Theatrical dance was an important component at the French royal court. Popular dances performed within the ballroom were transferred to the stage, along with faster, more virtuosic dances, which were reserved for skilled performers and professionals to showcase their abilities. Dancers no longer preserved their societal image, but instead wore detailed, elaborate costumes whilst portraying a variety of characters associated with mythological or historical figures. Large-scale productions at the court evolved into popular shows which entertained members of the public in theatres outside of the court.

 

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Ballet de Cour

 

Ballet de cours were the most prominent form of dance entertainment that took place at the court of Louis XIV. These productions were huge, lavish affairs which involved not just dancers but also singers, musicians, composers, dance masters, designers, costume makers, technicians, and poets, and were designed to impress courtiers and visitors, demonstrating the wealth and magnificence that the royal court held.[1]

 

The early foundations of the ballet de cour were well-established more than 100 years before its prominence under Louis XIV. King Henry II’s marriage to Catherine de Médicis in 1533 brought many Italian customs to the French court, including musicians, dancers, and musical and theatrical art forms. Among these was the intermezzo, a theatrical work which combined dance and music with elaborate costumes and stage machinery performed between the acts of plays. Combined with the French style of music and dance already in existence, the intermezzo evolved into the ballet de cour, a precursor to French opera and classical ballet.

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French ballets were structured by 4 components: récits, vers, entrées, and the grand ballet. The récit, not to be confused with the vocal recitative, opens each section of the ballet to create acts. These consist of sung works by characters who would not dance in the ballet, but instead commented on the action. Vers pour les personnages were rhyming verses found in the libretto which accompanied the récits and discussed the characters that appeared in the entrée. The entrées were what separated the acts into scenes. Built upon récits and vers, they also featured both comic and serious dances associated with particular characters or countries. This all culminated with the grand ballet, which featured many serious dances performed by those with the highest social status, and by the King himself at least once a year.[2]

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Royal patrons chose the plot of each ballet, which was influenced by ancient history or Greek mythology and contained an allegorical or political message, often ‘praising the centralised power and control of the regime.’[3] They also distributed the labour, choose suitable poets to write the récits and vers, and decided upon at least two composers, one responsible for the instrumental music and the other the vocal.[4]

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The formation of the Académie Royale de Danse in 1661 set about standardising and regulating a high level of dance and ensured the ‘integrity of the King’s most beloved art form.’[5] Dancers underwent a 7 year training programme with an assigned dancing master, before a gradual integration into court performances, where these newly professional dancers portrayed roles of deities, heroes and monarchs and could be promoted from chorus members to principal dancers.[6]

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Ballets were written in conjunction with important events, such as weddings, which were performed during the celebrations. At least one new ballet was created each year, and commonly performed between Christmas and Lent. Musicians performed on stage in costume, appearing as part of the wider visual performance, rather than seated in front or underneath the stage which is common practice in modern staged productions.

 

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Mascarade

 

The mascarade is a sub-genre of ballet de cour which contains a light, usually humorous, theme. Performers at the French court wore costumes associated to the theme, with masks covering their faces.[7] Mascarades were much shorter than main ballets, and required no machinery, stage effects or scenery, so could therefore be performed in a wider range of venues.