Court ballets of Louis XIV
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''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 Catherine de' Medici ( it, Caterina de' Medici, ; french: Catherine de Médicis, ; 13 April 1519 – 5 January 1589) was an Florentine noblewoman born into the Medici family. She was Queen of France from 1547 to 1559 by marriage to King H ...
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 Jean Antoine is a French given name. Notable people with the name include: * Jean-Antoine Alavoine (1778–1834), French architect * Jean Antoine de Baïf (1532–1589), French poet * Jean-Antoine Carrel (1829–1891), Italian mountain climber * Je ...
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 Jean-Baptiste Lully ( , , ; born Giovanni Battista Lulli, ; – 22 March 1687) was an Italian-born French composer, guitarist, violinist, and dancer who is considered a master of the French Baroque music style. Best known for his operas, he ...
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 Mademoiselle De Lafontaine, also known as La Fontaine (1655–1738), was a French ballerina and is regarded as the first female professional ballet dancer. Her first name is unknown. Together with Jean-Baptiste Lully and others, De Lafontaine part ...
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, the hour-long ballet consisted of sixteen amateur French ladies representing the sixteen provinces of France. Describing it as the most beautiful ballet ever made on earth, the court observer Brantome recounted that they “danced their ballet so curiously designed, with so many turns, swerves, and sinuosities, interlacings and minglings, confrontations and withdrawals, that t was surprising thatno lady ever failed to be at her appointed turn or place.” Although its combination of verse, song and dance had been used before, the intricate figure dancing involved in the ''Ballet des Polonais'' marked the beginning of the French style that would become the dominant continental school over the next century. The first ''ballet de cour'' to fuse dance, poetry, music and design into a coherent dramatic statement was the ''
Ballet Comique de la Reine The ''Ballet Comique de la Reine'' (at the time spelled ''Balet comique de la Royne'') was an elaborate court spectacle performed on October 15, 1581, during the reign of Henry III of France, in the large hall of the Hôtel de Bourbon, adjacent ...
'', performed in 1581. As part of the wedding celebration for the queen’s sister, Marguerite of Lorraine and the Duc de Joyeuse, the plot based on Ulysses’ encounter with Circe was symbolic of the country’s desire to heal old wounds and restore peace after religious civil wars. Reaching new heights in scale and diversity, the lavish five-hour production included a three tiered fountain, palace, garden, townscape, and chariot-floats. As with ''Ballet de Polonais'', Beaujoyeulx choreographed and oversaw the ''Ballet Comique'', using form, geometry, measure, and discipline as a foundation that would later develop into the codified ballet technique. An important step towards the ''ballet de cour'' in its final form was done during the reign of Louis XIII, with such rich and ravishing ballets de cour as ''La Délivrance de Renaud'' and the ''
Ballet de la Merlaison The ''Ballet de la Merlaison'' is a ballet de cour first performed on 15 March 1635 at the Château de Chantilly, during the reign of – and commonly attributed to – Louis XIII of France, Louis XIII.McGowan 2001. It is the most popular ballet ...
''. Catherine Cessac, ''L'orchestre de Louis XIII'', p.19-20 The ballets de cour developed into the comédie-ballet and then the opéra-ballet during the second half of the 17th century. This was a fully operatic form that included ballet as a prominent feature of the performance. Beauchamp, ''superintendent'' of the ballet and director of the Académie Royale de Danse, codified the five positions based on the foundations set down by Thoinot Arbeau in his 1589 ''Orchésographie''. Emphasising the technical aspects of dance, Beauchamp set out the first rules of ballet technique. The emphasis on turnout, light costumes, female dancers, and long dance sequences with light, flexible footwear, all first seen in '' L'Europe galante'' (1697), was a turning point in ballet practice that led to the
pre romantic ballet Pre or PRE may refer to: Places *Preston railway station, UK National Rail code PRE *Prince Edward station, on Hong Kong's MTR People *Steve Prefontaine (1951–1975), an American runner nicknamed "Pre" Arts, entertainment, and media *Pre (ba ...
era.
Pierre Rameau Pierre Rameau (1674 – 26 January 1748), was the French dancing master to Elisabetta Farnese, and the author of two books that now provide us with valuable information about Baroque dance. Rameau's first book, ''Le Maître à Danser'' (1725, Par ...
expanded on Beauchamp's work in ''Le Maître à danser'' (1725), further detailing carriage of the body, steps and positions. File:Ballet at the Tuileries for the Polish ambassadors, 1573.jpg, Woodcut of a court ballet performed at the Tuileries Palace, Paris, in 1573 File:Ball at the Valois court, c. 1580.jpg, Ball at the Valois Court (around 1580) File:Johann Georg Weikert 003.jpg, Representation of "the Triumph of love" given on the occasion of the marriage of Joseph II with Marie-Joséphine-Antoinette of Bavaria. (January 24, 1765) (Attributed to Georg Weikert)


See also

*
Catherine de' Medici's patronage of the arts Catherine de' Medici's patronage of the arts made a significant contribution to the French Renaissance. Catherine was inspired by the example of her father-in-law, King Francis I of France (reigned 1515–1547), who had hosted the leading artists ...
* History of ballet *
Timeline of ballet A timeline of the history of ballet: * 14th century ** Medieval dance * 15th century * 16th century **Renaissance dance **Ballet de cour ** Intermedio - Italian court spectaculars with dance **''Ballet Comique de la Reine'' - sometimes called the ...


References

{{DEFAULTSORT:Cour, Ballets De European court festivities Ballet terminology