dances in lullys persee journal of seventeenth-century music _ vol. 10 no

26.3.2015 JournalofSeventeenthCenturyMusic|Vol.10No.1|TheDancesinLully'sPerse,KenPierceandJenniferThorp

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ISSN:1089747XCopyright19952012bytheBoardofTrusteesoftheUniversityofIllinois

Volume10,no.1:

KenPierce*andJenniferThorp**

TheDancesinLullysPerse***

Abstract

Frenchdancetheoristsfromthe1680sandlaterdifferentiatedbetweentheordinary(formal)andtheimitativeaspectsoftheatricaldance.Theirdescriptions,evidencefromscoresandlibrettos,andcommentariesondancinginvariousoperasprovideinsightintothecontextandfunctionofdancesinLullysoperaPerse(1682).Dancesmayexpressgeneralrejoicing,extendorsuspendstageaction,oraccompanymagicalstageeffects.Dancesinteractwithsolosongsandchoruses.ExtantchoreographiesbyPcourforthe1703and1710revivalspresumablyreflectaspectsofdanceinLullysday,albeitwithflexibilityconcerningthenumberofdancersandtheirspatialconfiguration.

1.Introduction

2.WritingsonTheatricalDancingduringtheLateSeventeenthandEarlyEighteenthCenturies

3.TheEvidenceofDanceintheScoresandLibrettosofPerse,16821710

4.ExtantDancesfromPerse

5.Conclusion

References

VideoExamples

Tables

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1.Introduction

1.1DanceplayedasignificantpartinallofLullystragdiesenmusique,andPerseincludesmanyinstancesofdanceandstagemovementperformedbydancers.PremieredatthePalaisRoyaltheaterinParisinApril1682,PersewasrepeatedatVersaillesinJulyadditionalperformancestookplaceinParisoverthecourseofthenextcentury.1Verylittleinformationonthedancinginthe1682productionsurvivesbeyondwhatappearsinthescoreandlibrettopublishedthatyear.2Thescoreidentifiescertaininstrumentalpieceswithineachactasdancepieces,eitherbynamingaspecificdancetype(suchasGavotte)orwithamoregeneraltitle(EntreorAir).3Ineithercasethetitlemightalsonamecharacterswhodance(forexample,EntredesFantosmes).Thelibrettodescribesthesettingforeachactandthemainactiononstageineachscene,butgivesonlyvaguereferencetodancingforexamplebythestandardphrase,Theydemonstratetheirjoybysinginganddancing(ilstmoignentleurjoyeenchantantetendansant).

1.2Neitherthescorenorthelibrettoforthe1682productionnamesanydancers,althoughweknowfromlatersourcesreferringtothatproductionthatthetwoleadingsoloistswereMademoiselleLafontaineinActIVandMonsieurPcourinActV,andthatMademoiselleDesmatinsmadeherdebutinthatproductionasadancerandsinger.4Wedonotknow,exceptinverygeneralterms,whothechoreographerswereforanyofthetragdiesenmusiqueperformedinLullyslifetime,whatformthedancestook,norhowmanydancerswereonstageatanygivenmoment.Librettosfromlaterproductions,however,providemorecompletecastlistsofdancers,actbyact,andthereareanumberofextantchoreographiesbyGuillaumeLouisPcour(whohaddancedinmanyoftheoperasinLullysday)fortheParisrevivalsofLullysoperasafter1700.5InthecaseofPersethebestdocumentedrevivalsarethoseof1703and1710,andthoughwecannotknowhoworwhethertheextantchoreographies,orthenumbersandgroupingssuggestedbythecastlists,reflectwhatwentonintheoriginalproduction,theydosuggestthatmuchofthedancingfollowedtheconceptsdescribedindancetreatisesandwritingsontheatricaldanceofthelateseventeenthandearlyeighteenthcenturies.Thus,thereseemsgoodreasontolookatallthesesources,bothfromLullysdayandfromthefirstquarteroftheeighteenthcentury,inanefforttounderstandtheplaceofdanceinlateseventeenthcenturyLullianopera.InthisarticlewediscussthosesourcesunderthegeneralheadingsofwritingsontheatricaldancingthescoresandlibrettosofPerse,16821710andextantchoreographiesfromthe1703and1710revivalsofPerse.

2.WritingsonTheatricalDancingduringtheLateSeventeenthandEarlyEighteenthCenturies

2.1In1682ClaudeFranoisMenestrieridentifiedthreesortsofmovementintheatricaldance:steps,figures,andexpressions(lesportsducorps,lesfigures,lesexpressions).HisdefinitionsforthesewerereiteratedbythedancetheoristJacquesBonnetin1724.6Thus,itappearsthatthesecategorieswereinusethroughouttheperiodofParisproductionsdiscussedinthisarticle.Thefirst,lesportsducorps,comprisesthestepsofBaroquedanceandtheharmoniousmovementsofwhichtheyarecomposed:turning,beatingthelegs,springing,rising,andsoon.Thesestepsandmovementsarefamiliartodancehistoriansfromnotationsystemsandtreatisesoftheperiod.7Dancingmastersattheturnoftheeighteenthcenturyapparentlythoughtintermsofarelativelysmall,fixedvocabularyofdiscretestepsthatcouldbecombinedinvariouswaystocreateadance.8

2.2MenestrierandBonnetssecondcategory,lesfigures,referstothespatialpatternsofthedances.Forexample,thedancerscanbefacingforwardbacktobackinacircle,semicircle,square,orcrossmovinginstraightorcurvedlineschasingorfleeingoneanotherorinterweavinginfact,therecanbeasmanydifferentdancesastherearegeometricfigures.Allof



thesespatialpatternsarefoundinextanttheatricaldances,mostofwhicharenotatedforoneortwodancers.Withonlyoccasionalexceptions,thepatternsaresymmetrical.Regrettably,thereareonlyafewextantexamplesofnotatedtheatricaldancesformorethantwodancers9inthese,too,wefindahighdegreeofspatialsymmetry.

2.3Thethirdcategory,lesexpressions,isdefinedasactionsthatindicate(quimarquent),examplesbeingtheactionsorcharacteristicmovementsofblacksmiths,boatmen,drunks,wrestlers,andsoon.Thereisscopefordifferentrelatedactionstohappensimultaneously,as,forinstance,inabattledancewhereonegroupofdancersmightdeliverblowswithswordsorclubswhileanothergroupparriesthemwithshields.10

2.4TheabbDubos,writingin1719,employedslightlydifferentcategories,dividingstagedanceintoordinaryandimitative.11Althoughwritingatagenerationsremovalfromtheevents,andperhapsinfluencedbyhisdeeprespectforLully,DubosclearlyhadastronganddetailedknowledgeofFrenchoperaanddance.HiscommentsconcerningLullysattitudetowarddancethereforemeritourattention.Dubosclaimedthatsixtyyearsagofauns,shepherds,peasants,Cyclops,andTritonsdancedalmostuniformly,butnowadays[i.e.,by1719]danceisdividedintodifferentcharacters,eventhefemaledancersadoptingcharacterizationasthemendo.12ThischangeheattributestoLully,whoindividualizedthedancestoreflectthecharacterizationofhismusic,sometimeschoreographingthedanceshimself.Forexample,DubosrecountsthatLullycomposedthestepsandfiguresfortheChaconneinCadmusetHermione(adanceinwhichanAfricanplantsapalmtreeinthemiddleofthestage,thetreeisdecoratedwithgarlands,andfourgiantsalsoappear)becausehefeltthatPierreBeauchamp,hisusualchoreographer,wasnotatallabletoenterintothecharacterofthemusic.13Dubosalsonotesthatsixmonthsbeforehisdeath,LullychoreographedadanceforCyclopsinAcisetGalate.14

2.5Inseveralofhisoperas,Lullyprovidesoccasionforimitativedance.Dubosreferstothesedancesashalfchoruseschoruseswithoutwordsandexplainsthathemeansballetswithalmostnodancesteps,madeupinsteadofgesturesandimitativemovements(dmonstrations).HecitesasexamplesthedanceoftheOldMeninThsethefuneralprocessionsinPsychandAlceste,bothofwhichcallforgriefexpressedbymeansofgesturestheSongesfunestes(BanefulDreams)fromAtysandtheshiveringsceneinIsis.DubosnotesthatthesestagemovementswerechoreographedbydOlivetratherthanbydesBrossesorBeauchamp,whomLullyemployedforordinaryballets.Heconfirmsthattheseimitativedancesweresuccessfulintheirday,eventhoughexecutedbydancersunaccustomed,andnotalwaysreceptive,toLullysdemands.15

2.6FollowingLullysdeathin1687,therewasanotherchangeintheapproachtochoreographyattheOprainParis.BeauchampleftandPcourtookoverasresidentchoreographer.TheRecueilgnraldesopraof1703notesthatPcoursharedresponsibilitywithLetangforthechoreographyofThtisetPele(byPascalCollasse,1689),butthatthereafteritwasPcouralonewhocreated(oratleasttookthecreditfor)allthedancesthatwereperformed,eitheratcourtorinParis,whetherinnewoperasorinrevivalsofoldones,andinftes,ballets,andsoon.16Inotherwords,therewasachangefromsharedresponsibilityforchoreographytoindividualresponsibility.Nolongermightthedancesinagivenoperabetheworkoftwoormorechoreographers,possiblyincludingthecomposerhimself,workinginverydifferentstyles.

2.7Inexaminingtheextenttowhichthesecomponentsoftheatricaldancesteps,figures,orimitativeactionsmightbeusedtodescribedancesinPerse,wehaveadoptedDubosstermordinarydancetorefertoadancewithconventionalstepsandfigures,andhistermimitativetorefertomovementincorporatinggesture,mime,orotheractionsintendedtorepresentagivencharacter.DubosseemstosuggestthatthesetwocategoriesaredistinctandmutuallyexclusivethefactthatLullysometimesemployeddifferentchoreographersforthesetwotypesreinforces



thisview.Butitmaybethatinsomecasesanordinarydancecouldincludeimitativemoments,oranimitativedancemightincludeordinarysteps.17

3.TheEvidenceofDanceintheScoresandLibrettosofPerse,16821710

3.1Primarysourcesforthediscussionthatfollowsincludethe1682and1710scoresandthelibrettospublishedfortheParisproductionsof1682,1703,and1710.18

3.2AppearancesorpossibleappearancesbydancersinPerseareshowninTable1.Thelibrettoexplicitlycallsfordanceineveryactexceptthethird,andthemovementcalledforinthatactflying,risingupintotheair,climbing,runningwouldverylikelyhavebeenperformedbydancersaswell.19Comparisonwiththescoreshowsthatseveraloftheseinstancesofdancearequiteextensive,withmusicformorethanasingledance,orwiththesamedancemusicplayedmorethanonce.Lullysometimesemploysapalindromestructure,inwhichtwoormorepiecesareplayedinorderandthenallbutthelastarerepeatedinreverseorder.(See,forexample,no.3inTable1,apalindromicsequencefollowedbyachorus.)

3.3Topresentdancedpassagesintheirlargercontexts,Table1showssomevocalmusicthatoccursbetweendances,orthatimmediatelyprecedesorfollowsthem.Thisisnottoimplythattherewouldofnecessityhavebeendanceduringvocalmusic.ThereisnoevidencethatLullywouldhavewanteddanceduringvocalsolosorduets.Ontheotherhand,thereisevidencetosuggestthatdanceduringchoruseswouldsometimeshavebeencalledfor.SeveralofthechorusesinPersehaveinstrumentalinterludes,sometimesquiteextensive,thatmayhavebeenintendedfordance.Incertaininstances,notablyinachorusattheveryendofadivertissement,itmayevenhavebeenappropriatefordanceandsongtohappensimultaneously.20

3.4WeseefromTable1thatwhenthelibrettocallsexplicitlyfordancing,thecharacterswhodanceareeitherhumanswhodanceforreasonsrelatedtothestorycelebration,propitiation,preparationforsacrificeoridealizedorotherworldlybeingsforwhomdanceisanormalandexpectedmeansofexpression.Whenthelibrettomerelysuggestsmovementthatwaslikelyperformedbydancers,suchastheflyingmentionedabove,orthecombatbetweenthefollowersofPerseandthoseofPhine,thecharactersinvolvedmaybeeithermortal(Table1,no.11)orotherworldly(no.8).

3.5Whetheradanceisordinaryorimitativedependsbothonthepurposeofthedanceinthecontextoftheopera,andonthecharacterswhodanceit.Incaseswherethecharactersdanceforreasonsrelatedtothestory,asinthedivertissementofActIV(no.9),weassumeordinarydances.LikewiseforthedancesofthePrologue,inwhichordinarymovementwouldsurelysufficetoamplifythecharactersofVirtueandFortune,andtodelineatethecontrastbetweenthem.TheAirpourlesSacrificateurs(no.10)inActVmayhavebeenprocessionalorinotherwaysordinary,oritmayhaveincorporatedelementsofmime.TheEntredesFantosmes(no.8)inActIIIandthecombatbetweenthefollowersofPhineandPerse(no.11)inActVarelikelytohaveincorporatedmimeorotherwisetohavebeenheavilyimitativeinstyle.

3.6Forthefirstsetofdances,fortheFollowersofVirtue(no.1),thelibrettoinstructs,Innocence,theInnocentPleasures,andalltheFollowersofVirtuedemonstratetheirjoywithdancingandsinging.NodancersfortheFollowersofVirtuearenamedinthe1682librettothe1703and1710librettoseachlistsixfemaledancers.Thescoreshowsadance,apassepied,alternatingwiththetwostanzasofavocalsettingofthesamemusic.Theremighthavebeendancingthroughoutallofthis,butitismorelikelythatdanceandsongalternatedratherthancompetingfortheaudiencesattention.Inanycase,eachinstrumentalsegmentwouldprobablyhavemeritedadifferentchoreography.21VarietyinfiguresandstepsequencesisanimportantcomponentofBaroquechoreography,andthoughsomechoreographiesdoemployrepeatedstep



sequences,22thereisnoevidenceofanentiredancebeingrepeatedunchangedatarepetitionorrepriseofthemusic.Moreover,thereisevidencefortwodifferentchoreographiestothesamepieceofmusicusedinthesameproduction.23

3.7SoonafterthedancesfortheFollowersofVirtue,thelibrettoindicatesthatthesceneistransformed(no.2),andthereisheardtheresoundingnoiseofalargenumberofinstruments.Fortuneapproaches,AbundanceandMagnificenceaccompanyher,withrichlyadornedfollowers.AllrejoiceandalldancearoundFortune(no.2).ThemusicisabinaryformmarchfortheFollowersofFortune.Itcouldperhapshavebeenusedsolelyasentrancemusicmorelikely,itwouldhaveprovidedthedancerstheopportunitytoshowoffacontrastingstyleofmovementtothatofthepreviousdances.Itmayhavebeeninamoremasculinestylethatis,involvingrelativelymorejumps,turns,andornamentalbeatsthanthepassepieds:thecastlistsfrom1703and1710showonlywomenintheFollowersofVirtue,onlymenintheFollowersofFortune.

3.8Inthe1682and1710scoresthedirectionsmerelysuggestagroupentrance(MarchepourlesSuivantsdelaFortune),andthisisconfirmedinthe1710libretto,whichlistssixmaledancers.The1682librettoadditionallyindicatesthatagroupdancetakesplaceatthispoint:alldancearoundFortune,afterwhichlaVertusings(Mecherchezvous).The1703libretto,however,listssevennames,settingBlondyapartasasoloist,andthisraisesthequestionofwhenBlondydancedinthatscene.WastheMarchperformedin1703asanentrancedanceforagroup,andthenrepeatedasasolodanceforhim,24ordidtheMarchincludepassagesforbothsoloistandgroup,ordidnosolodancingoccuruntilthedivertissementthatendsthePrologue?Wecannottellfromthesparseevidenceofthescoreandlibretto.

3.9ThePrologueends(no.3)withVirtueandFortuneunited,astheypurportedlywereintheaugustpersonofLouisXIV,towhomtheProloguewasaddressedandastheywouldbeattheendoftheopera,inthemarriageofAndromdeandPerse.25ThelibrettonotesthattheFollowersofVirtueandFortuneunite,anddemonstratetheirjoybytheirdancesandsongs.LikethegroupofpiecesfortheFollowersofVirtue(no.1),thisisanotherextendedpassageofdanceandsong,formingadivertissementwithapalindromestructure,allintriplemeter:anairenrondeauforstringsthenanairforoboes,alsoenrondeauthenavocalsettingofthesecondair,forlaFortuneandlaVertu(Quelheureuxjourpournous!)thentheairforoboesagainandthenthefirstair.Framingthedivertissement,butstandingoutsidethepalindrome,isapairoflargescalechorusesthatmayhaveinvolvedsomedancing.(Thefirstconcludestheprecedingconversationthesecondbelongstothisdivertissement.)

3.10ItseemslikelythatallthedancesintheProloguewereordinarydancesthatis,danceswithstepsandsymmetricalpatterns.Theirpurposeisstraightforward:toelaboratetheentrancesofspecificcharactersandexhibitsharedjoy.

3.11ThedancesinActI(no.4)areusedtorepresenttheJeuxjunoniens,competitionsofferedbyCassiope,QueenoftheEthiopians,toentertainandappeaseJuno,whomCassiopehadangeredbyhervanity.AccordingtoBonnet,theremayhavebeenhistoricalprecedentfordancecompetitions:

Dancewassoesteemedintheearlydays,thatLuciensaysthatitwasnotadmittedintheOlympicgamesbecausetheGreeksdidnotfeeltheyhadprizesworthyofitbutinlatertimestheinhabitantsofColchisaddedittotheirpublicgames:which[practice]passedintouseamongtheGreeks,andtheRomans,andalmostinallthetownsintheworld.26

Accordingtothelibretto,attheendofscene4Andromdesays,TheGamesareabouttostart,letusplaceourselvestoseethem.Inthescoreatitlefollowsherremark:Games[inhonor]ofJuno,inwhichyoungpersonscompeteindance.ThePremierAir(no.4a)ensues,endingthe



scene.Thenextdirectioninthelibretto,TheGamesbegin,withcompetitionfortheprizeindance(no.4b),occursduringscene5,afterCassiopeandthechorushavemadetheirentrance(duringaritournelle).Cassiopehasinvokedthegoddess,andallhavemovedintoplaceforthechorusLaissezcalmer.ItseemslikelythatthePremierAirendingscene4wasnotdanced,butwasusedasprocessionalmusicfortheentranceoftheyoungcompetitors,27foritisinthesamekeyastherestofscene4.Scene5opensinadifferentkeythatremainsthroughoutthesequenceoftheritournelle,thesoloinvocationforCassiope,andapalindromicsequenceofdanceandsong:thechorus(Laissezcalmer)theSecondAir(in3/8,thesamemeterasthechorus)theTroisimeAir,apparentlyabourretheSecondAiragainandfinallyarepetitionofthechorus.Thecompetitorsaresmallgroupsofyoungmenandwomen.28The1703librettonamesfourmenandfourwomenthe1710librettonamessixofeach.Giventheirformal,competitivepurpose,italmostgoeswithoutsayingthattheseActIdancesarealsoordinarydances,withstepsratherthanimitativeactions.ThereareextantnotationsfordancestotheSecondAirandTroisimeAir,whichwediscussatgreaterlengthbelow.

3.12Whatismeanttobethenatureofthesegames?FromCassiopesintroductiontotheGames,welearnthatthedancersrepresentcouplesabouttobemarriedthus,itseemslikelythattheywoulddanceascouples,andthatanycontestwouldbeamongcouplesratherthanindividuals.Cassiopesings,EachwillshowhisskilltocelebratethegamesIvehadprepared(Chacunvamontrersonadresse/Pourcelbrerlesjeuxquejaifaitpreparer)butshedoesnotindicatethatthiswillhappensequentially,leavingopenthepossibilityofagroupdance,inwhichthewinnersarethecouplewhoacquitthemselvesthebest.

3.13TheinstancesofdanceinActII,scenes810(nos.57inTable1),involveCyclops,Amazons(Nymphesguerrires),andGodsoftheUnderworld(Divinitsinfernales),who,accordingtothescoresandlibrettos,arriveatthebehestofMercurywithgiftsforPersetoaidhiminslayingMduse.Ineachcase,themusicalstructureisthesame:instrumentaldance,song,repriseofinstrumentaldance,followedimmediatelybytheopeningdanceforthenextgroupofgiftgivers.Theactualbestowalofeachgiftcanbedispensedwithquickly,presumablyasthesolosingerdescribesthegiftanditspurpose.InthecaseoftheAmazonsgift,inActII,scene9,thelibrettoisexplicit:oneAmazonsingswhilegivingtheshieldtoPerse,andtheothersdance(no.6).Sothedancesdidnotnecessarilyhaveastrongimitative(giftgiving)component.

3.14Thescenedescriptionsinthelibrettosindicatethatthegiftgiversentrancesarecumulative,eachgroupremainingonstageforthenext.Moreover,thepresenceofachorusattheendofscene10makesitclearthateachentranceofgiftgiversincludesagroupofsingersaswellasdancers.Thischorus,inwhichthegiftgiverscallupontheunderworld,theearth,andtheheavenstobestowfavoruponPerse,29endsboththesceneandtheact,andseemsaplausibleoccasionforCyclops,Amazons,andGodsoftheUnderworldtouniteindanceaswell,especiallygiventhatthechorusincludesaninstrumentalinterludeofoverthirtyonemeasures.

3.15FourmaleCyclops,fourfemaleAmazons,andfourmaleGodsoftheUnderworldarelistedinthe1710libretto.Thenumbersandgendersarethesamein1703,exceptthattheGodsoftheUnderworldalsoincludeamalesoloist,MonsieurBalon.Nothingisknownofwho,orhowmany,dancedin1682.

3.16TheCyclopswereVulcansblacksmiths(forgerons),andarereferredtoassuchinthe1703and1710castlistsforPerse.Bonnetsuggeststhecharacterofdanceforblacksmiths:

Themorenaturalthetypesofmovement,themoreagreeabletheyare.ThedanceoftheWindsshouldbelightandquickthatoftheBlacksmithsshouldhaveabeat,andintervalsforstrikingtheanvil.30

Heelaborateslater,withreferencetoLeBalletdesAmoursdguisez:



ActIrepresentedatfirstthegrottoofVulcan,fromwhichemergedeightCupidssowelldisguisedasBlacksmiths,thatonecouldrecognizethemonlybytheirapplicationinmakingdartsandarrowsratherthanotherweapons.31

ThusitappearslikelythattheCyclopsdancesinPerse(gavottes),wereatleastinpartimitativedances,although,notbeinginVulcanscaveatthetimebutemergingfromtheunderworld,itisuncertainwhethertheystruckanvilsintimetothemusic.32ThestagedirectionsinthelibrettosimplyreadSomeCyclopsarrive,dancing,togivePerse,onbehalfofVulcan,aswordandwingedsandalssimilartothoseofMercury(Table1,no.5).However,thereferencetotheirarrivaldancing(endansant)perhapsimpliesthateventhesingingCyclops(MonsieurLabin1703,MonsieurDunin1710)alsoparticipatedinthisdance.

3.17WecanconjecturethatthedancesfortheAmazons(no.6)wereordinarydances,withsteps,butwehavefoundnoinformationthatmightsuggestdetails.Noelementofmimeisimplied,foraccordingtothelibretto,thesingingAmazondoesthegiftgiving:OneoftheAmazonspresentstoPerse,onbehalfofPallas,ashieldofdiamondshesingsasshemakeshimthisgift,andtheotherAmazonsdance.

3.18InconsideringthedancesfortheGodsoftheUnderworld,wenotethatthesefollowersofPlutowerepowerfulbutnotevilliketheCyclopsandtheAmazons,theyweretheretoaidPerse,andthelibrettoexplainsthatGodsoftheUnderworldemergefromhell,carryingPlutoshelmet,whichtheypresenttoPerse.OneoftheGodssingsandtheothersdance(Table1,no.7).33DubosoffersafascinatingpassageaboutdancesforunderworldgodsinAlceste(1674),inwhich(accordingtothelibretto)thefollowersofPlutorejoiceatthearrivalofAlcesteintheunderworld,withasortoffestivalthatincludesaratheranimated(assezanim)danceincommontimeandalourelike6/4air.Hewritesofairscaracterisez,inwhichthevocalmusicandtherhythmimitatethesortofmusicthatisgenerallyregardedasappropriateforcertaintypesofpeople,evenimaginarypersonagesofantiquity.34ThismightsuggestthatthePersedancesfortheGodsoftheUnderworldwouldhavebeenimitativedancesimitative,thatis,ofcommonlyheldideasofhowunderworldgodsmove.Butfromtheextantnotationforthisdanceitappearsthatunderworldgodswereimagined,atleastin1710,tomoveverymuchlikevirtuosoFrenchmaledancersperforminganordinarydance,albeitwithacarefulchoiceofstepssuddendrops,turns,brushes,andsoontoevoketheirsubterraneanandimmortalorigins.

3.19ThenextlikelyappearancebydancersinPerse,theEntredesPhantosmesinActIII,scene4(Table1,no.8),remindsusthatdancerswereoftenusedinscenesrequiringspecialeffects,includingtransformationscenesandtheuseofmachinesandflyingharness.ExamplesaredocumentedfromearlyseventeenthcenturyItaly,35andParisianaudiencesinLullysdayalsoexpectedtoseeimpressivespecialeffects,andratedthesuccessofastagedworkbythem.Thus,amongthecastforAlcestewefindlistedFollowersofPluto,singing,dancing,andflying.36InthePerselibrettos,whichcalledforfourmaledancersin1703(astheFollowersofMduse)andsixin1710,wefindthatChrysaor,Pgase,andseveralothermonstersofbizarreandaweinspiringappearanceareformedfromthebloodofMduse.ChrysaorandPgasefly,someoftheothermonstersalsoraisethemselvesintotheair,othersclimb,othersrun,andallseekPerse,whoishiddenfromtheirviewbecauseheiswearingPlutoshelmet.ThedegreeofactivitysuggestedbythisdescriptioniscorroboratedbythemusicforthisimitativeEntredesPhantosmes,whichisincuttimeandoverflowingwithsixteenthnotes.Presumablythiswasintendedtobeashowstopper.37

3.20ThedancesinActIV,scene7,forEthiopiansandSailors(no.9),representthecelebrationsfollowingPersesrescueofAndromdefromtheseamonster.The1682librettoindicatesthattheEthiopiansclimbdownfromthecliffsandshowtheirjoyinsinginganddancing.Maleandfemalesailorsmingleinthepubliccelebration.OneoftheEthiopianssingsinthemidstofthe



sailorswhodance.Andromde,CassiopeandtheEthiopiansrepeattheversesthatCphehassung,andthemaleandfemalesailorsdanceforjoyattherescueofAndromde.38Onceagainwehaveanextendeddivertissementofsonganddance,withaformdescribedbyLoisRosowasacomplexandlooselysymmetricalstructurethatistypicalofthegenre.39Achorus,withinterludesthatmayhavebeendanced,isfollowedbyagigueadancedminuet(repeatedasavocalsolo)asecondminuet,thisoneenrondeau,withinstrumental,solovocal,andchoralsegmentsalternatingfortwostanzasarepetitionofthegigueandasungair(repeatedasachorus,againwithinterludesthatcouldhavebeendanced),allincelebrationofAndromdesrescue.40

3.21Thelibrettossuggestthattheseriesofdancesmayhaveprovidedashowpieceforafemalesoloist,althoughitisnotalwayscertainwhatroleshedancedandwhetherasolowasincludedinalltheearlyproductions.ForActIVinthe1682production,Parfaictnamesonlyonedancer(whothuspresumablydancedasoloatsomepoint):MademoiselleLaFontaine,asuneEthiopienne.41However,thelibrettoforthesameproductionrefersonlytomaleEthiopians,maleandfemalesailors,andgivesnohintofanysolodancing.The1703librettomakesnoclearorimpliedreferencetoasoloist,butsimplynotesthedancersinActIVasfourmaleEthiopians,fourmaleandfourfemalesailors(ledbyMademoiselleSubligny,whoisaplausiblecandidateforsoloaswellasgroupdances).The1710librettonamesMademoiselleGuyotasafemalesailor,alongwithfourmaleandfourfemalesailors,whichstronglysuggeststhatshedancedsoloatsomepointinthatscene.Whetherforasoloistorgroups,thedancesinthisdivertissementweremostlikelyordinarydances,anysolopassagesperhapsincludingstepsdesignedtodisplaythedancersvirtuosity.

3.22InActV,thefirstlikelymomentfordanceisinscene3,theAirpourlesSacrificateurs(no.10).The1703and1710librettoseachlistfourmaledancersasSacrificers,soitseemsthatdanceofsomesorttookplace.Towhatextentthiswasordinaryorimitativeismuchlessclear.42ItmaybeworthnoticingthatinthisscenethestructureoftheActIIgiftgivingscenesisinverted,withachorusanditsreprisesurroundingthedance,ratherthantheotherwayaround.

3.23ImitativedanceacombatofsomesortcertainlyseemscalledforinActV,scene5andsubsequentscenes,forwhichthelibrettosstatethatPerseandCpheandtheirfollowerspursuePhineandhisfollowers(no.11).The1703librettonamessixmaledancersasPhinescombatantsthe1710librettonamesfivemaledancersasPhinescombatantsandsixasCphes.Themusicforthispursuitandcombat,whichendswhenPerserevealsMdusesheadandturnsPhineandhisfollowerstostone,involvessingerscommentingontheactioninageneralway(ConcedeWhathorrors!Letthemnotescape),inalternationwithinstrumentalpassagesthatgrowprogressivelyshorter.Itistemptingtoimaginethatchoreographedpursuitandcombatoccurredduringtheseinstrumentalinterludes,andperhapsthroughouttheentirescene,butthescoresgivenoinstructions.Onepossiblechoreographicapproach,notoperaticinorigin,issuggestedbyLambranzisdanceforbattlingstatues:thestatuesjumpfromtheirpedestalsandbegintograpple,andthenholdtheirpositionforthreemeasuresbeforemovingintoanothercombativepose.Theycontinueinthiswaythroughanotherfourposes,atwhichpointthedanceends.43Averydifferentchoreographicapproach,fromalatersource,isfoundinthearticleonchoreographyinDiderotanddAlembertsEncyclopdie.ThearticlediscussestheopeningfivemeasuresoftheDancefortwowrestlers,asdancedbyMessieursDuprandJavilliersintheoperaLesFtesgrecquesetromaines.Thenotationforthefirsttenmeasuresofthedanceaccompaniesthearticle,andthedancehasmanyelementsofanordinarydance:simplesteps,suchaspasdebourreorpasgravecomplicatedsteps,includingcaprioles,assemblsbattusentournantandsymmetricalspatialpatterns,beginningandendinginmirrorsymmetry.Thenotationshowsthedancerstakinghandsatonepoint,andwhilethismayseemunusualinadancefortwomen,itisonlyfromtheaccompanyingarticlethatwelearnthatthedancersshouldbepretendingtomaketheeffortthattwowrestlersmaketooverturntheir



adversary.44Thus,thoughitappearsfromcommentsbyDubosandBonnetthatimitativedancewasgenerallyalmostwithoutsteps,wemustconsiderthepossibilitythatthiswasnotalwaysthecase,andthatthenotatedstepsofanimitativedancecouldsometimesbeindistinguishablefromthoseofanordinarydance.

3.24ThePassacailleinActV,scene8(Table1,no.12)occursafterthedescentofanelaborategloiredepictingVnusspalace.(Agloirewasacloudmachinesuspendedoverthestage,representingheavenpopulatedbydivinities.)45Inthescorethesequenceisasfollows:PersesannouncementofthearrivalofVnusandherentourage(Cessonsderedouter),followedbythePassacaille,followedimmediatelybyVnussingingMortels,vivezenpaix.Thelibretto,however,endsscene7withCessonsderedouterfollowedbythedescentofVnusspalaceitopensscene8withVnussMortels,vivezenpaix.ThisraisesanintriguingquestionconcerningtheexactplaceandpurposeofthePassacaille.UnlessthelineLePalaisdeVnusdescendinthelibrettoisprintedinthewrongplace(whichispossible),theimplicationisthatthePassacailleprovidesmusicforthedescentofthegloire.ButtheevidenceofPcoursnotatedchoreographyindicatesthat,atleastinthe1703production,thePassacaillewasdancedandgiventhegeneralnatureofpassacaillesasdances,itseemslikelythatitwasalsodancedin1682.Moreover,thereismoreappropriatemusicthanthePassacailleforthedescentofVnusspalace:immediatelyafterPersepetrifiesPhineandhisfollowerscomesasinglestrain(twentythreemeasures)ofinstrumentalmusic,whichPersethentakesupinvocalformasCessonsderedouter.

3.25ThePassacaillefromPerseisoneofLullysearliest.46GeoffreyBurgesshasargued,fromtheavailableevidenceinscoresandlibrettos,thatchaconnesandpassacaillesonthestageusuallyformedpartofthecelebrationsofacompanyofpeuplesorcourtisansandweredancedbysoloistsandatroupeofdancers.47ItseemsplausiblethatthePassacailleinPersewasdancedbyagroupwithpassagesforoneormoresoloists.Therewerecertainlyplentyofpeopleonstageatthetime:Vnus,lAmour,lHymene,lesGraces,lesAmoursetlesJeux,allpresumablyinthecloudmachineCphe,Cassiope,Perse,Andromde,awaitingtheirapotheosisandtroupesofCphescourtiersandEthiopians.

3.26Regrettably,thelibrettosdonotnamethedancersofthePassacailleortheduplemeterAirlaterinthescene,andwecannotbecertainhowmanydancersfiguredineach.ForActVinthe1682production,theParfaictbrothersnameonlyPcour,asacourtierintheFollowersofCphe,althoughMademoiselleLafontainewouldpresumablyhavebeenonstagealso,asanEthiopian.ForActVinthe1703production,neithertheParfaictbrothersnorthelibrettonameanydancersbeyondSacrificersandPhineswarriors,althoughatleastsomeofthemaleEthiopiansfromActIVpresumablywouldhavebeenonstageagain.48However,theextantnotationforthePassacaille,discussedbelow,indicatesthatMonsieurBalonandMademoiselleSubligny(whowerefeaturedsoloistselsewhereinthisproduction)dancedtogetherinthePassacaille.The1710librettolistsfourteendancersintheSuitedelaPeupledeCphe,withMonsieurBlondyandMademoisellePrvostindicatedassoloists.49PossiblytheytoodancedinthePassacailleasacouple.

3.27Thefinalinstrumentaldance,theduplemeterAirofActV,scene8(Table1,no.13),followsVnusssoloMortels,vivezenpaixandtheimmortalizationofCphe,Cassiope,PerseandAndromdeasheavenlyconstellations.ThedancehasthedottedrhythmsandothermusicalcharacteristicsofthefirstsectionofaFrenchoverture.Inextantdancenotations,thistypeofdancemusicisassociatedonlywithmaledancers,whetherinanentreoranentregrave.50YetaccordingtothePerselibretto,menandwomendanceatthispoint:Cphescourtiers,andmaleandfemaleEthiopians,demonstratetheirjoybytheirdances.PerhapsinthiscasethewomenjoinedwiththemenindancingtheAir.OrperhapsthemendancedtheAirandthewomenjoinedinthedancingduringthefinalchoralreprise,bringingtheoperatoaclosewith



bothdanceandsongcontributingtothegeneralcelebration.

4.ExtantDancesfromPerse

4.1AlthoughnochoreographiesfromLullysdaysurvive,wearefortunatethatfourofthedancescreatedforrevivalsofPersedostillexist,innotationsthatwerepublishedwithinafewyearsoftheirlikelyperformance.TheyareallthecreationofGuillaumeLouisPcour,whohaddancedinthe1682premiereofPerse,andwho,afterworkingcloselywithBeauchampformanyyears,succeededhimascompositeurdesballetsattheOpra.51Wedonotknow,however,theextenttowhichPcourschoreographycorrespondedtoLullysideasaboutthedancinginPerse.52ThenotationsofthreeofthedancestwofromtheActIJeuxjunoniens(Video1)andtheothertheActVPassacaille(Video2)indicatethattheyweredancedinperformancesoftheopera,veryprobablyinthe1703revival,byMonsieurBalonandMademoiselleSubligny,thetwoleadingtheatricaldancersoftheirday.53AfourthdancebyPcoursurvives,probablyfromtherevivalofNovember1710(whichwasrepeatedinFebruary1711):oneofthedancesfortwomaleGodsoftheUnderworldinActII,scene10,asdancedbyMessieursMarcelandGaudrau(Video3).ItwasnotatedandpublishedforPcourbyMichelGaudrauaround1713,54andthusmaybeararefirsthandrecordofatheatricaldancepreservedbysomeonewhohadactuallyperformedit.

4.2AnimportantbutunresolvedquestionconcernstheextenttowhichthesesurvivingnotationsofdancesbyPcourrepresentwhatreallyhappenedonstagein1703and1710.RebeccaHarrisWarrickhasnotedthatwhileineachcasethenotationindicatesthatduosweredanced,thescoresandlibrettosindicatethepresenceonstageofagroupofdancers.55Thereisnoreasontodoubtthatthenotationsreallydorecordstepsperformedbythetwodancersnamedineachinstancenoristhereanyreasontodoubtthatthescoresandlibrettosreallydomeanthatwholetroupesofdancerswereonstage,andpresumablydancing,duringthesescenes.Sohowmighteachnotatedduohaverelatedtothelargergroupofdancers?

4.3Onepossibilityisthatitdidnotthattheduoperformedthedanceasnotatedandthatthelargergroupofdancers,alongwiththechorus,simplyservedasspectatorsanddancedonlyelsewhereinthescene.ThatexplanationisplausibleforsomeofthescenescontainingPcoursduos,butasHarrisWarrickpointsout,itisparticularlyunconvincingforthetwoentresmakinguptheActIJeuxjunoniens:adancecontestamongaffiancedcouplesmustsurelyhavemorethanonecoupleascontestants.

4.4Anotherpossibilityisthatthewholegroup,orsectionsofthegroupinturn,dancedtorepetitionsofthemusicthatarenotnotatedinthescore.ThismightbeafeasibleoptionfortheActIJeuxjunoniens,butitwouldmakethatscenesointerminablylongastoincurthewrathoftheaudienceaswellasJuno.

4.5Athirdpossibilityisthattheduowascloned,sotospeak,andthesamestepsperformedsimultaneouslyandinmirrorimagebyothercouples,toformagroupdance.Thisisfeasiblefortheeightnameddancersinthe1703versionoftheJeuxjunoniens,anditcouldworkequallywellforthefourdancingGodsoftheUnderworldnamedinthe1710production.Yetanotherpossibilityisthatthegroupdancedatthesametimeastheduo,butbehindthemorinasemicircularorsquareformationaroundthem,sometimesstatic,sometimesdancingsimplerstepsordifferentpatterns.56

4.6ThediscrepancybetweenthedancenotationsandthecastlistsrecordedinthelibrettosbecomesacutewhentheActVPassacaillefromPerseisconsidered.ThelibrettosofseveralFrenchoperaslistthenamesofquitelargegroupsofmaleandfemaledancersforscenesinwhichapassacaillewasdanced,sowemustimaginethattherewerelargerforcesperformingpassacaillesinsomeproductionsofPerse.57The1710libretto,forexample,includesthestar



dancersMesdemoisellesChaillouandPrvostandlesSieursBlondyandMarcelamongitsfourteenpeuplesdelasuitedeCpheetPerseforthepassacaillescene.58

4.7InadditiontoPcourspassacailleduoforPerse,onlytwootherpassacaillesfromFrenchoperassurviveasnotatedchoreographies.Botharenotatedassolos(andboth,asithappens,representdancesperformedbyMademoiselleSubligny).Thereisnothinginthenotationtosuggestthatthesedanceswereforlargernumbersofdancersnoevidenceofabridgementorrearrangement,noobviousspatialimpossibilities.Butwemustallowthepossibilitythatthesedances,aswellasothernotatedtheatricaldances,representgroupdancesthatwerereducedtosolosorduos,whetherforlegibilityorforenhancedmarketability.59

4.8InthecaseofPcoursversionofthePassacaillefromPerseaspublishedin1704,weareleftwithmorequestionsthananswers.AswithmanyofthedancesinFeuillets1704collection,BalonandSublignyarenamedasdancers.Perhapstheirstarstatushelpedsellnotations.ThePassacaille(Video2)undoubtedlyfunctionschoreographicallyasaduet,andgiveseveryappearanceofhavingbeenbuiltthatwayforexample,thedancersmoveinaxialsymmetrythatis,aroundoneanotherforroughlyhalfthedance,andonlyoccasionallydotheydirecttheirattentiontowardthepublic.ContrastthiswiththemuchmorepresentationalapproachoftheActIJeuxdances(Video1).WouldthissenseofprivacyinthePassacaille,thislackoffocustowardthepublic,workaswellinagroupdance?Perhaps.ButifthepassacaillenotationdoesrepresentaduothatwasdancedinPersebyBalonandSublignyin1703,thenweretheotherdancersonstageforthatscenesimplytodancethefinalairthatendstheopera?Whatabouttheevidence,suggestedbythelibrettosofotherworks,thatpassacailleswereusuallyperformedbygroupsofdancers?

4.9Onefurtheroptionpresentsitself,andweofferitherenotasadefinitivesolutionbutasonepossibilityamongseveral.PerhapsBalonandSublignydiddancethePassacailleasnotated,butwithothersonstagealsodancingduringpartsofit.Theotherdancersmighthaveperformedthesamestepsatthesametimeastheleadingcouple,ortheymighthavejoinedinwithsimilarorsimplerstepsatappropriatemomentsinthemusic,oratmomentsinthechoreographyinwhichtheduoopensitsfocustowardthepublic,facingforwardandmovinginmirrorsymmetry.Table2showsahypotheticaldistributionbetweenduoandgroupdanceinthePassacaille,withgroupdancersmovingmainlyduringtuttisectionsinthemusic,duringwhichmirrorsymmetricalsectionsofthechoreographyalwaysoccur.60

4.10AsadanceformontheLullianstage,thepassacaillewasoftenassociatedwithfemalecharacters,includingVenus.61Thus,perhapsatthisparticularpointinPerse,thedancerepresentedtheinfluenceofVenusnotjustontheharmonybetweenmanandwoman,butalsoontherelationshipsbetweenFortuneandVirtue,deitiesandhumans,allofwhicharethemesofthisopera.62

5.Conclusion

5.1TheatricaldanceinLullysdayandforagenerationthereafterseemstohavefollowedthebroadcategoriessetoutbywritersfromMenestriertoBonnetasregardsstepsandfigures(ordinarydances)andcharacterization(imitativedances).Perseapparentlyincludesinstancesofbothordinaryandimitativedances,someofthempartoflengthyscenesinvolvingvocalsoloistsandchorusaswellasdancers.Forthevariousproductionsfrom1682onwards,thelibrettosandthelaterrecordpublishedbyParfaictidentifysomeofthedancersconcerned,butnotconsistently.The1682scoreindicatesmeterandmusicalformofdances,butgivesnoinformationaboutthenumberorarrangementofdancersandthelaterscoresgivelittleifanynewinformationaboutthelaterproductions.Extantnotationsoffourofthedances,createdbyPcourforthe1703and1710revivals,addmoreinformationaboutthenatureandformofthosedances,butdrawattentiontotantalizingambiguitiesconcerningthenumberofdancers



involvedandeventhepurposeofthenotationsthemselves.

5.2AlthoughchoreographicpracticehadchangedsinceLullysdeathinhisdaymuchoftheworkhadbeendividedamongseveralchoreographersPcourscontributioninandafter1703isstillofgreatsignificanceforunderstandingdanceinLullyslifetime.Pcourhimselfhaddancedinthe1682premiereofPerse,hadworkedcloselywiththetheatricaldancersanddancingmastersofthatday,andhadsucceededoneofthemascompositeurdesballetsattheOpra.Manyofhischoreographies,whetherforballroomorfortheater,weresettomusicbyLully.63

5.3WehavelittlewaytodayofknowingwhataudiencepreferenceswereinLullysdayforthebalanceofsolo,duo,andgroupdancesinopera,orthepreciseformofthedancesassignedtowholetroupesofdancers.However,astudyofthetheoreticalwritingsavailableatthetime,andtheirapplicationtotheextantdancenotationsofachoreographerwhohadbeensocloselylinkedwiththeproductionsofLullysownday,cansuggestwaysinwhichstepsandfiguresmightbecombined,withappropriatevarietyoffiguresandchoiceofsteps,tocreatedancesthatcomplementLullysmusic.AcarefulstudyofalltheavailablesourcescanthusaugmentourappreciationofthepossibilitiesfordanceinLullysoperas.

References

*KenPierce([email protected])trainedoriginallyinballetandmoderndance.HehastaughtearlydanceatworkshopsinEurope,Canada,andtheUnitedStates,andhischoreographiesanddancereconstructionshavebeenshownatfestivalsfromCopenhagentoVancouver.HedirectstheKenPierceBaroqueDanceCompanyandtheearlydanceprogramattheLongySchoolofMusicinCambridge,Massachusetts.

**JenniferThorp([email protected])isanarchivistanddancehistorian,specializinginthereconstructionandperformanceofdancesofthelateseventeenthandearlyeighteenthcenturies.HerresearchinterestsincludetheworkofFrenchandEnglishdancersfortheLondonstage,andsheiscurrentlypreparinganeditionofdancesanddancenotationsmadeduringthe1720sbyF.LeRoussau.

***WewishtoexpressourindebtednesstoLoisRosowandRebeccaHarrisWarrickfortheirguidanceandhelpinthepreparationofthisarticle,andtoGeoffreyBurgessforvaluablesuggestionsduringitsearlystages.

1ListedinJrmedeLaGorce,LOpraParisautempsdeLouisXIV(Paris:EditionsDesjonqures,1992),198202.ThodoreLajarte,BibliothquemusicaleduthtredelOpra:cataloguehistorique,chronologique,anecdotique(Paris:LibrairiedesBibliophiles,1878reprint,Hildesheim:Olms,1969),1:43,quotingMercuregalant,notesanotherParisperformanceinJune1682,notlistedbyLaGorce.

2ThescorewaspublishedasJeanBaptisteLully,Perse,tragdiemiseenmusique(Paris:Ballard,1682reprint,BroudeInternationalEditions,1998).Thelibretto,publishedasPerse,tragedierepresenteparlAcadmieRoyaledeMusique(Paris:Ballard,1682),isdescribedinCarlB.Schmidt,TheLivretsofJeanBaptisteLullysTragdiesLyriques:ACatalogueRaisonn(NewYork:PerformersEditions,1995),281(itstwoissuesarenumberedLLC91.1,LLC91.2).AcriticaleditionhasbeenbasedonLLC91.1:PhilippeQuinault,Livretsdopra,ed.BufordNorman(Toulouse:SocitdeLittraturesClassiques,1999),2:55104.

3Someoftheseentresorairscouldhavebeenusedforstagemovementbynondancers.AttheNinthInterdisciplinarySymposiumofNewCollege,Oxford,Gods,Men,andMonsters,April2001,RebeccaHarrisWarrickdiscussedtheuseofacrobatsalongside,orinsteadof,dancersforsomescenesinlateseventeenthcenturyFrenchoperasandballets.

mailto:[email protected]:[email protected]



4ClaudeandFranoisParfaict,DictionnairedesthtresdeParis(Paris:Lambert,1756reprintof1770ed.,Geneva:Slatkine,1967),4:105(the1767editionisavailableathttp://cesar.org.uk/cesar2/books/parfaict_1767/)RecueilgnraldesoprarepresentezparlAcadmieRoyaledeMusiquedepuissontablissement(Paris:Ballard1703reprint,Geneva:Slatkine,1971)(Schmidt,CLE7),preface,1:11,whichalsonotesthatDesmatinsbecamefamoussubsequentlyasasinger.MarieLouiseDesmatinssangtheroleofMropeinthe1687and1703productionsofPerseattheOpra(theinformalnamefortheAcadmieRoyaledeMusiqueinParis).

5ThedancesaredescribedinRebeccaHarrisWarrick,ContextsforChoreographies:NotatedDancesSettotheMusicofJeanBaptisteLully,inJeanBaptisteLully:actesducolloque/Kongressbericht,ed.JrmedeLaGorceandHerbertSchneider(Laaber:Laaber,1990),43355.

6ClaudeFranoisMenestrier,DesBalletsanciensetmodernesselonlesrglesduthtre(Paris:Guignard,1682reprint,Geneva:Minkoff,1972),1589JacquesBonnet,Histoiregnraledeladanse(Paris:Houry,1724reprint,Bologna:Forni,1972),61.

7DescribedinJudithL.SchwartzandChristenaL.Schlundt,FrenchCourtDanceandDanceMusic:AGuidetoPrimarySourceWritings,16431789(Stuyvesant,NewYork:PendragonPress,1987).

8KenPierce,DanceVocabularyintheEarly18thCenturyasSeenthroughFeuilletsStepTables,inProceedings:SocietyofDanceHistoryScholarsTwentiethAnnualConferenceNewYork(Riverside,Calif.:SDHS,1997),22736.

9SevendancesbyJeanFavierforhiscourtmascarade,LeMariagedelagrosseCathos(1688),describedinRebeccaHarrisWarrickandCarolG.Marsh,MusicalTheatreattheCourtofLouisXIV:LeMariagedelaGrosseCathos(Cambridge:CambridgeUniversityPress,1994),12383passimandRaoulAngerFeuilletsBaletdeneufdanseursinRecueildedancescomposesparM.Feuillet(Paris:Brunet,1700),6784,citedinMeredithE.LittleandCarolG.Marsh,LaDanseNoble:AnInventoryofDancesandSources[LMC](NewYork:BroudeBros,1992),LMC1320.(RegardingthespellingofFeuilletsgivennameAngerratherthanAugerseeRgineAstierinInternationalEncyclopediaofDance,ed.SelmaJeanneCohen[Oxford:OxfordUniversityPress,1998],s.v.FeuilletNotation.)Symmetricalpatternsarealsofoundinballroomdances,whetherforoneormorecouples,orincontredansesforasmanyaswill.Foradiscussionofsymmetry,seeJenniferThorpandKenPierce,TasteandIngenuity:ThreeEnglishChaconnesoftheEarlyEighteenthCentury,HistoricalDance3,no.3(1994):316.

10Onpeutdansunemmeentreexprimerdesmouvemensdifferens,pourvquilsayentquelquerapport.LesunspeuventdonnerdescoupsdeSabreoudeMassu,&lesautreslesrecevoiravecdesBoucliers.UnMagicienpeutevoquerdesOmbres,&fairedescerclesavecsabaguette,tandisquecesombresferontdiversespostures.Menestrier,167.Bonnet,67,givesthesamepassagewithminorvariantsofwording.

11JeanBaptisteDubos,Reflexionscritiquessurlaposieetsurlapeinture(Paris:Mariette,1719)amoderntranscriptionofthe1733editionisavailableonlineathttp://visualiseur.bnf.fr/Visualiseur?Destination=Gallica&O=NUMM88225.Dubossanalysisofchangesinthewaydancewasperformedinopera,whichheattributestoLully,hasyettobefullyevaluatedbydancehistorians.

12IlyasoixanteansquelesFaunes,lesBergers,lesPaysans,lesCiclopes&lesTritonsdansoientpresqueuniformement.Ladanseestaujourdhuidiviseenplusieurscaracteres,etchacundecescaracteresasurlethtredespas,desattitudesetdesfiguresquiluisontpropres.

http://visualiseur.bnf.fr/Visualiseur?Destination=Gallica&O=NUMM-88225http://cesar.org.uk/cesar2/books/parfaict_1767/



LesFemmesmmessontentrespeupeudanscescaracteres.Elleslesmarquentdansleurdanseaussibienqueleshommes.Dubos,1:495.Thereferencetouniformityofdancingseemssurprisingatfirstsight,asthetheoristsofLullysowndayhadaverred(butwithoutattributiontoLully)thatsuccessfulballetsdependedonvariedsteps,figures,andcharacterizationinthedancing:Menestrier,DesBallets,13876passim,andMicheldePure,Idedesspectaclesanciensetnouveaux(Paris:Brunet,1668),24365passim.SaintHubert,LaManiredecomposeretfairereussirlesballets(Paris:Targa,1641),antedatesLullysappearanceinFranceheassertstheneedtosuitthedancingtothecharactersrepresented,andforthecharacterstobevaried,but(p.12)althoughhehimselfwouldliketoseecharacterizationthroughthewaythestepsareperformed([je]voudroisquechacundancastsuivantcequilrepresente),headmits(p.16)thatanycharacterizationisusuallyimpliedthrougheachcharacterspropsandcostume,ratherthanthroughthedancingitself.Thereismoreresearchtobedoneintotheexactnatureofcharacterizationintheatricaldanceduringthisperiod,andintoLullyscontributiontothesubject.

13Dubos,1:493.ThescenewasActI,scene4,intheproductionatSaintGermainenLaye,1678,andthecastlistedforthissceneinthelibrettoincludesBeauchampassoloist,witheightothermaledancers:CadmusetHermione(Paris:Baudry,1678)Schmidt,LLC15.1Quinault,Livrets,ed.Norman,1:20.

14Dubos,1:495.

15Dubos,1:5345.Recueilgnral,preface,1:8,quotedinSchmidt,532,confirmsthatpourlaCompositionduBalletdAtys,leSrdOlivetgrandPantomime,sejoignitauSrBeauchamp,aveclequelilavoitdjacomposceluydeThese.LouisHilairedOlivetwasoneoftheoriginalmembersoftheAcadmieRoyaledeDanse,andhadperformedintheearliestballetsofLouisXIVsreign:Bonnet,30.BeauchampservedasmatredesballetsattheOprafromaroundthetimeofitsinceptionin1669.AntoinedesBrosses,whohadchoreographedtheproductionofLaPrincessedlidebyMolireandLullyatthePalaisRoyaltheaterin1664,composedballetsforLullysfirstworkattheOpra,LesFtesdelAmouretdeBacchus,in1672seeJrmedeLaGorce,JeanBaptisteLully(Paris:Fayard,2002),193.

16Recueilgnral,preface,1:14,quotedinSchmidt,533.Onnignorepasdailleurs,quelesBalletsdeThetis&Pele,sontdelacompositiondesSieursPcourt&lEtang,&quecestauSr.Pcourtseul,quenoussommesredevablesdetouteslesdansesquionttexecutesdepuiscesdeuxPieces[theotherbeingAchilleetPolixne,apparently],soitlaCour,soitParisdanslesOperanouveaux,danslesreprisesdesanciensOpera,danslesftes,Ballets,&c.Evenifwemightdoubtthestrictveracityofthisstatement,onewayoranotheritclearlyreflectsPcoursdominance.

17Inanycase,onecanconfoundthecategoriesbyclaimingthatdancersinanordinarydancearemerelyimitatingdancersbutthatwouldsurelybetosubvertDubossmeaning.

18The1682scoreandlibrettoarecitedinref.2theadditionalscoreisPerse,tragdiemiseenmusique,2nded.(Paris:deBaussen,1710)thelibrettosarePerse,tragediereprsenteparlAcademieRoyaledeMusiquepourlapremierefois1682etremiseautheatre1703(Paris:Ballard,1703)andPerse,tragediereprsentepourlapremierefoisparlAcademieRoyaledeMusique1682etremiseauthtre1710(Paris:Ballard,1710)(Schmidt,LLC918.1and922).TheAmsterdamlibrettosof1682and1685andtheParislibrettoof1687(LLC93,95,97)werealsoconsulted.AscorepublishedbyBallardin1722isavailableathttp://www.library.unt.edu/music/lully/Persee.pdf.LoisRosow(personalcommunication)haspointedoutthatitisprobablyjustacoincidencethataproductionofPerseandthepublicationofascorebothoccurredin1710:thescorewaspartofaseriesofengravedscoresofLullysoperas

http://www.library.unt.edu/music/lully/Persee.pdf



publishedfrom1708to1711,basedonBallardsearlierscores,andnotingenerallinkedtoOpraproductions.Referencestonameddancersinthe1703and1710librettosareconfirmedbyentriesinParfaict,4:1058,despiteoccasionaldifferencesbetweentheParfaictslistsandthoseofotherlibrettoscataloguedbySchmidt.

19Nodancersarenamedinthe1682libretto.The1703librettonamesfourdancers(Dubreuil,Dumay,Javilliers,andRose)astheSuitedeMduseinActIII.Thatof1710namessixdancers(Dumoulinlan,Ferand,Gaudrau,Germain,Javilliers,andMarcel).Allwererecognizednamesinordinarydance,whileMarcelandGaudrausvirtuosicdancingasGodsoftheUnderworldin1710iswelldocumentedmostofthemalsoappearedelsewhereinPerseinsemicharacterrolessuchasSacrificersandCombatants.ThereisalwaysthepossibilitythattheywerejoinedintheEntredesFantosmesbyacrobatswhoarenotnamedinthelibrettos.

20InLeMariagedelagrosseCathosthechorusPassonstoujourslaviealternatessunganddancedsectionsinrondeauformuntilthefinalphrase,whensinginganddancinghappensimultaneously(HarrisWarrickandMarsh,MusicalTheatre,171).RebeccaHarrisWarrickalsodiscussestherelationshipbetweenthesungwordandthechoreographicembodimentofthatwordinLullysoperasinRecoveringtheLullianDivertissement,inDanceandMusicinFrenchBaroqueTheatre:SourcesandInterpretations,ed.SarahMcCleave,StudyTexts3(KingsCollegeLondon:InstituteofAdvancedMusicalStudies,1998),5580.SeealsoThomasBetzwieser,MusicalSettingandScenicMovement:ChorusandChurDansinEighteenthCenturyParisianOpera,CambridgeOperaJournal12(2000):8.

21ThesoleextantexampleofatheatricalpassepiedforagroupofdancersistheonefromLeMariagedelagrosseCathos,whichbeginswiththedancerscirclingclockwisearoundthestagewhiletheonstageoboebandmovesintoplaceinthecenterofthecircle.Ontherepetitionofthemusicthedancersmoveintosymmetricalpatternsastheoboebandshiftsupstageandintootherformations(HarrisWarrickandMarsh,MusicalTheatre,16170).Wedonotknow,however,whetherthechoreographicstructureofthispassepiedresembledtheoneinPerseinanyway.

22KenPierce,RepeatedStepSequencesinEarlyEighteenthCenturyChoreographies,inStructuresandMetaphorsinBaroqueDance:ProceedingsoftheConferenceattheUniversityofSurreyRoehampton,March31,2001(Roehampton:CentreforDanceResearch,UniversityofSurrey,2001),529idem,ChoreographicStructureintheDancesofClaudeBalon,inProceedings:SocietyofDanceHistoryScholarsTwentyFourthAnnualConferenceTowson,Maryland(Riverside,Calif.:SDHS,2001),1014andidem,ChoreographicStructureintheDancesofFeuillet,inProceedings:SocietyofDanceHistoryScholarsTwentyFifthAnnualConferencePhiladelphia(Riverside,Calif.:SDHS,2002),96106.

23OneinstanceisrecordedinF.LeRoussausnotatedversionofPcoursSarabandasdancedbyMonsieurMarcelandMademoiselleMenaisinthe1720(recte1719)ParisrevivalofAndrCardinalDestouchessIss(1697),ActIV,scene2(LMC7640).InhismanuscriptnotationofthisdanceanapparentduoplacedwithinapastoralsceneinwhichleSommeillullsIsstosleepLeRoussaumakesclearthattheSarabandwasdancedtotwostatementsofthemusic,thefirsttimenotedinthedancenotationasthefirstSaraband,andthesecondfollowingoffthefirstSarabanddancdbythesamepersonstoarepetitionofthesamemusic,butwithdifferentstepsandfloorpatternsthatneverthelesscontainchoreographicreferencesbacktothefirstSaraband(GBEuLa.III.673,4555).ThiswillbefurtherdiscussedinJenniferThorp,HarlequinDancingMaster:TheWorkofF.LeRoussau(forthcoming).SeealsoHarrisWarrick,ContextsforChoreographies,4523,foradiscussionoftwodifferentchoreographiesforthesamemusicthatmayhavebeenusedinthesameproductionofThse.

24RebeccaHarrisWarrickdiscussesthequestionofadditionalrepetitionstoaccommodatedance

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inRecoveringtheLullianDivertissement,667.ThemarchinLeMariagedelagrosseCathosisplayedtwicethroughasanentrancefortheentirecast,andthenonemoretimeasadanceforthedancersalone(HarrisWarrickandMarsh,MusicalTheatre,1267).

25TheorchestralmusicinthefinalchorusofthePrologue(Heureuseintelligence)containsbriefpassagesthatrecurinthePassacailleinActV.

26LaDansetoitsirecommandabledanslespremierstems,queLucienditquellenefutpointadmisedanslesjeuxOlympiques,parcequelesGrecsnecrurentpasavoirdesprixdignesdellesmaisquedanslasuitedestems,leshabitansdelaColchidelajouterentleursjeuxpublics:cequipassaenusagechezlesGrecs,chezlesRomains,&presquedanstouteslesvillesdumonde.Bonnet,89.

27RebeccaHarrisWarrick,ThePhraseStructuresofLullysDanceMusic,inLullyStudies,ed.JohnHadjuHeyer(Cambridge:CambridgeUniversityPress,2000),51.IfthePremierAirwasusedsimplyasprocessionalmusic,thatwouldalsoexplainwhytheextantdancessettotheSecondAirandTroisimeAiraretitledEntreand2eEntrerespectivelyinthepublisheddancenotations(LMC4480,3080).

28Specifiedinthe1682librettoasQuadrillesdejeunespersonnes.Itisnotcertainwhatwasmeantbyaquadrillein1682,butinthemideighteenthcenturyquadrillesweredescribedas4,6,8,&jusqu12danseursvtusuniformment,oudecaracteresdiffrens,suivantlexigencedescas:DenisDiderotandJeanLeRonddAlembert,eds.,Encyclopdie,ouDictionnaireraisonndessciences,desarts,etdesmtiers(Paris:Briasson&Durand,175180),s.v.Ballet.

29QuelEnfer,laTerre,etlesCieux/QuetoutlUniversfavorise/LefilsdupluspuissantdesDieux.

30Pluslesexpressionssontnaturelles,plusellessontagrables.LadansedesVentsdoittrelgere&prcipitecelledesForgeronsdoitavoirdestems,&desintervalesfrapersurlenclume.Bonnet,62.

31LepremieractereprsentadabordlagrottedeVulcain,dosortirenthuitAmourssibiendguisezenForgerons,quonnelespouvoitreconnoitrequeparlapplicationquilsavoientformerdesdards&desflches,plttquedautresarmes.Bonnet,94.

32OtherLullyoperasinwhichdancingblacksmiths(notnecessarilyCyclops)appearincludePsych,ActII,scene2,VulcanscaveandIsis,ActIV,scene3,forgesofthe(human)Chalybes,inwhichthesungtextbeforethedanceisLetusmaketheanvilringundertheheavyblowsofthehammer,followedbytheevocativetextTt,tt,tt.Tt,tt,tt.ThereisalsoanillustrationofadanceforhumanblacksmithsstrikinganvilsintimetothemusicinGregorioLambranzi,NeueundCurieuseTheatrialischeTantzSchul(Nuremberg:Wolrab,1716),2:25.

33Proserpinealsoincludesunderworldgodsbearinggifts(ActIV,scene5).Incompanywithhappyshades,theybringtoPersephonerichesprsentsetdonnentdestmoignagesdeleurjoyeparleursdansesetparleurschansons.Theirdancesaretwoairs,in6/4and6/8.Bothlibrettoandfullscorewerepublishedintheyearofthepremiere(Paris:Ballard,1680).

34LesSuivantsdePlutonserjoissentdelavenudAlcestedanslesEnfers,paruneespecedeFeste.PhilippeQuinault,Alceste,ouLetriomphedAlcide(Paris:R.Baudry,1674),56(ActIV,scene3)itisavailableathttp://visualiseur.bnf.fr/Visualiseur?Destination=Gallica&O=NUMM71762.Onapellecommunementdesairscaracterisezceuxdontlechantetlerithmeimitentlegotdunemusiqueparticuliere,etquonimagineavoirestproprecertainspeuples,etmme

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decertainspersonnagesfabuleuxdelantiquitquipeutestrenexisterentjamais.Dubos,1:493.QuoiquenousnayonsjamaisentendulamusiquedePluton,nousnelaissonspasdetrouveruneespcedevraisemblancedanslesairsdeviolon,surlesquelsLullifaitdanserlasuiteduDieudesEnfersdanslaquatrimeActedelOpradAlceste,parcequecesairsrespirentuncontentementtranquille&srieux,&commeLulliledisoitluimme,unejoievoile.Eneffet,desairscaractriss,parrapportauxfantmesquenotreimaginationsestforms,sontsusceptiblesdetoutessortesdexpressionscommelesautresairsDubos,1:494.(Theeditionsof1733and1770haveslightlydifferentwordingandspelling.)

35IreneAlm,TheatricalDanceinSeventeenthCenturyVenetianOpera(PhDdiss.,UniversityofCaliforniaatLosAngeles,1993),18,69,96.ForstagemachinesingeneralseeNiccoloSabbattini,Practicadefabricarsceneemachineneteatri(Ravenna:Paoli&Giovannelli,1638),andMenestrier,21822.

36SuivantsdePluton,Chantans,Danans&Volans.Schmidt,31(LLC2).

37TheunceasingfascinationoftheateraudienceswithstagemachinesandeyecatchingeffectsmightexplaintheconsternationexpressedbytheMercuregalantinApril1682whenthenewmachinerywasnotfinishedintimeforthefirstperformanceofPerse,andonoccasionswhenthespecialeffectswerelimited(atVersailles,forinstance,wherethecourtpremiereofPerse,whichwastohavetakenplaceintheMarbleCourtyard,hadtobehurriedlymovedtoamakeshifttheaterinthestablesbecauseoftheweather)seeBarbaraCoeyman,TheatresforOperaandBalletduringtheReignsofLouisXIVandLouisXV,EarlyMusic18(1990):27,34.ItmightalsopartlyexplainLullyswrathatthesuccessoftheproductionofPierreCorneillesAndromdewithmusicbyCharpentier,stagedattheComdieFranaiseindirectrivalrywithPerseinthesummerof1682,andacclaimedforitsspecialeffectsandlivePegasus,describedindetailinCatherineCessac,MarcAntoineCharpentier,trans.E.ThomasGlasow(Portland,Oregon:AmadeusPress,1995),8692(originallypublishedunderthesametitle,Paris:Fayard,1988).

38The1703librettodescribestheSailorsasmatelotsetleurfemmes.Thedistinctionisnotimportant.Atsea,theremaywellbeadifferencebetweenafemalesailorandthewifeofamalesailor,butonstagetheywouldbeindistinguishable.

39Rosow,LullysMusicalArchitecture,par.6.1.

40Inthelibretto,theairforCpheandinstructionsforitsrepetitionbytheensemble,alongwithjoyfuldancingbysailors,occurbetweenthetwominuettexts.Inthescore,Cphesairandthechorusonthesametextarefoundattheendofthescene.

41Parfaict,4:105.

42ThereisadanceforSacrificersinCadmusetHermione,ActIII,scene6,describedinthelibrettoforaproductionatSaintGermainenLaye(Paris:Baudry,1678Schmidt,LLC15.1)asfollows:LesSacrificateurschantantsdemeurentprosternez,&lesSacrificateursdanantsfontcependantuneEntreausondesTimbales&aubruitdesArmes,aprsquoylesSacrificateurschantansserelevent,&chantent.(ThesingingSacrificersremainprostrate,andthedancingSacrificersmeanwhileperformadancetothesoundofdrumsandtheclatterofarms,afterwhichthesingingSacrificersstandandsing.)

43Lambranzi,vol.2,plates1217.

44Pasdedeuxlutteurs,dansparMM.Dupr&Javiliersdanslopradesftesgreques&romaines(Encyclopdie,s.v.Chorgraphie).Thisoperawascomposedin1723byFranois

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ColindeBlamont.IntheParisrevivalsof1733and1741,DuprandJavilliersdancedasLutteursintheentreLesJeuxolympiques(Parfaict,2:5601).

45Acolorwashandinkdesignof1682,forVnussgloireinPerse,survivesintheArchivesNationalesinParis(O1*3241,fol.65).ItisreproducedintheexhibitioncatalogueDanseursetballetdelOpradeParis(Paris:ArchivesNationales,1988),35JrmedeLaGorce,Berain:dessinateurduRoiSoleil(Paris:EditionsHerscher,1986),83andLoisRosow,MakingConnections:SomeThoughtsonLullysEntractes,EarlyMusic21(1993):231.Thedesigndepicts,withinaframeofswirlingclouds,apalaceinfrontofwhichVnussitsenthronedwithlAmourbesideher,surroundedbyfourteenpeoplesounlessthedrawingtakesconsiderableartisticlicence,thegloirewasverylarge.Therewashighacclaimforladcorationdu5eacte,dueaupinceauduclbreBertin[JeanBerain],[qui]fitunimmenseeffet.Lajarte,43.

46SchneiderlistsonlytwoearlierpassacaillesbyLully:onefromBranlesde1665,LaVieillePassacaille,andaSymphoniecacheorPassacailledefltesetdeviolonstoaccompanyVnusinPsyche(1678).HerbertSchneider,ChronologischthematischesVerzeichnissmtlicherWerkevonJeanBaptisteLully(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,asunsacrificateuranduncombattantdupartiedePhinerespectively,andtheymaynothavebeenabletoreappearattheendofscene8unlesstheyhadleftthestageandmadeaquickcostumechange.

49HarrisWarrick,ContextsforChoreographies,4545.

50LittleandMarsh,p.159,listseightextantchoreographiesasbeingentresgraves,althoughtwooftheseLMC4000and4260(bothsettothesamemusic,anentreforSaturnefromPhaton)shouldbeclassifiedsimplyasentressincetheyhaveonlyonestepunitpermeasure,whereasentresgraveshavetwostepunitspermeasure.WemightalsoincludeLMC2700and4360(bothsettothesamemusicfromAmadis)inalistofdottedrhythm,duplemeterentreswithonestepunitpermeasure.Allofthesedancesincludestepssuchascaprioles,demicaprioles,entrechats,multiplepirouettes,orotherornamentedjumpsandturnsthatarenotoftenfoundinextantdancesforwomen.Itisworthnoting,however,thatinmusicaltermstheActIIentrefortheAmazonswouldalsoappeartobesuchanentreorentregravewereitnotforthetempoindicationgai.

51JrmedeLaGorce,GuillaumeLouisPcour,abiographicalessay,DanceResearch8,no.2(1990):326.

52ThedancingmasterPierreRameaulaterwrote,somewhatambiguously,thatPcourfitbienttvoirquilavoitungeniesuperieur.Ilavoitbesoindetoussestalents,pourremplacerdignementleMatre[Beauchamp]quilavoitprcedmaisilenvintboutparlavarietinfinie&parlesnouveauxagrmensquilprtaauxmmesBallets,queBeauchampavoitdjafaitexecuter.PierreRameau,Lematredanser(Paris:Villette,1725),xiv.

53EntrepourunhommeetunefemmedanceparMonsieurBalonetMademoiselleSublignylOperadePerse(LMC4800),2ndEntredePersdanceparlesmemes(LMC3080),andPassacaillepourunhommeetunefemmedanceparMonsieurBalonetMademoiselleSublignylOperadePerse(LMC6500)inRecueildedancescontenantuntrsgrandnombresdes



meilleursentresdeballetdeMonsieurPcour&receilliesetmisesaujourparMonsieur[RaoulAnger]Feuillet(Paris:Feuillet,1704),916,97108,7990areavailableonlineasnos.146athttp://www.earlydance.de/choreograph/index.php?vw=content&book=2thecollectionmayalsobefoundonlinebysearchinghttp://memory.loc.gov/ammem/dihtml/dihome.html.SevenotherduosbyPcourforBalonandSublignysurvive.One(LMC1200)waspublishedin1702theothersix(LMC2640,2660,2680,4100,4160,4400)werepublishedin1704.TherearealsofoursolosforSublignypublishedin1704andca.1713(LMC4120,5020,6540,6560).ForbriefbiographiesofBalon(alsospelledBallon)andSubligny,seeRgineAstiersarticlesundertheirnamesintheInternationalEncyclopediaofDance.

54EntrededeuxhommedanceparmessieursMarceletGaudraualoperadepers(LMC2940),inNouveaureceildedancedebaletcelledeballetcontenantuntresgrandnombresdesmeilleuresentresdeballetdeMonsieurPcour&receilliesetmisesaujourparMonsieurGaudrau(Paris:Gaudrau,[ca.1713]),914availableonlineathttp://gallica.bnf.fr/anthologie/notices/00547.htm.GaudrauscareerisoutlinedinRgineAstier,MichelGaudrau:undanseurpresqueordinaire,LesGotsrunis,Numrospcial:LaDanse,Actesdupremiercolloqueinternationalsurladanseancienne(Besanon,1982):5965.

55HarrisWarrick,ContextsforChoreographies,43840andBurgess,55961.

56TheRigaudoninLeMariagedelagrosseCathos,forexample,isadanceforthebridegroomandagroupoffourwomen,alldancingsimultaneouslythewomen,however,danceasagroupwhilethebridegroomdancesdifferentstepsandpatterns,untilthefinalsectionwhenallfivedancersdanceasonegroup.HarrisWarrickandMarsh,MusicalTheatre,1534.

57Whileallthesurvivingnotationsof[dancedpassacaillesandchaconnes]areforoneortwosoloists,intheiroperaticcontexttheywerealwaysperformedbylargergroups.Burgess,560.

58Parfaict,4:1078,givesaslightlydifferentlistfromthatinthelibrettobutonestillnumberingfourteendancers.

59NotationsforgroupdanceswithfairlyrepetitivestepsfortheballroomemployasimplifiedformoftheBeauchampFeuilletnotationsystemsee,forexample,RaoulAngerFeuillet,Recueildecontredances(Paris:lauteur,1706reprint,NewYork,BroudeBros.,1968).Thishoweverwouldnothavebeensophisticatedenoughtorecordthecomplexitiesoftheatricaldance.In1688JeanFavierusedhisown,conceptuallydifferent,notationsystemforLeMariagedelagrosseCathos,whichcontainscomplexgroupdances.SeeKenPierce,DanceNotationSystemsinLate17thCenturyFrance,EarlyMusic26(1998):28699.

60Burgessdocumentssuchadistributionofsoloistsandgroupinlaterproductions,notingthatbythe1730sitappearstohavebeencommonforchaconnesandpassacaillestoincludesectionsforsolodancersinterspersedamongstsectionsinwhichseveraldancersperformed,andthatthesevisualcontrastsechoedaudiblecontrastsinthemusic.Burgess,5623.

61Seeref.46foraspecificlinkbetweenVenusandthePassacailleinPsych.SeealsoAnthonyLAbbsPassagaliaVenus&Adonis,createdinEnglandforHesterSantlowduringthefirstquarteroftheeighteenthcentury,inANewCollectionofDancescomposedbyMonsieurLAbb,intro.byCarolG.Marsh,MusicforLondonEntertainment16601800,ser.D,vol.2(London:F.LeRoussau,ca.1725reprint,London:Stainer&Bell,1991),4656(LMC6580).AlloftheextantnotatedpassacaillesexcepttheonefromPersewereforfemaledancers(seeLittleandMarsh,p.161).

62BettyBangMather,DanceRhythmsoftheFrenchBaroque(Bloomington:IndianaUniversity

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Press,1987),1204,arguesthatthepassacailleforPerseisadancedepictingformalcourtship,buttheanalysisgivenisnotconvincingandittakeslittleaccountofthewidercontextimplicitintheopera.

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)

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