gounod's opera ''Faust'' and Delibes's ballet ''Coppélia''.) Special entertainments of a similar kind given ''between'' the acts of an opera were called 'intermèdes'. The term is also sometimes used for a ballet suite of loosely connected dances. One 20th-century example is Jacques ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Comédie-ballet
''Comédie-ballet'' is a genre of French drama which mixes a spoken play with interludes containing music and dance. History The first example of the genre is considered to be '' Les fâcheux'', with words by Molière, performed in honour of Louis XIV at Vaux-le-Vicomte, the residence of Nicolas Fouquet, in 1661. The music and choreography were by Pierre Beauchamp, but Jean-Baptiste Lully later contributed a sung courante for Act I, scene 3. Molière, Lully and Beauchamp collaborated on several more examples of ''comédie-ballet'', culminating in the masterpiece of the genre, ''Le Bourgeois gentilhomme'', in 1670, and the scenically spectacular ''Psyché'' of January 1671, a ''tragicomédie et ballet'' which went well beyond the earlier examples of the genre.Gaines 2002, p. 394. After quarrelling with Lully, Molière retained the services of Beauchamp as choreographer. His one-act prose comedy '' La Comtesse d'Escarbagnas'' premiered in December 1671 at the Château de Saint-Ger ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Opéra-ballet
''Opéra-ballet'' (; plural: ''opéras-ballets'') is a genre of French Baroque lyric theatre that was most popular during the 18th century, combining elements of opera and ballet, "that grew out of the '' ballets à entrées'' of the early seventeenth century".Pitou 1983, p. 278 "''Opéra-ballet''". It differed from the more elevated ''tragédie en musique'' as practised by Jean-Baptiste Lully in several ways. It contained more dance music than the ''tragédie'', and the plots were not necessarily derived from classical mythology and allowed for the comic elements, which Lully had excluded from the ''tragédie en musique'' after ''Thésée'' (1675). The ''opéra-ballet'' consisted of a prologue followed by a number of self-contained acts (also known as ''entrées''), often loosely grouped around a single theme. The individual acts could also be performed independently, in which case they were known as ''actes de ballet''. The first work in the genre is generally held to be Andr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tragédie Lyrique
This is a glossary list of opera genres, giving alternative names. "Opera" is an Italian word (short for "opera in musica"); it was not at first ''commonly'' used in Italy (or in other countries) to refer to the genre of particular works. Most composers used more precise designations to present their work to the public. Often specific genres of opera were commissioned by theatres or patrons (in which case the form of the work might deviate more or less from the genre norm, depending on the inclination of the composer). Opera genres are not exclusive. Some operas are regarded as belonging to several. Definitions Opera genres have been defined in different ways, not always in terms of stylistic rules. Some, like opera seria, refer to traditions identified by later historians,McClymonds, Marita P and Heartz, Daniel: "Opera seria" in ''The New Grove Dictionary of Opera'', ed. Stanley Sadie (London, 1992) and others, like Zeitoper, have been defined by their own inventors. Other form ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Scenario
In the performing arts, a scenario (, ; ; ) is a synoptical collage of an event or series of actions and events. In the ''commedia dell'arte'', it was an outline of entrances, exits, and action describing the plot of a play, and was literally pinned to the back of the scenery. It is also known as ''canovaccio'' or "that which is pinned to the canvas" of which the scenery was constructed. Surviving scenarios from the Renaissance contain little other than character names, brief descriptions of action, and references to specific lazzi with no further explanation. It is believed that a scenario formed the basis for a fully improvisational performance, though it is also likely that they were simple reminders of the plot for those members of the cast who were literate. Modern commedia troupes most often make use of a script with varying degrees of additional improvisation. In the creation of an opera or ballet, a scenario is often developed initially to indicate how the original sou ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Baroque Dance
Baroque dance is dance of the Baroque era (roughly 1600–1750), closely linked with Baroque music, theatre, and opera. English country dance The majority of surviving choreographies from the period are English country dances, such as those in the many editions of Playford's ''The Dancing Master''. Playford only gives the floor patterns of the dances, with no indication of the steps. However, other sources of the period, such as the writings of the French dancing-masters Feuillet and Lorin, indicate that steps more complicated than simple walking were used at least some of the time. English country dance survived well beyond the Baroque era and eventually spread in various forms across Europe and its colonies, and to all levels of society. The French Noble style The great innovations in dance in the 17th century originated at the French court under Louis XIV, and it is here that we see the first clear stylistic ancestor of classical ballet. The same basic technique ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Raoul Auger Feuillet
Raoul Auger (or Anger) Feuillet (c.1660–1710) was a French dance notator, publisher and choreographer most well-known today for his ''Chorégraphie, ou l'art de décrire la danse'' (Paris, 1700) which described Beauchamp–Feuillet notation, and his subsequent collections of ballroom and theatrical dances, which included his own choreographies as well as those of Pécour. His ''Chorégraphie'' (1700) was translated into English by John Weaver (as ''Orchesography. Or the Art of Dancing'') (1706) and P. Siris (as ''The Art of Dancing''), both published in 1706. Weaver also translated the ''Traité de la cadance'' from Feuillet's 1704 ''Recŭeil de dances'' (as ''A Small Treatise of Time and Cadence in Dancing'', 1706). Feuillet's ''Recŭeil de contredances'' (1706), a collection of English country dances, was translated into English by John Essex (as ''For the Furthur Improvement of Dancing'', 1710).Essex, John (1710''For the Furthur Improvement of Dancing'' References E ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ballet Terminology
Because ballet became formalized in France, a significant part of ballet terminology is in the French language. A À la seconde () (Literally "to second") If a step is done "à la seconde," it is done to the side. 'Second position'. It can also be a balance extending one foot off the ground in ‘Second Position’. À la quatrième () One of the directions of body, facing the audience (''en face''), arms in second position, with one leg extended either to fourth position in front (''quatrième devant'') or fourth position behind (''quatrième derrière''). À terre () Touching the floor; on the floor. Adagio Italian, or French ''adage'', meaning 'slowly, at ease.' # Slow movements performed with fluidity and grace. # One of the typical exercises of a traditional ballet class, done both at barre and in center, featuring slow, controlled movements. # The section of a '' grand pas'' (e.g., '' grand pas de deux''), often referred to as ''grand adage'', that features dance part ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
