Dance and Costumes. Elna Matamoros

fig. 2.6 - Anne Auretti's posture is very similar to that of La Camargo in Lancret’s oils. The cut of the dress, the lower folds of the overskirt, the length of the pannier and the design of the sleeves are also similar. The pannier, considerably larger than that of La Camargo, shows the evolution of the fashion of the time.

      60 “Auretti, Anne,” in HIGHFILL-BURNIM-LANGHANS, A Biographical Dictionary of Actors…, 1973, and SCHNEIDER, Index to the London Stage… 1979.

      61 vid. infra, chap. 3.

      62 Literally “elevated”; standing on toes.

      63 KIRSTEIN, Fifty Ballet Masterworks… 1984, p. 35.

      64 CHRISTOUT, Le Ballet Occidental… 1995, p. 44.

      65 Isadora Duncan (1878-1927) revolutionized the dance world with her choreographies, that were free from any kind of academic technique; she was also the first performer to dance barefoot on stage. vid. infra, chap. 9, “Isadora…”

      66 CHRISTOUT, Le Merveilleux et le ‘théâtre du silence’… 1965, p. 95.

      67 CHRISTOUT, Le Ballet Occidental…, p. 45.

      68 fig. 2.7 - The fine fabrics that cover Marie Sallé's body, free of pannier and corset, allow the viewer’s eye to guess the dancer’s shapes, and make her comfortable to dance.

      69 CHAZIN-BENNAHUM, The lure of perfection… 2004, p. 44.

      70 Ibid., p. 45.

      71 Compendium of essays, each in the form of a letter, which Noverre published in various editions –adding new letters, but also sometimes deleting others– between 1760 and 1807. In our study we will use –and quote for it– the last edition published during his life since it is significantly the most complete: Lettres sur les Arts Imitateurs en général, et sur la Danse en particulier… 1807, in 2 vols. The comparison, in addition, of the same letter in diverse editions, clearly shows a more categorical and precise stance of Noverre in his last revision.

      72 NOVERRE, Lettres…, ed. cit., vol. 1, pp. 313-319, 326-334 & 336-337 (Let. XXIII, “De l’Expression de la figure ; inconvénient des Masques”).

      73 Ibid., vol. 1, pp. 304-310 (Let. XXII, “Des Ballets d’Opéra”).

      74 “The Ballet Master –he already writes in the Preface– leaping beyond the limits of the material of his art, seeks in these same passions the movements and gestures that characterize them; and, by linking the steps, gestures and expression of the figure to the feelings he wants to express, he finds in the combination of all these means the one to achieve the most astonishing effects. We know how far the ancient Pantomimes pushed the art of moving by gesture”…, Ibid., p. IX; see also vol. 1, Let. I (“Origine et Progrès des Arts Imitateurs”), pp. 15-27, Let. VI (“Des Spectacles des Anciens, et sur-tout de la Pantomime”), pp. 91-99, Let. IX (“Renaissance de l’Art de la Danse”), pp. 124-134.

      75 CHRISTOUT, Le Ballet Occidental…, p. 49.

      76 Perhaps his most complete biography is the one written by a non-direct descendant of him: Charles-Edwin NOVERRE, The life and Works of the Chevalier… 1882.

      77 The Lettres sur la danse by Bournonville [cit. supra, chap. 1, nt. 6] follow, for example, the structure and models of those by Noverre.

      78 At the time, ballet master, choreographer and general manager of casts and choice of repertoire entrusted to him.

      79 cit. supra, nt. 72, ed. cit., vol. 1, pp. 313-348.

      80 “Des costumes,” Let. XXVI of the cit. ed. [the numbering of letters, not only the number of them, varies from edition to edition], vol. 1, pp. 372-387.

      81 “The opera is only made for the eyes and ears; it is less the spectacle of the heart and reason, than that of variety and amusement. However, it could be given a more interesting form and character […] I would simply say that the dance, in this show, should be placed in a more advantageous day. I will only argue that opera is its element, that it is there that art should take on new strength, and appear with most advantage; but, by a misfortune born of the stubbornness of poets, or the clumsiness of ballet masters, the dance in this performance is meaningless and says nothing; it is, in a thousand circumstances, so unrelated to the subject, and so independent of the drama, that it can be suppressed, without altering the interest, without interrupting the progress of the scenes, and without cooling their action.” NOVERRE, ed. cit., vol. 1, pp. 273-274.

      82 Ibid., p. 304.

      83 “What can we say about these tonnelets […], which in certain positions of the dance, placed the hip on the shoulder, so to speak, eclipsing all its contours[?].” Ibid., pp. 305-306.

      84 The word used by Noverre is “taille.”

      85 NOVERRE, ed. cit., vol. 1, p. 306.

      86 Ibid., pp. 373-375.

      87 For further discussion, see MCCORMICK, “Mask and Makeup / European Traditions,” in International Encyclopedia of Dance…

      88 Ibid., p. 313.

      89 Ibid., pp. 316-317.

      90 fig. 2.8 - Deshayes and D’Egville show here an acrobatic position of great difficulty at the time.

      91 HORST, Pre-classic Dance Forms… 1937, p. 22.

      92 [TABOUROT], Orchésographie… 1589, pp. 63v-65v. The revis. & augment. ed. of 1596 had the significant subtitle of “Method and Theory… to learn to dance, to play the drum in all kinds & diversity of drums, to play the sistrum and arigot… To be welcomed in all joyful companionship and to show its dexterity and agility of body.”

      93 Note that similar footwear is also worn by the two dancers of the engraving of pl. XIV, from Carlo Blasis’ Traité élémentaire…, included in this chapter [fig. 2.10].

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

      95 BLASIS, Traité élémentaire… 1820, planche IX.

      96 fig. 2.9 - Mercurio volante, 1580.

      97 fig. 2.10 - The main interest of this image is in the position of the dancers; we see that the height of legs and the angles of inclination in the arms of both are identical, in a very perfected pose.

      98 “The illustrations are drawn by Mr. Casartelli, and engraved by Mr. Rados,” is noted by Blasis himself in explaining to the reader his choice of clear and precise figures rather than “a long and tiring description of the movements.” BLASIS, Traité…, p. 16. About Casartelli’s drawings, cfr. PAPPACENA, Il rinnovamento della danza… 2009, chap. 1, “I disegni di Casartelli e gli schemi geometrici.”