Ballets 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 intended to be viewed from overhead. Once the performance was through, the audience was encouraged to join the dancers on the floor to participate in a, “ball” which was designed to bring everyone in the hall into unanimity with the ideas expressed by the piece. As they developed through time, court ballets began to introduce comedy, went through a phase where they poked fun at manners and affectations of the time, and they moved into a phase where they became enamoured with pantomime. At the time of the court ballet’s birth, a similar art form appeared in Italy called opera. The difference between the two crafts is that the developing phenomenon in Italy focused on the singing aspect of performance, whereas in France, movement was front and centre.

Early court ballets were influenced by the elaborate entertainments common in royal celebrations and aristocratic weddings of France and Italy. When the Florentine Catherine de’ Medici married the French King Henri II in 1533, French and Italian culture enmeshed as Catherine brought from her native Italy her penchant for theatrical and ceremonial events, including elegant court festivals. A more deliberate contribution the court ballet resulted from the Académie de Poésie et de Musique, founded in 1570 by the poet Jean-Antoine de Baif and the composer Thibault de Courville. The aim of the Academie was to revive the arts of the ancient world in order to harmonize dance, music, and language in a way that could result in a higher level of morality. It was from this marriage of traditional grand spectacle and conscious measured order that court ballets were born.

Jean-Baptiste Lully is considered the most important composer of music for ''ballet de cour'' and instrumental to the development of the form. During his employment by Louis XIV as director of the Académie Royale de Music, he worked with Pierre Beauchamp, Molière, Philippe Quinault and Mademoiselle De Lafontaine to develop ballet as an art form equal to that of the accompanying music.

Notable works

''Ballet des Polonais'' was one of the first works to be recognized as a true court ballet. The spectacle was commissioned by Catherine de’ Medici in 1573 to celebrate the election of her second son, Henry of Anjou, as King of Poland. Performed at the Tuileries Palace and organized by the Italian dancing master, Balthasar de Beaujoyeulx

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