Louis_Xiv

Dance prior to Louis XIV was very different to what we recognise as dance today. This essay will explore how dance was changed throughout the reign of Louis XIV as well as the effect that he himself had on dance, especially focusing on the rise of the professional dancer. It will look specifically at Catherine de’Medici, Moliere, Lully and Beauchamp. In the past dance was not performed by professionally trained people, instead it was usually nobility whom were amateurs. Members of the aristocracy would often lead these communal dances as a type of banquet, which often lasted up to four or five hours. The entertainment was performed between courses. The entertainment was a mixture of all the arts from instrumental music, to masked performers. The dancing itself was very sedate and dignified. This was linked to the fact that the dancing was in single sex groups, both male and females performed but not at the same time. The performances were intended to show grace and decorum, compared to today’s dancing, which is based on strength and flexibility. Another key difference in the early decades was that the performance area was a hall with the audience viewing from above as this was before the proscenium arch stage. This brought the attention to the floor patterns being created by the dancers as opposed to the movements in particular. Much of the dance was restricted by the costumes of the time which were based on the fashion and court dress of the day. The arts were greatly related at this time in that the displays included a great range from poetry to dance. This meant the founding of The Academic de Musique in 1570 had a great effect on the development of the court ballet. At the same time Catherine de’Medici was said to have brought a change in dance over from Italy an example of which being ‘Le Paradis d’Amour’ in 1572. Hertitier (1963) explains how she was taken well by the French Royals and her work was used for many special occasions. In this time the court ballet was not seen as just light hearted entertainment, instead the dances were symbolic. They viewed dance as a way to have an effect on the audience through the ideas portrayed within the pieces. The motive behind these dances was to worship those in power such as the King, which at this particular time was Louis XIV. From a young age Louis XIV showed a strong interest in the arts, especially with dance in particular. He often took the lead role within the ballets. Ambrosio wrote “He was the King of France from 1643-1715 and during the time commissioned many ballets that he himself performed in.” (2008) He was a young boy when he made his debut. His most famous performance was within the ‘Ballet de le Nuit’ in 1653 when he was barely a teenager. This was such a spectacle it included four parts and there was a huge variety of characters, just some of which include goddesses Venus and Diana, witches, shepherds and thieves. Au explains “The coming day was heralded by the Rising Sun, played by Louis in the first of his many impersonations of the sun god.” (2002, pg.19) This role embodies many characteristics which he wished people the see of him as a King. Saint-Simon (1972) and Kearney (1965) suggests some of these characteristics were his courage, grace and natural charm. Mitford explains “All speak of his noble look and extraordinary grace.” (1966, pg.24) This performance gave him a new name being ‘The Sun King’. His final display was ‘Les Amants Magnifiques’ in 1670, playing the roles of Neptune and Apollo. This was the turning point for the professional dancer, as at this time nobles felt performing had lost its status once Louis had retired. Although Louis had already had a great effect before this time, by establishing the Academic Royale de Danse in 1661. Dance by this time had developed and become more about characterisation. Nobles now enlisted performers often from street entertainers or from other backgrounds such as aerobatics. Dance was no longer restricted to aristocrats as it was now based on ability as opposed to priority or rank. This was also about the time that the proscenium arch stage was fashioned. This created an ambience by separating the performers from the audience. The spectators now began to marvel over the capability of the dancers. Professional dancers began to progress in technical accomplishment which required a high level of training. This was the beginnings of ballet as we know it today including pirouettes, cabrioles and entrechats. In the same year that Louis XIV established the Academic Royale de Danse, Moliere wrote ballets which were seen as the cross over between the traditional court ballets and theatrical ballet as seen on stage today. He had a great effect in changing theatre including all of the arts. As Bradby suggests “Moliere had succeeded in modernising the form of the verse comedy.” (1991, pg.VII) which is further informed by Prest ‘Molière’s comédies-ballets, works which are characterized by the inclusion of music and dance and which were written to be premiered before Louis XIV and his court’. When he found himself with too few dancers, he combined the ballet and the play which was received well by the audience. Continuing Moliere’s efforts to expand dance was the director of the Academic de Musique, Lully. Another Italian who became famous in France, due to his gift in both dancing and music. He built a group of dancers within the Academic whom were all male. The female roles were taken by males although females were performing at this time. Ballet and Opera were still a joint entity meaning Lully’s group both danced and sang. Most of the action within the pieces was conveyed through the song as there was a lack of professional dancers. Working along side Lully and Moliere was Beauchamp. Who became the dancing-master of The Academic Royale de Musique and Danse. As well as his choreography, he is recognised for establishing the five positions of the feet which are still used to this day in classical ballet. Turn out was also used frequently by professional dancers of the time. In addition to this Beauchamp was also well known for his teaching methods of the time. He taught the first female dancers who made an appearance in 1681. Many of the old beliefs were still held such as women possessing qualities of grace and decorum meaning female dancing was still more sedate then that of the males. However, it was required of all professional dancers to present the performance with ease. Over and above this Beauchamp was approached by Louis XIV himself in the 1670s, to create a form of dance notation. Although he was not credited for publishing it, he aided the work of Feuillet. After Beauchamp’s retirement in 1687 many of his former students went on to follow his work and became famous themselves. Eventually in 1713 Louis XIV established a permanent dance ensemble at the Opera and the school of dance connected with it. Shennan states “Under his aegis France became the cultural leader of Europe.” (1986, pg.48) Louis XIV had an undeniable effect on the rise of the professional dancer. His love of dance lead many people under him to change the way dance was seen in the public eye. Although within Louis’ time dance had changed from exclusively aristocracy to professional dancers it continued to evolve after his time. Dancers were still restricted by costumes and masks; this continued to change and is still changing today. Bibliography: Ambrosio. N (2008) Learning about Dance, Dubuque: Kendall/Hunt Publishing Au. S, (2006) Ballet and Modern Dance, London: Thames and Husden Bradby. D (1991) Landmarks of French Classical Drama, Reading: Cox & Wyman Ltd. Heriter. J (1963) Catherine De Medici, London: George Allen & Unwin Ltd. Kearney. H (1965) Louis XIV, London: Green and Co Ltd. Mitford. N (1966) The Sun King, London: Hamish Hamilton Limited Prest. J (2001) Saint-Simon. D (1972) Description of Louis XIV in Church. W (ed.) The Greatness of Louis XIV United States of America: D.C. Heath and Company Shennan. J (1986) Louis XIV, London: Methuen & Co Ltd.