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Dance Chronicle
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Ballet: Incarnation of Allegory
Marie-Franfoise Christout
427
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428 DANCE CHRONICLE
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BALLET: INCARNATION OF ALLEGORY 429
the case for all the works prepared for an occasion, for all
with political implications; the only ballets not referrin
porary events were fancy mascarades. In 1615, a ballet c
glory of the kingdom and of the Regent Marie de Medicis
sion of the marriage of Madame Elisabeth of France (al
with the future king of Spain. Therefore, in it every o
and the number of "parts" or acts and of dancers corres
official and precise purpose. Once the political context was
the interest in the work was obscured: sixty years later the
Menestrier was not able to figure out its secret purpose
However, the case of the Ballet de la Delivrance de
(January 29, 1617) was different. Indeed, by expressly
performance of this work, the young monarch Louis X
assert in advance his absolute power. The theme of the
mide, somewhat ridiculed here, from whom Renaud is s
by two Christian knights, symbolized the fact that the
kingdom were liberated from the tyranny of Marshal d
was assassinated on April 24, 1617, only three months
case it was only after the fact that the allegory contained
itory show became intelligible, enriched by skillful machine
cine, by its changes of scenery "a vue," and by the express
Jacques Mauduit, who, to celebrate the final apotheosis,
ninety-two singers and forty-five musicians hidden on
the stage. We encounter the same political exploitation
gory glorifying the king's victory, his majesty, his triumph
de Tancrede en la foret enchantee (1619), inspired by
Jerusalem Delivered, so famous at the time. In fact, Tas
self easily to such interpretations, which were percept
formed audience. However, in this case, the pleasure of
the show's sake somewhat restricted the political signifi
benefit of the choreographic fiction, the source of maje
gestive scenes.
After all, apart from a few exceptions like the Ballet de la De-
livrance de Renaud, whenever the ballet sponsors insisted on stressing
too much the hidden polemical meaning, they tended to neglect the
purely spectacular attraction and disrupted attention. For example, this
was often the case for most of the great masques ordered by Charles I
of England and his consort, Louis XIII's sister Henriette-Marie of
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430 DANCE CHRONICLE
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BALLET: INCARNATION OF ALLEGORY 431
board, its hat, cuffs, and belt are cards and goblets. M
Louis XIV represented a fortune-teller who, in a costume
bat wings, was the only one to know and to interpret (in
ings of the word) the future of his subjects. In the B
(1654), the part of the minutes was entrusted to eigh
course, Louis XIV represented many times the allegor
like it the bestower of light, prosperity, and harmon
tending to be a living image of the Century of Gold s
centuries of bronze and iron, incarnated by the best pro
ers of his time.
Through the choice of properties, costumes, and increasingly
complex steps appears a strong will to characterize, an openness of
expression, which was preserved in the eighteenth century with some
loss of character. Noverre, although he was hostile to masks, con-
sidered them necessary against the "winds" whirling about contin-
uously in the contemporary ballets. Nevertheless, little by little alle-
gory lost its esoteric sense and convention wasted away until both were
killed by new styles.
Action and fairylike ballets succeeded allegorical ballet. But
let us not be mistaken: allegory was still alive. It had only changed
its costume and shifted to reflect the fashion of the day. During the
Romantic trend, allegory made out of La Sylphide (1832) the quiver-
ing symbol of an inaccessible universe. The most genial dancer and
choreographer of the nineteenth century, Jules Perrot, working for
four famous ballerinas, did not hestitate to transform them into Ele-
ments (1847); later, in Les Quatre saisons, he turned into Summer
Carlotta Grisi, into bright Fall Carolina Rosati, into Winter adaman-
tine Marie Taglioni, into passionate Spring Fanny Cerrito. Arthur
Saint-Leon introduced in 1870, in the finale of Coppelia, the hours,
the day and the night. For those two last roles, performed in 1884 in
Saint Petersburg by the Russian ballerinas Ekaterina Vazem and Ev-
geniia Sokolova, Marius Petipa added his own invention. The Italian
Luigi Manzotti was the one of the era who used allegory the most gen-
erously, in works revealing the scientific ideology of the end of the
nineteenth century like Excelsior, produced at La Scala in 1881. Here
he brought in, among others, Light, the Spirit of Darkness, Civiliza-
tion guiding the scientists Papin and Volta, Perseverance, Invention,
Harmony, Might, Glory, Science, Agriculture, Industry, Courage,
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432 DANCE CHRONICLE
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BALLET: INCARNATION OF ALLEGORY 433
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434 DANCE CHRONICLE
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BALLET: INCARNATION OF ALLEGORY 435
Translated by Fernando B
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