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Mark Edward Perugini. The Art of Ballet
The Art of Ballet
Table of Contents
PREFACE
BOOK I: THE FIRST ERA
OVERTURE. ON THE ART OF BALLET
CHAPTER I. A DISTINCTION, AND SOME DIFFERENCES
CHAPTER II. EGYPT
CHAPTER III. GREECE
CHAPTER IV. MIME AND PANTOMIME: ROME, HIPPODROME—OBSCURITY
CHAPTER V. CHURCH THUNDER AND CHURCH COMPLAISANCE
CHAPTER VI. THE BANQUET-BALL OF BERGONZIO DI BOTTA, 1489, AND THE FAMOUS “BALLET COMIQUE DE LA REINE,” 1581
CHAPTER VII. THOINOT ARBEAU’S “ORCHÉSOGRAPHIE,” 1588
CHAPTER VIII. SCENIC EFFECT: THE ENGLISH MASQUE AS BALLET
CHAPTER IX. BALLET ON THE MOVE
CHAPTER X. COURT BALLETS ABROAD: 1609-1650
CHAPTER XI. THE TURNING POINT: LE ROI SOLEIL AND HIS ACADEMY OF DANCING, 1651-1675
BOOK II: THE SECOND ERA
CHAPTER XII. SOME EARLY STARS AND BALLETS
CHAPTER XIII. PANTOMIME AT SCEAUX: AND MLLE. PRÉVÔT
CHAPTER XIV. ITALIAN COMEDY AND THE THEATRES OF THE FAIR
CHAPTER XV. WATTEAU’S DEBT TO THE STAGE
CHAPTER XVI. THE SPECTATOR AND MR. WEAVER
CHAPTER XVII. A FRENCH DANCER IN EIGHTEENTH-CENTURY LONDON
CHAPTER XVIII. LA BELLE CAMARGO
CHAPTER XIX. THE HOUSE OF VESTRIS
CHAPTER XX. JEAN GEORGES NOVERRE
CHAPTER XXI. GUIMARD THE GRAND: 1743-1816
CHAPTER XXII. DESPRÉAUX, POET AND—HUSBAND OF GUIMARD
CHAPTER XXIII. A CENTURY’S CLOSE
BOOK III: THE MODERN ERA
CHAPTER XXIV. THE EARLY NINETEENTH CENTURY
CHAPTER XXV. CARLO BLASIS
CHAPTER XXVI. MARIE TAGLIONI (“SYLPHIDE”)
CHAPTER XXVII. CARLOTTA GRISI (GISELLE)
CHAPTER XXVIII. FANNY CERITO (“ONDINE”)
CHAPTER XXIX. LUCILE GRAHN (“EOLINE”)
CHAPTER XXX. THE DECLINE AND REVIVAL
CHAPTER XXXI. THE ALHAMBRA: 1854-1903
CHAPTER XXXII. THE ALHAMBRA 1904-1914
CHAPTER XXXIII. THE EMPIRE 1884-1906
CHAPTER XXXIV. THE EMPIRE 1907-1914
CHAPTER XXXV. FINALE: THE RUSSIANS AND—THE FUTURE
INDEX
Footnote
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Mark Edward Perugini
Published by Good Press, 2021
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These were all a part, though a subordinate part, of the classic drama, and, according to some authorities, had their foundation in the rhythm of the poet’s verse as it was sung by the chorus or declaimed by the chief actors.
But apart from these there were mimetic dances. One, in which we may perhaps even see a hint of the origin of dancing itself, is found in Longus’ novel, Daphnis and Chloe, in which Dryas performs a vintage-dance, “pretending to gather grapes, to carry them in panniers, to tread them in a vat and pour the flowing juice into jars, and then to drink of the wine thus newly made”; and all done so cleverly that the spectators were deceived for the time and thought they really saw the grapes, the vats, and the wine the actor made pretence of drinking. This, probably an incident drawn from life, was indeed a “representation ingenieuse,” and even suggests yet another of the many possibilities as to the origin of the Dance, namely—that dancing itself may have originated from the treading of grapes.
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