Dances in Lullys Persee Journal of Seventeenth-Century Music - Vol. 10 No

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2015
JournalofSeventeenthCenturyMusic|Vol.10No.1|TheDancesinLully'sPerse,KenPierceandJenniferThorp
http://www.sscmjscm.org/v10/no1/pierce.html
ISSN:1089747X
Copyright19952012bytheBoardofTrusteesoftheUniversityofIllinois
Volume10,no.1:
KenPierce*andJenniferThorp**
TheDancesinLullysPerse***
Abstract
Frenchdancetheoristsfromthe1680sandlaterdifferentiatedbetweentheordinary(formal)
andtheimitativeaspectsoftheatricaldance.Theirdescriptions,evidencefromscoresand
librettos,andcommentariesondancinginvariousoperasprovideinsightintothecontextand
functionofdancesinLullysoperaPerse(1682).Dancesmayexpressgeneralrejoicing,extend
orsuspendstageaction,oraccompanymagicalstageeffects.Dancesinteractwithsolosongsand
choruses.ExtantchoreographiesbyPcourforthe1703and1710revivalspresumablyreflect
aspectsofdanceinLullysday,albeitwithflexibilityconcerningthenumberofdancersandtheir
spatialconfiguration.
1.Introduction
2.WritingsonTheatricalDancingduringtheLateSeventeenthandEarlyEighteenthCenturies
3.TheEvidenceofDanceintheScoresandLibrettosofPerse,16821710
4.ExtantDancesfromPerse
5.Conclusion
References
VideoExamples
Tables
http://sscmjscm.org/jscm/v10/no1/pierce.html
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1.Introduction
1.1DanceplayedasignificantpartinallofLullystragdiesenmusique,andPerseincludes
manyinstancesofdanceandstagemovementperformedbydancers.PremieredatthePalais
RoyaltheaterinParisinApril1682,PersewasrepeatedatVersaillesinJulyadditional
performancestookplaceinParisoverthecourseofthenextcentury.1Verylittleinformationon
thedancinginthe1682productionsurvivesbeyondwhatappearsinthescoreandlibretto
publishedthatyear.2Thescoreidentifiescertaininstrumentalpieceswithineachactasdance
pieces,eitherbynamingaspecificdancetype(suchasGavotte)orwithamoregeneraltitle
(EntreorAir).3Ineithercasethetitlemightalsonamecharacterswhodance(forexample,
EntredesFantosmes).Thelibrettodescribesthesettingforeachactandthemainactionon
stageineachscene,butgivesonlyvaguereferencetodancingforexamplebythestandard
phrase,Theydemonstratetheirjoybysinginganddancing(ilstmoignentleurjoyeen
chantantetendansant).
1.2Neitherthescorenorthelibrettoforthe1682productionnamesanydancers,althoughwe
knowfromlatersourcesreferringtothatproductionthatthetwoleadingsoloistswere
MademoiselleLafontaineinActIVandMonsieurPcourinActV,andthatMademoiselle
Desmatinsmadeherdebutinthatproductionasadancerandsinger.4Wedonotknow,exceptin
verygeneralterms,whothechoreographerswereforanyofthetragdiesenmusiqueperformed
inLullyslifetime,whatformthedancestook,norhowmanydancerswereonstageatanygiven
moment.Librettosfromlaterproductions,however,providemorecompletecastlistsofdancers,
actbyact,andthereareanumberofextantchoreographiesbyGuillaumeLouisPcour(whohad
dancedinmanyoftheoperasinLullysday)fortheParisrevivalsofLullysoperasafter1700.5
InthecaseofPersethebestdocumentedrevivalsarethoseof1703and1710,andthoughwe
cannotknowhoworwhethertheextantchoreographies,orthenumbersandgroupingssuggested
bythecastlists,reflectwhatwentonintheoriginalproduction,theydosuggestthatmuchofthe
dancingfollowedtheconceptsdescribedindancetreatisesandwritingsontheatricaldanceofthe
lateseventeenthandearlyeighteenthcenturies.Thus,thereseemsgoodreasontolookatallthese
sources,bothfromLullysdayandfromthefirstquarteroftheeighteenthcentury,inaneffortto
understandtheplaceofdanceinlateseventeenthcenturyLullianopera.Inthisarticlewediscuss
thosesourcesunderthegeneralheadingsofwritingsontheatricaldancingthescoresand
librettosofPerse,16821710andextantchoreographiesfromthe1703and1710revivalsof
Perse.
2.WritingsonTheatricalDancingduringtheLateSeventeenthandEarlyEighteenth
Centuries
2.1In1682ClaudeFranoisMenestrieridentifiedthreesortsofmovementintheatricaldance:
steps,figures,andexpressions(lesportsducorps,lesfigures,lesexpressions).His
definitionsforthesewerereiteratedbythedancetheoristJacquesBonnetin1724.6Thus,it
appearsthatthesecategorieswereinusethroughouttheperiodofParisproductionsdiscussedin
thisarticle.Thefirst,lesportsducorps,comprisesthestepsofBaroquedanceandthe
harmoniousmovementsofwhichtheyarecomposed:turning,beatingthelegs,springing,rising,
andsoon.Thesestepsandmovementsarefamiliartodancehistoriansfromnotationsystemsand
treatisesoftheperiod.7Dancingmastersattheturnoftheeighteenthcenturyapparentlythought
intermsofarelativelysmall,fixedvocabularyofdiscretestepsthatcouldbecombinedinvarious
waystocreateadance.8
2.2MenestrierandBonnetssecondcategory,lesfigures,referstothespatialpatternsofthe
dances.Forexample,thedancerscanbefacingforwardbacktobackinacircle,semicircle,
square,orcrossmovinginstraightorcurvedlineschasingorfleeingoneanotheror
interweavinginfact,therecanbeasmanydifferentdancesastherearegeometricfigures.Allof
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thesespatialpatternsarefoundinextanttheatricaldances,mostofwhicharenotatedforoneor
twodancers.Withonlyoccasionalexceptions,thepatternsaresymmetrical.Regrettably,thereare
onlyafewextantexamplesofnotatedtheatricaldancesformorethantwodancers9inthese,too,
wefindahighdegreeofspatialsymmetry.
2.3Thethirdcategory,lesexpressions,isdefinedasactionsthatindicate(quimarquent),
examplesbeingtheactionsorcharacteristicmovementsofblacksmiths,boatmen,drunks,
wrestlers,andsoon.Thereisscopefordifferentrelatedactionstohappensimultaneously,as,for
instance,inabattledancewhereonegroupofdancersmightdeliverblowswithswordsorclubs
whileanothergroupparriesthemwithshields.10
2.4TheabbDubos,writingin1719,employedslightlydifferentcategories,dividingstagedance
intoordinaryandimitative.11Althoughwritingatagenerationsremovalfromtheevents,
andperhapsinfluencedbyhisdeeprespectforLully,Dubosclearlyhadastronganddetailed
knowledgeofFrenchoperaanddance.HiscommentsconcerningLullysattitudetowarddance
thereforemeritourattention.Dubosclaimedthatsixtyyearsagofauns,shepherds,peasants,
Cyclops,andTritonsdancedalmostuniformly,butnowadays[i.e.,by1719]danceisdividedinto
differentcharacters,eventhefemaledancersadoptingcharacterizationasthemendo.12This
changeheattributestoLully,whoindividualizedthedancestoreflectthecharacterizationofhis
music,sometimeschoreographingthedanceshimself.Forexample,DubosrecountsthatLully
composedthestepsandfiguresfortheChaconneinCadmusetHermione(adanceinwhichan
Africanplantsapalmtreeinthemiddleofthestage,thetreeisdecoratedwithgarlands,andfour
giantsalsoappear)becausehefeltthatPierreBeauchamp,hisusualchoreographer,wasnotatall
abletoenterintothecharacterofthemusic.13Dubosalsonotesthatsixmonthsbeforehisdeath,
LullychoreographedadanceforCyclopsinAcisetGalate.14
2.5Inseveralofhisoperas,Lullyprovidesoccasionforimitativedance.Dubosreferstothese
dancesashalfchoruseschoruseswithoutwordsandexplainsthathemeansballetswith
almostnodancesteps,madeupinsteadofgesturesandimitativemovements(dmonstrations).
HecitesasexamplesthedanceoftheOldMeninThsethefuneralprocessionsinPsychand
Alceste,bothofwhichcallforgriefexpressedbymeansofgesturestheSongesfunestes
(BanefulDreams)fromAtysandtheshiveringsceneinIsis.Dubosnotesthatthesestage
movementswerechoreographedbydOlivetratherthanbydesBrossesorBeauchamp,whom
Lullyemployedforordinaryballets.Heconfirmsthattheseimitativedancesweresuccessful
intheirday,eventhoughexecutedbydancersunaccustomed,andnotalwaysreceptive,toLullys
demands.15
2.6FollowingLullysdeathin1687,therewasanotherchangeintheapproachtochoreographyat
theOprainParis.BeauchampleftandPcourtookoverasresidentchoreographer.TheRecueil
gnraldesopraof1703notesthatPcoursharedresponsibilitywithLetangforthe
choreographyofThtisetPele(byPascalCollasse,1689),butthatthereafteritwasPcouralone
whocreated(oratleasttookthecreditfor)allthedancesthatwereperformed,eitheratcourtor
inParis,whetherinnewoperasorinrevivalsofoldones,andinftes,ballets,andsoon.16In
otherwords,therewasachangefromsharedresponsibilityforchoreographytoindividual
responsibility.Nolongermightthedancesinagivenoperabetheworkoftwoormore
choreographers,possiblyincludingthecomposerhimself,workinginverydifferentstyles.
2.7Inexaminingtheextenttowhichthesecomponentsoftheatricaldancesteps,figures,or
imitativeactionsmightbeusedtodescribedancesinPerse,wehaveadoptedDubossterm
ordinarydancetorefertoadancewithconventionalstepsandfigures,andhistermimitative
torefertomovementincorporatinggesture,mime,orotheractionsintendedtorepresentagiven
character.Dubosseemstosuggestthatthesetwocategoriesaredistinctandmutuallyexclusive
thefactthatLullysometimesemployeddifferentchoreographersforthesetwotypesreinforces
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thisview.Butitmaybethatinsomecasesanordinarydancecouldincludeimitativemoments,
oranimitativedancemightincludeordinarysteps.17
3.TheEvidenceofDanceintheScoresandLibrettosofPerse,16821710
3.1Primarysourcesforthediscussionthatfollowsincludethe1682and1710scoresandthe
librettospublishedfortheParisproductionsof1682,1703,and1710.18
3.2AppearancesorpossibleappearancesbydancersinPerseareshowninTable1.Thelibretto
explicitlycallsfordanceineveryactexceptthethird,andthemovementcalledforinthatact
flying,risingupintotheair,climbing,runningwouldverylikelyhavebeenperformedby
dancersaswell.19Comparisonwiththescoreshowsthatseveraloftheseinstancesofdanceare
quiteextensive,withmusicformorethanasingledance,orwiththesamedancemusicplayed
morethanonce.Lullysometimesemploysapalindromestructure,inwhichtwoormorepieces
areplayedinorderandthenallbutthelastarerepeatedinreverseorder.(See,forexample,no.3
inTable1,apalindromicsequencefollowedbyachorus.)
3.3Topresentdancedpassagesintheirlargercontexts,Table1showssomevocalmusicthat
occursbetweendances,orthatimmediatelyprecedesorfollowsthem.Thisisnottoimplythat
therewouldofnecessityhavebeendanceduringvocalmusic.ThereisnoevidencethatLully
wouldhavewanteddanceduringvocalsolosorduets.Ontheotherhand,thereisevidenceto
suggestthatdanceduringchoruseswouldsometimeshavebeencalledfor.Severalofthe
chorusesinPersehaveinstrumentalinterludes,sometimesquiteextensive,thatmayhavebeen
intendedfordance.Incertaininstances,notablyinachorusattheveryendofadivertissement,it
mayevenhavebeenappropriatefordanceandsongtohappensimultaneously.20
3.4WeseefromTable1thatwhenthelibrettocallsexplicitlyfordancing,thecharacterswho
danceareeitherhumanswhodanceforreasonsrelatedtothestorycelebration,propitiation,
preparationforsacrificeoridealizedorotherworldlybeingsforwhomdanceisanormaland
expectedmeansofexpression.Whenthelibrettomerelysuggestsmovementthatwaslikely
performedbydancers,suchastheflyingmentionedabove,orthecombatbetweenthefollowers
ofPerseandthoseofPhine,thecharactersinvolvedmaybeeithermortal(Table1,no.11)or
otherworldly(no.8).
3.5Whetheradanceisordinaryorimitativedependsbothonthepurposeofthedanceinthe
contextoftheopera,andonthecharacterswhodanceit.Incaseswherethecharactersdancefor
reasonsrelatedtothestory,asinthedivertissementofActIV(no.9),weassumeordinary
dances.LikewiseforthedancesofthePrologue,inwhichordinarymovementwouldsurely
sufficetoamplifythecharactersofVirtueandFortune,andtodelineatethecontrastbetween
them.TheAirpourlesSacrificateurs(no.10)inActVmayhavebeenprocessionalorinother
waysordinary,oritmayhaveincorporatedelementsofmime.TheEntredesFantosmes(no.
8)inActIIIandthecombatbetweenthefollowersofPhineandPerse(no.11)inActVare
likelytohaveincorporatedmimeorotherwisetohavebeenheavilyimitativeinstyle.
3.6Forthefirstsetofdances,fortheFollowersofVirtue(no.1),thelibrettoinstructs,
Innocence,theInnocentPleasures,andalltheFollowersofVirtuedemonstratetheirjoywith
dancingandsinging.NodancersfortheFollowersofVirtuearenamedinthe1682librettothe
1703and1710librettoseachlistsixfemaledancers.Thescoreshowsadance,apassepied,
alternatingwiththetwostanzasofavocalsettingofthesamemusic.Theremighthavebeen
dancingthroughoutallofthis,butitismorelikelythatdanceandsongalternatedratherthan
competingfortheaudiencesattention.Inanycase,eachinstrumentalsegmentwouldprobably
havemeritedadifferentchoreography.21Varietyinfiguresandstepsequencesisanimportant
componentofBaroquechoreography,andthoughsomechoreographiesdoemployrepeatedstep
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sequences,22thereisnoevidenceofanentiredancebeingrepeatedunchangedatarepetitionor
repriseofthemusic.Moreover,thereisevidencefortwodifferentchoreographiestothesame
pieceofmusicusedinthesameproduction.23
3.7SoonafterthedancesfortheFollowersofVirtue,thelibrettoindicatesthatthesceneis
transformed(no.2),andthereisheardtheresoundingnoiseofalargenumberofinstruments.
Fortuneapproaches,AbundanceandMagnificenceaccompanyher,withrichlyadornedfollowers.
AllrejoiceandalldancearoundFortune(no.2).Themusicisabinaryformmarchforthe
FollowersofFortune.Itcouldperhapshavebeenusedsolelyasentrancemusicmorelikely,it
wouldhaveprovidedthedancerstheopportunitytoshowoffacontrastingstyleofmovementto
thatofthepreviousdances.Itmayhavebeeninamoremasculinestylethatis,involving
relativelymorejumps,turns,andornamentalbeatsthanthepassepieds:thecastlistsfrom1703
and1710showonlywomenintheFollowersofVirtue,onlymenintheFollowersofFortune.
3.8Inthe1682and1710scoresthedirectionsmerelysuggestagroupentrance(Marchepourles
SuivantsdelaFortune),andthisisconfirmedinthe1710libretto,whichlistssixmaledancers.
The1682librettoadditionallyindicatesthatagroupdancetakesplaceatthispoint:alldance
aroundFortune,afterwhichlaVertusings(Mecherchezvous).The1703libretto,however,
listssevennames,settingBlondyapartasasoloist,andthisraisesthequestionofwhenBlondy
dancedinthatscene.WastheMarchperformedin1703asanentrancedanceforagroup,and
thenrepeatedasasolodanceforhim,24ordidtheMarchincludepassagesforbothsoloistand
group,ordidnosolodancingoccuruntilthedivertissementthatendsthePrologue?Wecannot
tellfromthesparseevidenceofthescoreandlibretto.
3.9ThePrologueends(no.3)withVirtueandFortuneunited,astheypurportedlywereinthe
augustpersonofLouisXIV,towhomtheProloguewasaddressedandastheywouldbeatthe
endoftheopera,inthemarriageofAndromdeandPerse.25Thelibrettonotesthatthe
FollowersofVirtueandFortuneunite,anddemonstratetheirjoybytheirdancesandsongs.Like
thegroupofpiecesfortheFollowersofVirtue(no.1),thisisanotherextendedpassageofdance
andsong,formingadivertissementwithapalindromestructure,allintriplemeter:anairen
rondeauforstringsthenanairforoboes,alsoenrondeauthenavocalsettingofthesecondair,
forlaFortuneandlaVertu(Quelheureuxjourpournous!)thentheairforoboesagainand
thenthefirstair.Framingthedivertissement,butstandingoutsidethepalindrome,isapairof
largescalechorusesthatmayhaveinvolvedsomedancing.(Thefirstconcludesthepreceding
conversationthesecondbelongstothisdivertissement.)
3.10ItseemslikelythatallthedancesintheProloguewereordinarydancesthatis,dances
withstepsandsymmetricalpatterns.Theirpurposeisstraightforward:toelaboratetheentrances
ofspecificcharactersandexhibitsharedjoy.
3.11ThedancesinActI(no.4)areusedtorepresenttheJeuxjunoniens,competitionsoffered
byCassiope,QueenoftheEthiopians,toentertainandappeaseJuno,whomCassiopehadangered
byhervanity.AccordingtoBonnet,theremayhavebeenhistoricalprecedentfordance
competitions:
Dancewassoesteemedintheearlydays,thatLuciensaysthatitwasnotadmittedin
theOlympicgamesbecausetheGreeksdidnotfeeltheyhadprizesworthyofitbut
inlatertimestheinhabitantsofColchisaddedittotheirpublicgames:which
[practice]passedintouseamongtheGreeks,andtheRomans,andalmostinallthe
townsintheworld.26
Accordingtothelibretto,attheendofscene4Andromdesays,TheGamesareabouttostart,
letusplaceourselvestoseethem.Inthescoreatitlefollowsherremark:Games[inhonor]of
Juno,inwhichyoungpersonscompeteindance.ThePremierAir(no.4a)ensues,endingthe
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scene.Thenextdirectioninthelibretto,TheGamesbegin,withcompetitionfortheprizein
dance(no.4b),occursduringscene5,afterCassiopeandthechorushavemadetheirentrance
(duringaritournelle).Cassiopehasinvokedthegoddess,andallhavemovedintoplaceforthe
chorusLaissezcalmer.ItseemslikelythatthePremierAirendingscene4wasnotdanced,but
wasusedasprocessionalmusicfortheentranceoftheyoungcompetitors,27foritisinthesame
keyastherestofscene4.Scene5opensinadifferentkeythatremainsthroughoutthesequence
oftheritournelle,thesoloinvocationforCassiope,andapalindromicsequenceofdanceand
song:thechorus(Laissezcalmer)theSecondAir(in3/8,thesamemeterasthechorus)the
TroisimeAir,apparentlyabourretheSecondAiragainandfinallyarepetitionofthechorus.
Thecompetitorsaresmallgroupsofyoungmenandwomen.28The1703librettonamesfourmen
andfourwomenthe1710librettonamessixofeach.Giventheirformal,competitivepurpose,it
almostgoeswithoutsayingthattheseActIdancesarealsoordinarydances,withstepsrather
thanimitativeactions.ThereareextantnotationsfordancestotheSecondAirandTroisimeAir,
whichwediscussatgreaterlengthbelow.
3.12Whatismeanttobethenatureofthesegames?FromCassiopesintroductiontotheGames,
welearnthatthedancersrepresentcouplesabouttobemarriedthus,itseemslikelythatthey
woulddanceascouples,andthatanycontestwouldbeamongcouplesratherthanindividuals.
Cassiopesings,EachwillshowhisskilltocelebratethegamesIvehadprepared(Chacunva
montrersonadresse/Pourcelbrerlesjeuxquejaifaitpreparer)butshedoesnotindicatethat
thiswillhappensequentially,leavingopenthepossibilityofagroupdance,inwhichthe
winnersarethecouplewhoacquitthemselvesthebest.
3.13TheinstancesofdanceinActII,scenes810(nos.57inTable1),involveCyclops,
Amazons(Nymphesguerrires),andGodsoftheUnderworld(Divinitsinfernales),who,
accordingtothescoresandlibrettos,arriveatthebehestofMercurywithgiftsforPersetoaid
himinslayingMduse.Ineachcase,themusicalstructureisthesame:instrumentaldance,song,
repriseofinstrumentaldance,followedimmediatelybytheopeningdanceforthenextgroupof
giftgivers.Theactualbestowalofeachgiftcanbedispensedwithquickly,presumablyasthe
solosingerdescribesthegiftanditspurpose.InthecaseoftheAmazonsgift,inActII,scene9,
thelibrettoisexplicit:oneAmazonsingswhilegivingtheshieldtoPerse,andtheothersdance
(no.6).Sothedancesdidnotnecessarilyhaveastrongimitative(giftgiving)component.
3.14Thescenedescriptionsinthelibrettosindicatethatthegiftgiversentrancesarecumulative,
eachgroupremainingonstageforthenext.Moreover,thepresenceofachorusattheendof
scene10makesitclearthateachentranceofgiftgiversincludesagroupofsingersaswellas
dancers.Thischorus,inwhichthegiftgiverscallupontheunderworld,theearth,andtheheavens
tobestowfavoruponPerse,29endsboththesceneandtheact,andseemsaplausibleoccasion
forCyclops,Amazons,andGodsoftheUnderworldtouniteindanceaswell,especiallygiven
thatthechorusincludesaninstrumentalinterludeofoverthirtyonemeasures.
3.15FourmaleCyclops,fourfemaleAmazons,andfourmaleGodsoftheUnderworldarelisted
inthe1710libretto.Thenumbersandgendersarethesamein1703,exceptthattheGodsofthe
Underworldalsoincludeamalesoloist,MonsieurBalon.Nothingisknownofwho,orhow
many,dancedin1682.
3.16TheCyclopswereVulcansblacksmiths(forgerons),andarereferredtoassuchinthe1703
and1710castlistsforPerse.Bonnetsuggeststhecharacterofdanceforblacksmiths:
Themorenaturalthetypesofmovement,themoreagreeabletheyare.Thedanceof
theWindsshouldbelightandquickthatoftheBlacksmithsshouldhaveabeat,and
intervalsforstrikingtheanvil.30
Heelaborateslater,withreferencetoLeBalletdesAmoursdguisez:
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ActIrepresentedatfirstthegrottoofVulcan,fromwhichemergedeightCupidsso
welldisguisedasBlacksmiths,thatonecouldrecognizethemonlybytheir
applicationinmakingdartsandarrowsratherthanotherweapons.31
ThusitappearslikelythattheCyclopsdancesinPerse(gavottes),wereatleastinpart
imitativedances,although,notbeinginVulcanscaveatthetimebutemergingfromthe
underworld,itisuncertainwhethertheystruckanvilsintimetothemusic.32Thestagedirections
inthelibrettosimplyreadSomeCyclopsarrive,dancing,togivePerse,onbehalfofVulcan,a
swordandwingedsandalssimilartothoseofMercury(Table1,no.5).However,thereference
totheirarrivaldancing(endansant)perhapsimpliesthateventhesingingCyclops(Monsieur
Labin1703,MonsieurDunin1710)alsoparticipatedinthisdance.
3.17WecanconjecturethatthedancesfortheAmazons(no.6)wereordinarydances,with
steps,butwehavefoundnoinformationthatmightsuggestdetails.Noelementofmimeis
implied,foraccordingtothelibretto,thesingingAmazondoesthegiftgiving:Oneofthe
AmazonspresentstoPerse,onbehalfofPallas,ashieldofdiamondshesingsasshemakeshim
thisgift,andtheotherAmazonsdance.
3.18InconsideringthedancesfortheGodsoftheUnderworld,wenotethatthesefollowersof
PlutowerepowerfulbutnotevilliketheCyclopsandtheAmazons,theyweretheretoaid
Perse,andthelibrettoexplainsthatGodsoftheUnderworldemergefromhell,carryingPlutos
helmet,whichtheypresenttoPerse.OneoftheGodssingsandtheothersdance(Table1,no.
7).33DubosoffersafascinatingpassageaboutdancesforunderworldgodsinAlceste(1674),in
which(accordingtothelibretto)thefollowersofPlutorejoiceatthearrivalofAlcesteinthe
underworld,withasortoffestivalthatincludesaratheranimated(assezanim)dancein
commontimeandalourelike6/4air.Hewritesofairscaracterisez,inwhichthevocalmusic
andtherhythmimitatethesortofmusicthatisgenerallyregardedasappropriateforcertaintypes
ofpeople,evenimaginarypersonagesofantiquity.34ThismightsuggestthatthePersedances
fortheGodsoftheUnderworldwouldhavebeenimitativedancesimitative,thatis,of
commonlyheldideasofhowunderworldgodsmove.Butfromtheextantnotationforthisdance
itappearsthatunderworldgodswereimagined,atleastin1710,tomoveverymuchlikevirtuoso
Frenchmaledancersperforminganordinarydance,albeitwithacarefulchoiceofsteps
suddendrops,turns,brushes,andsoontoevoketheirsubterraneanandimmortalorigins.
3.19ThenextlikelyappearancebydancersinPerse,theEntredesPhantosmesinActIII,
scene4(Table1,no.8),remindsusthatdancerswereoftenusedinscenesrequiringspecial
effects,includingtransformationscenesandtheuseofmachinesandflyingharness.Examplesare
documentedfromearlyseventeenthcenturyItaly,35andParisianaudiencesinLullysdayalso
expectedtoseeimpressivespecialeffects,andratedthesuccessofastagedworkbythem.Thus,
amongthecastforAlcestewefindlistedFollowersofPluto,singing,dancing,andflying.36In
thePerselibrettos,whichcalledforfourmaledancersin1703(astheFollowersofMduse)and
sixin1710,wefindthatChrysaor,Pgase,andseveralothermonstersofbizarreandawe
inspiringappearanceareformedfromthebloodofMduse.ChrysaorandPgasefly,someofthe
othermonstersalsoraisethemselvesintotheair,othersclimb,othersrun,andallseekPerse,
whoishiddenfromtheirviewbecauseheiswearingPlutoshelmet.Thedegreeofactivity
suggestedbythisdescriptioniscorroboratedbythemusicforthisimitativeEntredes
Phantosmes,whichisincuttimeandoverflowingwithsixteenthnotes.Presumablythiswas
intendedtobeashowstopper.37
3.20ThedancesinActIV,scene7,forEthiopiansandSailors(no.9),representthecelebrations
followingPersesrescueofAndromdefromtheseamonster.The1682librettoindicatesthat
theEthiopiansclimbdownfromthecliffsandshowtheirjoyinsinginganddancing.Maleand
femalesailorsmingleinthepubliccelebration.OneoftheEthiopianssingsinthemidstofthe
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sailorswhodance.Andromde,CassiopeandtheEthiopiansrepeattheversesthatCphehas
sung,andthemaleandfemalesailorsdanceforjoyattherescueofAndromde.38Onceagain
wehaveanextendeddivertissementofsonganddance,withaformdescribedbyLoisRosowas
acomplexandlooselysymmetricalstructurethatistypicalofthegenre.39Achorus,with
interludesthatmayhavebeendanced,isfollowedbyagigueadancedminuet(repeatedasa
vocalsolo)asecondminuet,thisoneenrondeau,withinstrumental,solovocal,andchoral
segmentsalternatingfortwostanzasarepetitionofthegigueandasungair(repeatedasa
chorus,againwithinterludesthatcouldhavebeendanced),allincelebrationofAndromdes
rescue.40
3.21Thelibrettossuggestthattheseriesofdancesmayhaveprovidedashowpieceforafemale
soloist,althoughitisnotalwayscertainwhatroleshedancedandwhetherasolowasincludedin
alltheearlyproductions.ForActIVinthe1682production,Parfaictnamesonlyonedancer(who
thuspresumablydancedasoloatsomepoint):MademoiselleLaFontaine,asuneEthiopienne.
41However,thelibrettoforthesameproductionrefersonlytomaleEthiopians,maleandfemale
sailors,andgivesnohintofanysolodancing.The1703librettomakesnoclearorimplied
referencetoasoloist,butsimplynotesthedancersinActIVasfourmaleEthiopians,fourmale
andfourfemalesailors(ledbyMademoiselleSubligny,whoisaplausiblecandidateforsoloas
wellasgroupdances).The1710librettonamesMademoiselleGuyotasafemalesailor,along
withfourmaleandfourfemalesailors,whichstronglysuggeststhatshedancedsoloatsome
pointinthatscene.Whetherforasoloistorgroups,thedancesinthisdivertissementweremost
likelyordinarydances,anysolopassagesperhapsincludingstepsdesignedtodisplaythe
dancersvirtuosity.
3.22InActV,thefirstlikelymomentfordanceisinscene3,theAirpourlesSacrificateurs
(no.10).The1703and1710librettoseachlistfourmaledancersasSacrificers,soitseemsthat
danceofsomesorttookplace.Towhatextentthiswasordinaryorimitativeismuchless
clear.42ItmaybeworthnoticingthatinthisscenethestructureoftheActIIgiftgivingscenesis
inverted,withachorusanditsreprisesurroundingthedance,ratherthantheotherwayaround.
3.23ImitativedanceacombatofsomesortcertainlyseemscalledforinActV,scene5and
subsequentscenes,forwhichthelibrettosstatethatPerseandCpheandtheirfollowers
pursuePhineandhisfollowers(no.11).The1703librettonamessixmaledancersasPhines
combatantsthe1710librettonamesfivemaledancersasPhinescombatantsandsixas
Cphes.Themusicforthispursuitandcombat,whichendswhenPerserevealsMduseshead
andturnsPhineandhisfollowerstostone,involvessingerscommentingontheactionina
generalway(ConcedeWhathorrors!Letthemnotescape),inalternationwith
instrumentalpassagesthatgrowprogressivelyshorter.Itistemptingtoimaginethat
choreographedpursuitandcombatoccurredduringtheseinstrumentalinterludes,andperhaps
throughouttheentirescene,butthescoresgivenoinstructions.Onepossiblechoreographic
approach,notoperaticinorigin,issuggestedbyLambranzisdanceforbattlingstatues:the
statuesjumpfromtheirpedestalsandbegintograpple,andthenholdtheirpositionforthree
measuresbeforemovingintoanothercombativepose.Theycontinueinthiswaythroughanother
fourposes,atwhichpointthedanceends.43Averydifferentchoreographicapproach,froma
latersource,isfoundinthearticleonchoreographyinDiderotanddAlembertsEncyclopdie.
ThearticlediscussestheopeningfivemeasuresoftheDancefortwowrestlers,asdancedby
MessieursDuprandJavilliersintheoperaLesFtesgrecquesetromaines.Thenotationforthe
firsttenmeasuresofthedanceaccompaniesthearticle,andthedancehasmanyelementsofan
ordinarydance:simplesteps,suchaspasdebourreorpasgravecomplicatedsteps,including
caprioles,assemblsbattusentournantandsymmetricalspatialpatterns,beginningandending
inmirrorsymmetry.Thenotationshowsthedancerstakinghandsatonepoint,andwhilethis
mayseemunusualinadancefortwomen,itisonlyfromtheaccompanyingarticlethatwelearn
thatthedancersshouldbepretendingtomaketheeffortthattwowrestlersmaketooverturntheir
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adversary.44Thus,thoughitappearsfromcommentsbyDubosandBonnetthatimitative
dancewasgenerallyalmostwithoutsteps,wemustconsiderthepossibilitythatthiswasnot
alwaysthecase,andthatthenotatedstepsofanimitativedancecouldsometimesbe
indistinguishablefromthoseofanordinarydance.
3.24ThePassacailleinActV,scene8(Table1,no.12)occursafterthedescentofanelaborate
gloiredepictingVnusspalace.(Agloirewasacloudmachinesuspendedoverthestage,
representingheavenpopulatedbydivinities.)45Inthescorethesequenceisasfollows:Perses
announcementofthearrivalofVnusandherentourage(Cessonsderedouter),followedbythe
Passacaille,followedimmediatelybyVnussingingMortels,vivezenpaix.Thelibretto,
however,endsscene7withCessonsderedouterfollowedbythedescentofVnusspalaceit
opensscene8withVnussMortels,vivezenpaix.Thisraisesanintriguingquestion
concerningtheexactplaceandpurposeofthePassacaille.UnlessthelineLePalaisdeVnus
descendinthelibrettoisprintedinthewrongplace(whichispossible),theimplicationisthat
thePassacailleprovidesmusicforthedescentofthegloire.ButtheevidenceofPcoursnotated
choreographyindicatesthat,atleastinthe1703production,thePassacaillewasdancedand
giventhegeneralnatureofpassacaillesasdances,itseemslikelythatitwasalsodancedin1682.
Moreover,thereismoreappropriatemusicthanthePassacailleforthedescentofVnusspalace:
immediatelyafterPersepetrifiesPhineandhisfollowerscomesasinglestrain(twentythree
measures)ofinstrumentalmusic,whichPersethentakesupinvocalformasCessonsde
redouter.
3.25ThePassacaillefromPerseisoneofLullysearliest.46GeoffreyBurgesshasargued,from
theavailableevidenceinscoresandlibrettos,thatchaconnesandpassacaillesonthestage
usuallyformedpartofthecelebrationsofacompanyofpeuplesorcourtisansandweredanced
bysoloistsandatroupeofdancers.47ItseemsplausiblethatthePassacailleinPersewas
dancedbyagroupwithpassagesforoneormoresoloists.Therewerecertainlyplentyofpeople
onstageatthetime:Vnus,lAmour,lHymene,lesGraces,lesAmoursetlesJeux,all
presumablyinthecloudmachineCphe,Cassiope,Perse,Andromde,awaitingtheir
apotheosisandtroupesofCphescourtiersandEthiopians.
3.26Regrettably,thelibrettosdonotnamethedancersofthePassacailleortheduplemeterAir
laterinthescene,andwecannotbecertainhowmanydancersfiguredineach.ForActVinthe
1682production,theParfaictbrothersnameonlyPcour,asacourtierintheFollowersof
Cphe,althoughMademoiselleLafontainewouldpresumablyhavebeenonstagealso,asan
Ethiopian.ForActVinthe1703production,neithertheParfaictbrothersnorthelibrettoname
anydancersbeyondSacrificersandPhineswarriors,althoughatleastsomeofthemale
EthiopiansfromActIVpresumablywouldhavebeenonstageagain.48However,theextant
notationforthePassacaille,discussedbelow,indicatesthatMonsieurBalonandMademoiselle
Subligny(whowerefeaturedsoloistselsewhereinthisproduction)dancedtogetherinthe
Passacaille.The1710librettolistsfourteendancersintheSuitedelaPeupledeCphe,with
MonsieurBlondyandMademoisellePrvostindicatedassoloists.49Possiblytheytoodancedin
thePassacailleasacouple.
3.27Thefinalinstrumentaldance,theduplemeterAirofActV,scene8(Table1,no.13),
followsVnusssoloMortels,vivezenpaixandtheimmortalizationofCphe,Cassiope,
PerseandAndromdeasheavenlyconstellations.Thedancehasthedottedrhythmsandother
musicalcharacteristicsofthefirstsectionofaFrenchoverture.Inextantdancenotations,this
typeofdancemusicisassociatedonlywithmaledancers,whetherinanentreoranentre
grave.50YetaccordingtothePerselibretto,menandwomendanceatthispoint:Cphes
courtiers,andmaleandfemaleEthiopians,demonstratetheirjoybytheirdances.Perhapsinthis
casethewomenjoinedwiththemenindancingtheAir.OrperhapsthemendancedtheAirand
thewomenjoinedinthedancingduringthefinalchoralreprise,bringingtheoperatoaclosewith
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bothdanceandsongcontributingtothegeneralcelebration.
4.ExtantDancesfromPerse
4.1AlthoughnochoreographiesfromLullysdaysurvive,wearefortunatethatfourofthedances
createdforrevivalsofPersedostillexist,innotationsthatwerepublishedwithinafewyearsof
theirlikelyperformance.TheyareallthecreationofGuillaumeLouisPcour,whohaddancedin
the1682premiereofPerse,andwho,afterworkingcloselywithBeauchampformanyyears,
succeededhimascompositeurdesballetsattheOpra.51Wedonotknow,however,theextentto
whichPcourschoreographycorrespondedtoLullysideasaboutthedancinginPerse.52The
notationsofthreeofthedancestwofromtheActIJeuxjunoniens(Video1)andtheotherthe
ActVPassacaille(Video2)indicatethattheyweredancedinperformancesoftheopera,very
probablyinthe1703revival,byMonsieurBalonandMademoiselleSubligny,thetwoleading
theatricaldancersoftheirday.53AfourthdancebyPcoursurvives,probablyfromtherevivalof
November1710(whichwasrepeatedinFebruary1711):oneofthedancesfortwomaleGodsof
theUnderworldinActII,scene10,asdancedbyMessieursMarcelandGaudrau(Video3).It
wasnotatedandpublishedforPcourbyMichelGaudrauaround1713,54andthusmaybearare
firsthandrecordofatheatricaldancepreservedbysomeonewhohadactuallyperformedit.
4.2Animportantbutunresolvedquestionconcernstheextenttowhichthesesurvivingnotations
ofdancesbyPcourrepresentwhatreallyhappenedonstagein1703and1710.RebeccaHarris
Warrickhasnotedthatwhileineachcasethenotationindicatesthatduosweredanced,thescores
andlibrettosindicatethepresenceonstageofagroupofdancers.55Thereisnoreasontodoubt
thatthenotationsreallydorecordstepsperformedbythetwodancersnamedineachinstance
noristhereanyreasontodoubtthatthescoresandlibrettosreallydomeanthatwholetroupesof
dancerswereonstage,andpresumablydancing,duringthesescenes.Sohowmighteachnotated
duohaverelatedtothelargergroupofdancers?
4.3Onepossibilityisthatitdidnotthattheduoperformedthedanceasnotatedandthatthe
largergroupofdancers,alongwiththechorus,simplyservedasspectatorsanddancedonly
elsewhereinthescene.ThatexplanationisplausibleforsomeofthescenescontainingPcours
duos,butasHarrisWarrickpointsout,itisparticularlyunconvincingforthetwoentresmaking
uptheActIJeuxjunoniens:adancecontestamongaffiancedcouplesmustsurelyhavemore
thanonecoupleascontestants.
4.4Anotherpossibilityisthatthewholegroup,orsectionsofthegroupinturn,dancedto
repetitionsofthemusicthatarenotnotatedinthescore.Thismightbeafeasibleoptionforthe
ActIJeuxjunoniens,butitwouldmakethatscenesointerminablylongastoincurthewrathof
theaudienceaswellasJuno.
4.5Athirdpossibilityisthattheduowascloned,sotospeak,andthesamestepsperformed
simultaneouslyandinmirrorimagebyothercouples,toformagroupdance.Thisisfeasiblefor
theeightnameddancersinthe1703versionoftheJeuxjunoniens,anditcouldworkequally
wellforthefourdancingGodsoftheUnderworldnamedinthe1710production.Yetanother
possibilityisthatthegroupdancedatthesametimeastheduo,butbehindthemorinasemi
circularorsquareformationaroundthem,sometimesstatic,sometimesdancingsimplerstepsor
differentpatterns.56
4.6Thediscrepancybetweenthedancenotationsandthecastlistsrecordedinthelibrettos
becomesacutewhentheActVPassacaillefromPerseisconsidered.Thelibrettosofseveral
Frenchoperaslistthenamesofquitelargegroupsofmaleandfemaledancersforscenesinwhich
apassacaillewasdanced,sowemustimaginethattherewerelargerforcesperforming
passacaillesinsomeproductionsofPerse.57The1710libretto,forexample,includesthestar
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dancersMesdemoisellesChaillouandPrvostandlesSieursBlondyandMarcelamongits
fourteenpeuplesdelasuitedeCpheetPerseforthepassacaillescene.58
4.7InadditiontoPcourspassacailleduoforPerse,onlytwootherpassacaillesfromFrench
operassurviveasnotatedchoreographies.Botharenotatedassolos(andboth,asithappens,
representdancesperformedbyMademoiselleSubligny).Thereisnothinginthenotationto
suggestthatthesedanceswereforlargernumbersofdancersnoevidenceofabridgementor
rearrangement,noobviousspatialimpossibilities.Butwemustallowthepossibilitythatthese
dances,aswellasothernotatedtheatricaldances,representgroupdancesthatwerereducedto
solosorduos,whetherforlegibilityorforenhancedmarketability.59
4.8InthecaseofPcoursversionofthePassacaillefromPerseaspublishedin1704,weare
leftwithmorequestionsthananswers.AswithmanyofthedancesinFeuillets1704collection,
BalonandSublignyarenamedasdancers.Perhapstheirstarstatushelpedsellnotations.The
Passacaille(Video2)undoubtedlyfunctionschoreographicallyasaduet,andgivesevery
appearanceofhavingbeenbuiltthatwayforexample,thedancersmoveinaxialsymmetrythat
is,aroundoneanotherforroughlyhalfthedance,andonlyoccasionallydotheydirecttheir
attentiontowardthepublic.ContrastthiswiththemuchmorepresentationalapproachoftheActI
Jeuxdances(Video1).WouldthissenseofprivacyinthePassacaille,thislackoffocustoward
thepublic,workaswellinagroupdance?Perhaps.Butifthepassacaillenotationdoesrepresent
aduothatwasdancedinPersebyBalonandSublignyin1703,thenweretheotherdancerson
stageforthatscenesimplytodancethefinalairthatendstheopera?Whatabouttheevidence,
suggestedbythelibrettosofotherworks,thatpassacailleswereusuallyperformedbygroupsof
dancers?
4.9Onefurtheroptionpresentsitself,andweofferitherenotasadefinitivesolutionbutasone
possibilityamongseveral.PerhapsBalonandSublignydiddancethePassacailleasnotated,but
withothersonstagealsodancingduringpartsofit.Theotherdancersmighthaveperformedthe
samestepsatthesametimeastheleadingcouple,ortheymighthavejoinedinwithsimilaror
simplerstepsatappropriatemomentsinthemusic,oratmomentsinthechoreographyinwhich
theduoopensitsfocustowardthepublic,facingforwardandmovinginmirrorsymmetry.Table
2showsahypotheticaldistributionbetweenduoandgroupdanceinthePassacaille,withgroup
dancersmovingmainlyduringtuttisectionsinthemusic,duringwhichmirrorsymmetrical
sectionsofthechoreographyalwaysoccur.60
4.10AsadanceformontheLullianstage,thepassacaillewasoftenassociatedwithfemale
characters,includingVenus.61Thus,perhapsatthisparticularpointinPerse,thedance
representedtheinfluenceofVenusnotjustontheharmonybetweenmanandwoman,butalsoon
therelationshipsbetweenFortuneandVirtue,deitiesandhumans,allofwhicharethemesofthis
opera.62
5.Conclusion
5.1TheatricaldanceinLullysdayandforagenerationthereafterseemstohavefollowedthe
broadcategoriessetoutbywritersfromMenestriertoBonnetasregardsstepsandfigures
(ordinarydances)andcharacterization(imitativedances).Perseapparentlyincludes
instancesofbothordinaryandimitativedances,someofthempartoflengthyscenes
involvingvocalsoloistsandchorusaswellasdancers.Forthevariousproductionsfrom1682
onwards,thelibrettosandthelaterrecordpublishedbyParfaictidentifysomeofthedancers
concerned,butnotconsistently.The1682scoreindicatesmeterandmusicalformofdances,but
givesnoinformationaboutthenumberorarrangementofdancersandthelaterscoresgivelittle
ifanynewinformationaboutthelaterproductions.Extantnotationsoffourofthedances,created
byPcourforthe1703and1710revivals,addmoreinformationaboutthenatureandformof
thosedances,butdrawattentiontotantalizingambiguitiesconcerningthenumberofdancers
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involvedandeventhepurposeofthenotationsthemselves.
5.2AlthoughchoreographicpracticehadchangedsinceLullysdeathinhisdaymuchofthe
workhadbeendividedamongseveralchoreographersPcourscontributioninandafter1703is
stillofgreatsignificanceforunderstandingdanceinLullyslifetime.Pcourhimselfhaddanced
inthe1682premiereofPerse,hadworkedcloselywiththetheatricaldancersanddancing
mastersofthatday,andhadsucceededoneofthemascompositeurdesballetsattheOpra.
Manyofhischoreographies,whetherforballroomorfortheater,weresettomusicbyLully.63
5.3WehavelittlewaytodayofknowingwhataudiencepreferenceswereinLullysdayforthe
balanceofsolo,duo,andgroupdancesinopera,orthepreciseformofthedancesassignedto
wholetroupesofdancers.However,astudyofthetheoreticalwritingsavailableatthetime,and
theirapplicationtotheextantdancenotationsofachoreographerwhohadbeensocloselylinked
withtheproductionsofLullysownday,cansuggestwaysinwhichstepsandfiguresmightbe
combined,withappropriatevarietyoffiguresandchoiceofsteps,tocreatedancesthat
complementLullysmusic.Acarefulstudyofalltheavailablesourcescanthusaugmentour
appreciationofthepossibilitiesfordanceinLullysoperas.
References
*KenPierce(kpierce@mit.edu)trainedoriginallyinballetandmoderndance.Hehastaught
earlydanceatworkshopsinEurope,Canada,andtheUnitedStates,andhischoreographiesand
dancereconstructionshavebeenshownatfestivalsfromCopenhagentoVancouver.Hedirects
theKenPierceBaroqueDanceCompanyandtheearlydanceprogramattheLongySchoolof
MusicinCambridge,Massachusetts.
**JenniferThorp(jennifer.thorp@new.oxford.ac.uk)isanarchivistanddancehistorian,
specializinginthereconstructionandperformanceofdancesofthelateseventeenthandearly
eighteenthcenturies.HerresearchinterestsincludetheworkofFrenchandEnglishdancersfor
theLondonstage,andsheiscurrentlypreparinganeditionofdancesanddancenotationsmade
duringthe1720sbyF.LeRoussau.
***WewishtoexpressourindebtednesstoLoisRosowandRebeccaHarrisWarrickfortheir
guidanceandhelpinthepreparationofthisarticle,andtoGeoffreyBurgessforvaluable
suggestionsduringitsearlystages.
1ListedinJrmedeLaGorce,LOpraParisautempsdeLouisXIV(Paris:Editions
Desjonqures,1992),198202.ThodoreLajarte,BibliothquemusicaleduthtredelOpra:
cataloguehistorique,chronologique,anecdotique(Paris:LibrairiedesBibliophiles,1878reprint,
Hildesheim:Olms,1969),1:43,quotingMercuregalant,notesanotherParisperformanceinJune
1682,notlistedbyLaGorce.
2ThescorewaspublishedasJeanBaptisteLully,Perse,tragdiemiseenmusique(Paris:
Ballard,1682reprint,BroudeInternationalEditions,1998).Thelibretto,publishedasPerse,
tragedierepresenteparlAcadmieRoyaledeMusique(Paris:Ballard,1682),isdescribedin
CarlB.Schmidt,TheLivretsofJeanBaptisteLullysTragdiesLyriques:ACatalogueRaisonn
(NewYork:PerformersEditions,1995),281(itstwoissuesarenumberedLLC91.1,LLC91.2).
AcriticaleditionhasbeenbasedonLLC91.1:PhilippeQuinault,Livretsdopra,ed.Buford
Norman(Toulouse:SocitdeLittraturesClassiques,1999),2:55104.
3Someoftheseentresorairscouldhavebeenusedforstagemovementbynondancers.Atthe
NinthInterdisciplinarySymposiumofNewCollege,Oxford,Gods,Men,andMonsters,April
2001,RebeccaHarrisWarrickdiscussedtheuseofacrobatsalongside,orinsteadof,dancersfor
somescenesinlateseventeenthcenturyFrenchoperasandballets.
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4ClaudeandFranoisParfaict,DictionnairedesthtresdeParis(Paris:Lambert,1756reprint
of1770ed.,Geneva:Slatkine,1967),4:105(the1767editionisavailableat
http://cesar.org.uk/cesar2/books/parfaict_1767/)Recueilgnraldesoprarepresentezpar
lAcadmieRoyaledeMusiquedepuissontablissement(Paris:Ballard1703reprint,Geneva:
Slatkine,1971)(Schmidt,CLE7),preface,1:11,whichalsonotesthatDesmatinsbecamefamous
subsequentlyasasinger.MarieLouiseDesmatinssangtheroleofMropeinthe1687and1703
productionsofPerseattheOpra(theinformalnamefortheAcadmieRoyaledeMusiquein
Paris).
5ThedancesaredescribedinRebeccaHarrisWarrick,ContextsforChoreographies:Notated
DancesSettotheMusicofJeanBaptisteLully,inJeanBaptisteLully:actesducolloque/
Kongressbericht,ed.JrmedeLaGorceandHerbertSchneider(Laaber:Laaber,1990),43355.
6ClaudeFranoisMenestrier,DesBalletsanciensetmodernesselonlesrglesduthtre(Paris:
Guignard,1682reprint,Geneva:Minkoff,1972),1589JacquesBonnet,Histoiregnraledela
danse(Paris:Houry,1724reprint,Bologna:Forni,1972),61.
7DescribedinJudithL.SchwartzandChristenaL.Schlundt,FrenchCourtDanceandDance
Music:AGuidetoPrimarySourceWritings,16431789(Stuyvesant,NewYork:Pendragon
Press,1987).
8KenPierce,DanceVocabularyintheEarly18thCenturyasSeenthroughFeuilletsStep
Tables,inProceedings:SocietyofDanceHistoryScholarsTwentiethAnnualConference
NewYork(Riverside,Calif.:SDHS,1997),22736.
9SevendancesbyJeanFavierforhiscourtmascarade,LeMariagedelagrosseCathos(1688),
describedinRebeccaHarrisWarrickandCarolG.Marsh,MusicalTheatreattheCourtofLouis
XIV:LeMariagedelaGrosseCathos(Cambridge:CambridgeUniversityPress,1994),12383
passimandRaoulAngerFeuilletsBaletdeneufdanseursinRecueildedancescomposespar
M.Feuillet(Paris:Brunet,1700),6784,citedinMeredithE.LittleandCarolG.Marsh,La
DanseNoble:AnInventoryofDancesandSources[LMC](NewYork:BroudeBros,1992),
LMC1320.(RegardingthespellingofFeuilletsgivennameAngerratherthanAugersee
RgineAstierinInternationalEncyclopediaofDance,ed.SelmaJeanneCohen[Oxford:Oxford
UniversityPress,1998],s.v.FeuilletNotation.)Symmetricalpatternsarealsofoundin
ballroomdances,whetherforoneormorecouples,orincontredansesforasmanyaswill.
Foradiscussionofsymmetry,seeJenniferThorpandKenPierce,TasteandIngenuity:Three
EnglishChaconnesoftheEarlyEighteenthCentury,HistoricalDance3,no.3(1994):316.
10Onpeutdansunemmeentreexprimerdesmouvemensdifferens,pourvquilsayent
quelquerapport.LesunspeuventdonnerdescoupsdeSabreoudeMassu,&lesautresles
recevoiravecdesBoucliers.UnMagicienpeutevoquerdesOmbres,&fairedescerclesavecsa
baguette,tandisquecesombresferontdiversespostures.Menestrier,167.Bonnet,67,givesthe
samepassagewithminorvariantsofwording.
11JeanBaptisteDubos,Reflexionscritiquessurlaposieetsurlapeinture(Paris:Mariette,
1719)amoderntranscriptionofthe1733editionisavailableonlineat
http://visualiseur.bnf.fr/Visualiseur?Destination=Gallica&O=NUMM88225.Dubossanalysisof
changesinthewaydancewasperformedinopera,whichheattributestoLully,hasyettobefully
evaluatedbydancehistorians.
12IlyasoixanteansquelesFaunes,lesBergers,lesPaysans,lesCiclopes&lesTritons
dansoientpresqueuniformement.Ladanseestaujourdhuidiviseenplusieurscaracteres,et
chacundecescaracteresasurlethtredespas,desattitudesetdesfiguresquiluisontpropres.
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LesFemmesmmessontentrespeupeudanscescaracteres.Elleslesmarquentdansleur
danseaussibienqueleshommes.Dubos,1:495.Thereferencetouniformityofdancingseems
surprisingatfirstsight,asthetheoristsofLullysowndayhadaverred(butwithoutattributionto
Lully)thatsuccessfulballetsdependedonvariedsteps,figures,andcharacterizationinthe
dancing:Menestrier,DesBallets,13876passim,andMicheldePure,Idedesspectacles
anciensetnouveaux(Paris:Brunet,1668),24365passim.SaintHubert,LaManirede
composeretfairereussirlesballets(Paris:Targa,1641),antedatesLullysappearanceinFrance
heassertstheneedtosuitthedancingtothecharactersrepresented,andforthecharacterstobe
varied,but(p.12)althoughhehimselfwouldliketoseecharacterizationthroughthewaythesteps
areperformed([je]voudroisquechacundancastsuivantcequilrepresente),headmits(p.16)
thatanycharacterizationisusuallyimpliedthrougheachcharacterspropsandcostume,rather
thanthroughthedancingitself.Thereismoreresearchtobedoneintotheexactnatureof
characterizationintheatricaldanceduringthisperiod,andintoLullyscontributiontothe
subject.
13Dubos,1:493.ThescenewasActI,scene4,intheproductionatSaintGermainenLaye,
1678,andthecastlistedforthissceneinthelibrettoincludesBeauchampassoloist,witheight
othermaledancers:CadmusetHermione(Paris:Baudry,1678)Schmidt,LLC15.1Quinault,
Livrets,ed.Norman,1:20.
14Dubos,1:495.
15Dubos,1:5345.Recueilgnral,preface,1:8,quotedinSchmidt,532,confirmsthatpourla
CompositionduBalletdAtys,leSrdOlivetgrandPantomime,sejoignitauSrBeauchamp,avec
lequelilavoitdjacomposceluydeThese.LouisHilairedOlivetwasoneoftheoriginal
membersoftheAcadmieRoyaledeDanse,andhadperformedintheearliestballetsofLouis
XIVsreign:Bonnet,30.BeauchampservedasmatredesballetsattheOprafromaroundthe
timeofitsinceptionin1669.AntoinedesBrosses,whohadchoreographedtheproductionofLa
PrincessedlidebyMolireandLullyatthePalaisRoyaltheaterin1664,composedballetsfor
LullysfirstworkattheOpra,LesFtesdelAmouretdeBacchus,in1672seeJrmedeLa
Gorce,JeanBaptisteLully(Paris:Fayard,2002),193.
16Recueilgnral,preface,1:14,quotedinSchmidt,533.Onnignorepasdailleurs,queles
BalletsdeThetis&Pele,sontdelacompositiondesSieursPcourt&lEtang,&quecestauSr.
Pcourtseul,quenoussommesredevablesdetouteslesdansesquionttexecutesdepuisces
deuxPieces[theotherbeingAchilleetPolixne,apparently],soitlaCour,soitParisdansles
Operanouveaux,danslesreprisesdesanciensOpera,danslesftes,Ballets,&c.Evenifwe
mightdoubtthestrictveracityofthisstatement,onewayoranotheritclearlyreflectsPcours
dominance.
17Inanycase,onecanconfoundthecategoriesbyclaimingthatdancersinanordinarydance
aremerelyimitatingdancersbutthatwouldsurelybetosubvertDubossmeaning.
18The1682scoreandlibrettoarecitedinref.2theadditionalscoreisPerse,tragdiemiseen
musique,2nded.(Paris:deBaussen,1710)thelibrettosarePerse,tragediereprsentepar
lAcademieRoyaledeMusiquepourlapremierefois1682etremiseautheatre1703(Paris:
Ballard,1703)andPerse,tragediereprsentepourlapremierefoisparlAcademieRoyalede
Musique1682etremiseauthtre1710(Paris:Ballard,1710)(Schmidt,LLC918.1and9
22).TheAmsterdamlibrettosof1682and1685andtheParislibrettoof1687(LLC93,95,97)
werealsoconsulted.AscorepublishedbyBallardin1722isavailableat
http://www.library.unt.edu/music/lully/Persee.pdf.LoisRosow(personalcommunication)has
pointedoutthatitisprobablyjustacoincidencethataproductionofPerseandthepublicationof
ascorebothoccurredin1710:thescorewaspartofaseriesofengravedscoresofLullysoperas
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publishedfrom1708to1711,basedonBallardsearlierscores,andnotingenerallinkedtoOpra
productions.Referencestonameddancersinthe1703and1710librettosareconfirmedbyentries
inParfaict,4:1058,despiteoccasionaldifferencesbetweentheParfaictslistsandthoseofother
librettoscataloguedbySchmidt.
19Nodancersarenamedinthe1682libretto.The1703librettonamesfourdancers(Dubreuil,
Dumay,Javilliers,andRose)astheSuitedeMduseinActIII.Thatof1710namessixdancers
(Dumoulinlan,Ferand,Gaudrau,Germain,Javilliers,andMarcel).Allwererecognizednames
inordinarydance,whileMarcelandGaudrausvirtuosicdancingasGodsoftheUnderworldin
1710iswelldocumentedmostofthemalsoappearedelsewhereinPerseinsemicharacterroles
suchasSacrificersandCombatants.Thereisalwaysthepossibilitythattheywerejoinedinthe
EntredesFantosmesbyacrobatswhoarenotnamedinthelibrettos.
20InLeMariagedelagrosseCathosthechorusPassonstoujourslaviealternatessungand
dancedsectionsinrondeauformuntilthefinalphrase,whensinginganddancinghappen
simultaneously(HarrisWarrickandMarsh,MusicalTheatre,171).RebeccaHarrisWarrickalso
discussestherelationshipbetweenthesungwordandthechoreographicembodimentofthatword
inLullysoperasinRecoveringtheLullianDivertissement,inDanceandMusicinFrench
BaroqueTheatre:SourcesandInterpretations,ed.SarahMcCleave,StudyTexts3(Kings
CollegeLondon:InstituteofAdvancedMusicalStudies,1998),5580.SeealsoThomas
Betzwieser,MusicalSettingandScenicMovement:ChorusandChurDansinEighteenth
CenturyParisianOpera,CambridgeOperaJournal12(2000):8.
21ThesoleextantexampleofatheatricalpassepiedforagroupofdancersistheonefromLe
MariagedelagrosseCathos,whichbeginswiththedancerscirclingclockwisearoundthestage
whiletheonstageoboebandmovesintoplaceinthecenterofthecircle.Ontherepetitionofthe
musicthedancersmoveintosymmetricalpatternsastheoboebandshiftsupstageandintoother
formations(HarrisWarrickandMarsh,MusicalTheatre,16170).Wedonotknow,however,
whetherthechoreographicstructureofthispassepiedresembledtheoneinPerseinanyway.
22KenPierce,RepeatedStepSequencesinEarlyEighteenthCenturyChoreographies,in
StructuresandMetaphorsinBaroqueDance:ProceedingsoftheConferenceattheUniversityof
SurreyRoehampton,March31,2001(Roehampton:CentreforDanceResearch,Universityof
Surrey,2001),529idem,ChoreographicStructureintheDancesofClaudeBalon,in
Proceedings:SocietyofDanceHistoryScholarsTwentyFourthAnnualConferenceTowson,
Maryland(Riverside,Calif.:SDHS,2001),1014andidem,ChoreographicStructureinthe
DancesofFeuillet,inProceedings:SocietyofDanceHistoryScholarsTwentyFifthAnnual
ConferencePhiladelphia(Riverside,Calif.:SDHS,2002),96106.
23OneinstanceisrecordedinF.LeRoussausnotatedversionofPcoursSarabandasdancedby
MonsieurMarcelandMademoiselleMenaisinthe1720(recte1719)ParisrevivalofAndr
CardinalDestouchessIss(1697),ActIV,scene2(LMC7640).Inhismanuscriptnotationof
thisdanceanapparentduoplacedwithinapastoralsceneinwhichleSommeillullsIssto
sleepLeRoussaumakesclearthattheSarabandwasdancedtotwostatementsofthemusic,the
firsttimenotedinthedancenotationasthefirstSaraband,andthesecondfollowingoffthe
firstSarabanddancdbythesamepersonstoarepetitionofthesamemusic,butwithdifferent
stepsandfloorpatternsthatneverthelesscontainchoreographicreferencesbacktothefirst
Saraband(GBEuLa.III.673,4555).ThiswillbefurtherdiscussedinJenniferThorp,Harlequin
DancingMaster:TheWorkofF.LeRoussau(forthcoming).SeealsoHarrisWarrick,Contexts
forChoreographies,4523,foradiscussionoftwodifferentchoreographiesforthesamemusic
thatmayhavebeenusedinthesameproductionofThse.
24RebeccaHarrisWarrickdiscussesthequestionofadditionalrepetitionstoaccommodatedance
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inRecoveringtheLullianDivertissement,667.ThemarchinLeMariagedelagrosseCathos
isplayedtwicethroughasanentrancefortheentirecast,andthenonemoretimeasadancefor
thedancersalone(HarrisWarrickandMarsh,MusicalTheatre,1267).
25TheorchestralmusicinthefinalchorusofthePrologue(Heureuseintelligence)contains
briefpassagesthatrecurinthePassacailleinActV.
26LaDansetoitsirecommandabledanslespremierstems,queLucienditquellenefutpoint
admisedanslesjeuxOlympiques,parcequelesGrecsnecrurentpasavoirdesprixdignes
dellesmaisquedanslasuitedestems,leshabitansdelaColchidelajouterentleursjeux
publics:cequipassaenusagechezlesGrecs,chezlesRomains,&presquedanstouteslesvilles
dumonde.Bonnet,89.
27RebeccaHarrisWarrick,ThePhraseStructuresofLullysDanceMusic,inLullyStudies,ed.
JohnHadjuHeyer(Cambridge:CambridgeUniversityPress,2000),51.IfthePremierAirwas
usedsimplyasprocessionalmusic,thatwouldalsoexplainwhytheextantdancessettothe
SecondAirandTroisimeAiraretitledEntreand2eEntrerespectivelyinthepublished
dancenotations(LMC4480,3080).
28Specifiedinthe1682librettoasQuadrillesdejeunespersonnes.Itisnotcertainwhatwas
meantbyaquadrillein1682,butinthemideighteenthcenturyquadrillesweredescribedas4,
6,8,&jusqu12danseursvtusuniformment,oudecaracteresdiffrens,suivantlexigence
descas:DenisDiderotandJeanLeRonddAlembert,eds.,Encyclopdie,ouDictionnaire
raisonndessciences,desarts,etdesmtiers(Paris:Briasson&Durand,175180),s.v.Ballet.
29QuelEnfer,laTerre,etlesCieux/QuetoutlUniversfavorise/Lefilsdupluspuissantdes
Dieux.
30Pluslesexpressionssontnaturelles,plusellessontagrables.LadansedesVentsdoittre
lgere&prcipitecelledesForgeronsdoitavoirdestems,&desintervalesfrapersur
lenclume.Bonnet,62.
31LepremieractereprsentadabordlagrottedeVulcain,dosortirenthuitAmourssibien
dguisezenForgerons,quonnelespouvoitreconnoitrequeparlapplicationquilsavoient
formerdesdards&desflches,plttquedautresarmes.Bonnet,94.
32OtherLullyoperasinwhichdancingblacksmiths(notnecessarilyCyclops)appearinclude
Psych,ActII,scene2,VulcanscaveandIsis,ActIV,scene3,forgesofthe(human)Chalybes,
inwhichthesungtextbeforethedanceisLetusmaketheanvilringundertheheavyblowsof
thehammer,followedbytheevocativetextTt,tt,tt.Tt,tt,tt.Thereisalsoan
illustrationofadanceforhumanblacksmithsstrikinganvilsintimetothemusicinGregorio
Lambranzi,NeueundCurieuseTheatrialischeTantzSchul(Nuremberg:Wolrab,1716),2:25.
33Proserpinealsoincludesunderworldgodsbearinggifts(ActIV,scene5).Incompanywith
happyshades,theybringtoPersephonerichesprsentsetdonnentdestmoignagesdeleurjoye
parleursdansesetparleurschansons.Theirdancesaretwoairs,in6/4and6/8.Bothlibrettoand
fullscorewerepublishedintheyearofthepremiere(Paris:Ballard,1680).
34LesSuivantsdePlutonserjoissentdelavenudAlcestedanslesEnfers,paruneespecede
Feste.PhilippeQuinault,Alceste,ouLetriomphedAlcide(Paris:R.Baudry,1674),56(ActIV,
scene3)itisavailableathttp://visualiseur.bnf.fr/Visualiseur?Destination=Gallica&O=NUMM
71762.Onapellecommunementdesairscaracterisezceuxdontlechantetlerithmeimitentle
gotdunemusiqueparticuliere,etquonimagineavoirestproprecertainspeuples,etmme
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decertainspersonnagesfabuleuxdelantiquitquipeutestrenexisterentjamais.Dubos,1:493.
QuoiquenousnayonsjamaisentendulamusiquedePluton,nousnelaissonspasdetrouverune
espcedevraisemblancedanslesairsdeviolon,surlesquelsLullifaitdanserlasuiteduDieudes
EnfersdanslaquatrimeActedelOpradAlceste,parcequecesairsrespirentuncontentement
tranquille&srieux,&commeLulliledisoitluimme,unejoievoile.Eneffet,desairs
caractriss,parrapportauxfantmesquenotreimaginationsestforms,sontsusceptiblesde
toutessortesdexpressionscommelesautresairsDubos,1:494.(Theeditionsof1733and
1770haveslightlydifferentwordingandspelling.)
35IreneAlm,TheatricalDanceinSeventeenthCenturyVenetianOpera(PhDdiss.,University
ofCaliforniaatLosAngeles,1993),18,69,96.ForstagemachinesingeneralseeNiccolo
Sabbattini,Practicadefabricarsceneemachineneteatri(Ravenna:Paoli&Giovannelli,1638),
andMenestrier,21822.
36SuivantsdePluton,Chantans,Danans&Volans.Schmidt,31(LLC2).
37Theunceasingfascinationoftheateraudienceswithstagemachinesandeyecatchingeffects
mightexplaintheconsternationexpressedbytheMercuregalantinApril1682whenthenew
machinerywasnotfinishedintimeforthefirstperformanceofPerse,andonoccasionswhen
thespecialeffectswerelimited(atVersailles,forinstance,wherethecourtpremiereofPerse,
whichwastohavetakenplaceintheMarbleCourtyard,hadtobehurriedlymovedtoamakeshift
theaterinthestablesbecauseoftheweather)seeBarbaraCoeyman,TheatresforOperaand
BalletduringtheReignsofLouisXIVandLouisXV,EarlyMusic18(1990):27,34.Itmight
alsopartlyexplainLullyswrathatthesuccessoftheproductionofPierreCorneillesAndromde
withmusicbyCharpentier,stagedattheComdieFranaiseindirectrivalrywithPerseinthe
summerof1682,andacclaimedforitsspecialeffectsandlivePegasus,describedindetailin
CatherineCessac,MarcAntoineCharpentier,trans.E.ThomasGlasow(Portland,Oregon:
AmadeusPress,1995),8692(originallypublishedunderthesametitle,Paris:Fayard,1988).
38The1703librettodescribestheSailorsasmatelotsetleurfemmes.Thedistinctionisnot
important.Atsea,theremaywellbeadifferencebetweenafemalesailorandthewifeofamale
sailor,butonstagetheywouldbeindistinguishable.
39Rosow,LullysMusicalArchitecture,par.6.1.
40Inthelibretto,theairforCpheandinstructionsforitsrepetitionbytheensemble,alongwith
joyfuldancingbysailors,occurbetweenthetwominuettexts.Inthescore,Cphesairandthe
chorusonthesametextarefoundattheendofthescene.
41Parfaict,4:105.
42ThereisadanceforSacrificersinCadmusetHermione,ActIII,scene6,describedinthe
librettoforaproductionatSaintGermainenLaye(Paris:Baudry,1678Schmidt,LLC15.1)as
follows:LesSacrificateurschantantsdemeurentprosternez,&lesSacrificateursdanantsfont
cependantuneEntreausondesTimbales&aubruitdesArmes,aprsquoylesSacrificateurs
chantansserelevent,&chantent.(ThesingingSacrificersremainprostrate,andthedancing
Sacrificersmeanwhileperformadancetothesoundofdrumsandtheclatterofarms,afterwhich
thesingingSacrificersstandandsing.)
43Lambranzi,vol.2,plates1217.
44Pasdedeuxlutteurs,dansparMM.Dupr&Javiliersdanslopradesftesgreques&
romaines(Encyclopdie,s.v.Chorgraphie).Thisoperawascomposedin1723byFranois
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ColindeBlamont.IntheParisrevivalsof1733and1741,DuprandJavilliersdancedas
LutteursintheentreLesJeuxolympiques(Parfaict,2:5601).
45Acolorwashandinkdesignof1682,forVnussgloireinPerse,survivesintheArchives
NationalesinParis(O1*3241,fol.65).ItisreproducedintheexhibitioncatalogueDanseurset
balletdelOpradeParis(Paris:ArchivesNationales,1988),35JrmedeLaGorce,Berain:
dessinateurduRoiSoleil(Paris:EditionsHerscher,1986),83andLoisRosow,Making
Connections:SomeThoughtsonLullysEntractes,EarlyMusic21(1993):231.Thedesign
depicts,withinaframeofswirlingclouds,apalaceinfrontofwhichVnussitsenthronedwith
lAmourbesideher,surroundedbyfourteenpeoplesounlessthedrawingtakesconsiderable
artisticlicence,thegloirewasverylarge.Therewashighacclaimforladcorationdu5eacte,
dueaupinceauduclbreBertin[JeanBerain],[qui]fitunimmenseeffet.Lajarte,43.
46SchneiderlistsonlytwoearlierpassacaillesbyLully:onefromBranlesde1665,LaVieille
Passacaille,andaSymphoniecacheorPassacailledefltesetdeviolonstoaccompany
VnusinPsyche(1678).HerbertSchneider,ChronologischthematischesVerzeichnissmtlicher
WerkevonJeanBaptisteLully(LWV)(Tutzing:Schneider,1981),124,312(LWV31/6,56/24).
47GeoffreyBurgess,RitualinthetragdieenmusiquefromLullysCadmusetHermione
(1673)toRameausZoroastre(1749)(Ph.D.diss.,CornellUniversity,1998),5928.
48FourmaledancersarenamedasEthiopiansinActIV:Brinqueman,Dangevillelan,
Fauveau,Lveque.Ofthese,BrinquemanandLvequealsodancedinActV,asun
sacrificateuranduncombattantdupartiedePhinerespectively,andtheymaynothavebeen
abletoreappearattheendofscene8unlesstheyhadleftthestageandmadeaquickcostume
change.
49HarrisWarrick,ContextsforChoreographies,4545.
50LittleandMarsh,p.159,listseightextantchoreographiesasbeingentresgraves,although
twooftheseLMC4000and4260(bothsettothesamemusic,anentreforSaturnefrom
Phaton)shouldbeclassifiedsimplyasentressincetheyhaveonlyonestepunitpermeasure,
whereasentresgraveshavetwostepunitspermeasure.WemightalsoincludeLMC2700and
4360(bothsettothesamemusicfromAmadis)inalistofdottedrhythm,duplemeterentres
withonestepunitpermeasure.Allofthesedancesincludestepssuchascaprioles,demi
caprioles,entrechats,multiplepirouettes,orotherornamentedjumpsandturnsthatarenotoften
foundinextantdancesforwomen.Itisworthnoting,however,thatinmusicaltermstheActII
entrefortheAmazonswouldalsoappeartobesuchanentreorentregravewereitnotforthe
tempoindicationgai.
51JrmedeLaGorce,GuillaumeLouisPcour,abiographicalessay,DanceResearch8,no.
2(1990):326.
52ThedancingmasterPierreRameaulaterwrote,somewhatambiguously,thatPcourfitbien
ttvoirquilavoitungeniesuperieur.Ilavoitbesoindetoussestalents,pourremplacer
dignementleMatre[Beauchamp]quilavoitprcedmaisilenvintboutparlavarietinfinie
&parlesnouveauxagrmensquilprtaauxmmesBallets,queBeauchampavoitdjafait
executer.PierreRameau,Lematredanser(Paris:Villette,1725),xiv.
53EntrepourunhommeetunefemmedanceparMonsieurBalonetMademoiselleSubligny
lOperadePerse(LMC4800),2ndEntredePersdanceparlesmemes(LMC3080),and
PassacaillepourunhommeetunefemmedanceparMonsieurBalonetMademoiselleSubligny
lOperadePerse(LMC6500)inRecueildedancescontenantuntrsgrandnombresdes
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26.3.2015
meilleursentresdeballetdeMonsieurPcour&receilliesetmisesaujourparMonsieur
[RaoulAnger]Feuillet(Paris:Feuillet,1704),916,97108,7990areavailableonlineasnos.
146athttp://www.earlydance.de/choreograph/index.php?vw=content&book=2thecollection
mayalsobefoundonlinebysearchinghttp://memory.loc.gov/ammem/dihtml/dihome.html.
SevenotherduosbyPcourforBalonandSublignysurvive.One(LMC1200)waspublishedin
1702theothersix(LMC2640,2660,2680,4100,4160,4400)werepublishedin1704.Thereare
alsofoursolosforSublignypublishedin1704andca.1713(LMC4120,5020,6540,6560).For
briefbiographiesofBalon(alsospelledBallon)andSubligny,seeRgineAstiersarticles
undertheirnamesintheInternationalEncyclopediaofDance.
54EntrededeuxhommedanceparmessieursMarceletGaudraualoperadepers(LMC
2940),inNouveaureceildedancedebaletcelledeballetcontenantuntresgrandnombresdes
meilleuresentresdeballetdeMonsieurPcour&receilliesetmisesaujourparMonsieur
Gaudrau(Paris:Gaudrau,[ca.1713]),914availableonlineat
http://gallica.bnf.fr/anthologie/notices/00547.htm.GaudrauscareerisoutlinedinRgineAstier,
MichelGaudrau:undanseurpresqueordinaire,LesGotsrunis,Numrospcial:LaDanse,
Actesdupremiercolloqueinternationalsurladanseancienne(Besanon,1982):5965.
55HarrisWarrick,ContextsforChoreographies,43840andBurgess,55961.
56TheRigaudoninLeMariagedelagrosseCathos,forexample,isadanceforthebridegroom
andagroupoffourwomen,alldancingsimultaneouslythewomen,however,danceasagroup
whilethebridegroomdancesdifferentstepsandpatterns,untilthefinalsectionwhenallfive
dancersdanceasonegroup.HarrisWarrickandMarsh,MusicalTheatre,1534.
57Whileallthesurvivingnotationsof[dancedpassacaillesandchaconnes]areforoneortwo
soloists,intheiroperaticcontexttheywerealwaysperformedbylargergroups.Burgess,560.
58Parfaict,4:1078,givesaslightlydifferentlistfromthatinthelibrettobutonestillnumbering
fourteendancers.
59Notationsforgroupdanceswithfairlyrepetitivestepsfortheballroomemployasimplified
formoftheBeauchampFeuilletnotationsystemsee,forexample,RaoulAngerFeuillet,Recueil
decontredances(Paris:lauteur,1706reprint,NewYork,BroudeBros.,1968).Thishowever
wouldnothavebeensophisticatedenoughtorecordthecomplexitiesoftheatricaldance.In1688
JeanFavierusedhisown,conceptuallydifferent,notationsystemforLeMariagedelagrosse
Cathos,whichcontainscomplexgroupdances.SeeKenPierce,DanceNotationSystemsinLate
17thCenturyFrance,EarlyMusic26(1998):28699.
60Burgessdocumentssuchadistributionofsoloistsandgroupinlaterproductions,notingthatby
the1730sitappearstohavebeencommonforchaconnesandpassacaillestoincludesectionsfor
solodancersinterspersedamongstsectionsinwhichseveraldancersperformed,andthatthese
visualcontrastsechoedaudiblecontrastsinthemusic.Burgess,5623.
61Seeref.46foraspecificlinkbetweenVenusandthePassacailleinPsych.SeealsoAnthony
LAbbsPassagaliaVenus&Adonis,createdinEnglandforHesterSantlowduringthefirst
quarteroftheeighteenthcentury,inANewCollectionofDancescomposedbyMonsieurLAbb,
intro.byCarolG.Marsh,MusicforLondonEntertainment16601800,ser.D,vol.2(London:F.
LeRoussau,ca.1725reprint,London:Stainer&Bell,1991),4656(LMC6580).Allofthe
extantnotatedpassacaillesexcepttheonefromPersewereforfemaledancers(seeLittleand
Marsh,p.161).
62BettyBangMather,DanceRhythmsoftheFrenchBaroque(Bloomington:IndianaUniversity
19/20
26.3.2015
Press,1987),1204,arguesthatthepassacailleforPerseisadancedepictingformal
courtship,buttheanalysisgivenisnotconvincingandittakeslittleaccountofthewidercontext
implicitintheopera.
63HarrisWarrick,ContextsforChoreographies,433,44652.
VideoExamples
Video1:Lully,Perse,ActI,scene5,SecondAirandThirdAirfromtheJeuxjunoniens
Video2:Lully,Perse,ActV,scene8,Passacaille
Video3:Lully,Perse,ActII,scene10,EntredeDivinitsinfernales
Tables
Table1:AppearancesbyDancersinPerse
Table2:HypotheticalDivisionbetweenDuoandLargerGroupinPcoursPassacailleforPerse
(1703)
HowtociteanarticleinJSCM
Copyright2005bytheSocietyforSeventeenthCenturyMusic.Allrightsreserved.
ThisdocumentandallportionsthereofareprotectedbyU.S.andinternationalcopyrightlaws.
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