Dance and Costumes. Elna Matamoros

perform later without support.

      18 LAVER, The Concise History… 1969, augm. 1982, p. 91.

      19 PRATT-WOOLLEY, Shoes… 1999, p. 16.

      20 Although the specific idea of audience was not forged until the 18^th century in Europe, with the rise of the bourgeoisie first and the idea of democratising access to culture later, it became one of the fundamental ingredients in artistic production; contemplation, appreciation, the privileged meeting between the spectator and the artist during the performance…, are elements that have gradually modified the process of artistic creation. cfr. JIMÉNEZ, Teoría del Arte… 2010, pp. 144-155.

      21 AU, Ballet and Modern Dance…, p. 23.

      22 At the Louvre Gallery, with libretto by Isaac de Bensérade and music by Jean- Baptiste Lully, with the collaboration of Beauchamp and Dolivet for the dance airs; vid. BENSERADE, Ballet Royal de l’Impatience… 1661. For further discussion, cfr. CHRISTOUT, “Benserade, Isaac de,” in International Encyclopedia of Dance…

      23 FOLLIOT, “Le costume comme support…”, 1997, p. 19.

      24 She did, according to Mlle Poisson, “remarkable capers, because we could see her legs and part of her thighs, by means of her skirt, split on both sides, with silk stockings attached at the top of a small panty”; apud WITKOWSKI - NASS, Le nu au théâtre… 1909, p. 57.

      25 With music by Pierre Beauchamp, also author of the choreography, and Jean-Baptiste Lully, premiered at the Château de Vaux-le-Vicomte on August 17, and shortly after performed in Paris (November 4) at the Théâtre du Palais-Royal. There is a publication dated one year later: Les Fâcheux. Comédie de I.B.P. Molière… 1662.

      26 vid. infra, chap. 3.

      27 fig. 2.3 - The fame of La Camargo made Lancret portray her in a gallant festive atmosphere, performing the steps that made her famous.

      28 GUEST, The Romantic Ballet… 1966, reed., p. 17.

      29 As reported by his sister, Bronislava Nijinska; apud ACOCELLA, “Nijinsky, Vaslav,” in International Encyclopedia of Dance… 1998. About Nijinsky dancer, vid. infra, chap. 3 and chap. 12.

      30 vid. infra, fig. 3.11.

      31 GUEST, The Romantic Ballet…, p. 12.

      32 Choreography by Françoise Prévost, music by Jean-Ferry Rebel. It is a suite of solo dances premiered by Prévost herself at L'Opéra in Paris in 1714. After preparing it with La Camargo 1726, she would take it up again three years later, in 1729, with Marie Sallé.

      33 FOLLIOT, “Le costume comme support…,” p. 19.

      34 In addition to the above-mentioned painting [fig. 2.3], from the National Gallery of Art in Washington, at least two other different versions of the same work, with a similar title: Mademoiselle de Camargo dancing; one at The Wallace Collection in London and the other at the Hermitage in St. Petersburg. In these other two, La Camargo appears without any accompanying dancer, and flanked only by musicians.

      35 They clearly show the volume of the pannier, the movement of the overskirt and the low-cut shoe that allows the raising of the foot sur la demi pointe.

      36 Literally, “basket,” the name it received because it was generally made of wicker rods.

      37 LAVER, The Concise History of Costume…, p. 130.

      38 Literally, “in the neck of the foot,” referring to the ankle.

      39 vid. supra, chap. 2.

      40 BOURNONVILLE, Études Chorégraphiques… 1848-61, K.A. Jürgensen & F. Falcone (eds.) 2005, p. 271. There are three handwritten versions of the Bournonville Études, dated 1848, 1855 and 1861, respectively; the 1848 version is very focused on the historical and aesthetic analysis of dance, the 1855 version gives priority to the technical part of the choreographic annotation, and the 1861 version is more pedagogical and didactic; Jürgensen explains it in the cited edition, which gathers the three originals.

      41 cfr. DACIER, “‘Les Caractères de la Danse’. Histoire…”, 1905, p. 324.

      42 MATAMOROS, Augusto Bournonville…, p. 188.

      43 A garment designed to prevent inconvenient parts of their anatomy from being exposed; vid. infra, chap. 3.

      44 Position in which the dancer lifts one of the legs behind the body; we assume this is the gesture depicted in the painting; we can see in the figs. 2.8 and 2.10 different ways of executing it.

      45 WILLET-CUNNINGTON, The History of Underclothes… 1992, pp. 70-71.

      46 SALLEN, Corsets. Historical Patterns… 2008, p. 11.

      47 MATAMOROS, Danza-Cuerpo. Diálogo… 2008, p. 5.

      48 fig. 2.4 - Above, stage sleeve pattern; below, dotted, the standard sleeve cut; on the right, the extra part of fabric that is added to the sleeve; it is sometimes called “shield” because of its original rhomboidal shape, although it is sometimes designed as a curved extra piece of fabric. Also figs. 2.5 (a & b) - Details of a male stage jacket. On the left, movement of a sleeve to which an extra piece has been added under the armpit, whose pattern is reproduced in the previous figure (2.4). On the right, way in which the movement of the same sleeve would be limited without the extra fabric.

      49 Literally, “arm movement.”

      50 ECHARRI-SAN MIGUEL, Vestuario teatral… 1998, reed., p. 109.

      51 HART-NORTH, Historical Fashion in Detail… 1998, p. 90.

      52 In addition to those already commented about choreographic creation, another of the reforms of the great Noverre was, as we have already advanced, to free the dancers from the great wigs and masks that hindered their work; the dance will find itself closer and closer to achieving an adequate technical and artistic interpretation; vid. chap. 2.

      53 BRUHN-MOORE, Bournonville and Ballet Technique… 1961, reed., p. 42.

      54 A recognition so widespread that we find it even in didactic or divulging publications; e.g. HASKELL, Prelude to Ballet… 1936, transl. & augm., ¿Qué es el ballet?… 1973, p. 31.

      55 PRATT-WOOLLEY, Shoes…, p. 40.

      56 O`KEEFFE, Shoes: A Celebration… 1996, p. 79.

      57 Camargo style.

      58 “Dresses,