The cradle of ballet, tracing the origin of ballet as a theatre art back to its foundation by Louis XIV in 1669.

In 1866, when the ballet La Source debuted, the public at the Paris Opera might have been content to dream about the setting in the verdant Caucasus, exotic Circassians, veiled Georgians, and powerful Khans. In the ballet's two plotlines, an ecological narrative of the death of the Source and the withering of the green world, and the competing interests of Muslim characters at war, this book finds not so much a timeless Orientalist fantasy as a timely commentary on colonial policy, institutional biopower, and human hybridity. In 1866, the daily and specialized humorist press showed a particular interest in the ballet's botany as shorthand for sex, as part of ongoing debates about libertine sexuality, and about ethnicity and hybridity. In One Dead at the Paris Opera Ballet, author Felicia McCarren contextualizes appreciation of the ballet in its production and reception, surrounded by a broad popular culture and iconography of botany, and attended to by people thinking about ethnic and exotic others at the same time-and in the same ways-as they are thinking about plants. The book traces stagings of the ballet up to the Garnier Opera house in 2011 and 2014 when the ballet was re-imagined from the score and libretto. Throughout the book, McCarren reveals the postcolonial, eco-feminist potential implicit in the historical libretto, in some ways disavowed by the Opera's rhetoric surrounding the modern production.

Marian Smith recaptures a rich period in French musical theater when ballet and opera were intimately connected. Focusing on the age of Giselle at the Paris Opéra (from the 1830s through the 1840s), Smith offers an unprecedented look at the structural and thematic relationship between the two genres. She argues that a deeper understanding of both ballet and opera--and of nineteenth-century theater-going culture in general--may be gained by examining them within the same framework instead of following the usual practice of telling their histories separately. This handsomely illustrated book ultimately provides a new portrait of the Opéra during a period long celebrated for its box-office successes in both genres. Smith begins by showing how gestures were encoded in the musical language that composers used in ballet and in opera. She moves on to a wide range of topics, including the relationship between the gestures of the singers and the movements of the dancers, and the distinction between dance that represents dancing (entertainment staged within the story of the opera) and dance that represents action. Smith maintains that ballet-pantomime and opera continued to rely on each other well into the nineteenth century, even as they thrived independently. The "divorce" between the two arts occurred little by little, and may be traced through unlikely sources: controversies in the press about the changing nature of ballet-pantomime music, shifting ideas about originality, complaints about the ridiculousness of pantomime, and a little-known rehearsal score for Giselle. ?

By making systematic use of the mostly unpublished Opera Archive, Mead fills in the missing links to previous investigations and unlocks the significance of this seminal masterpiece.

Dare Me meets Black Swan and Luckiest Girl Alive in a captivating, voice-driven debut novel about a trio of ballerinas who meet as students at the Paris Opera Ballet School. "Enthralling...irresistible." ––New York Times "A standing ovation to this debut." ––E! News Thirteen years ago, Delphine Léger abandoned her prestigious soloist spot at the Paris Opera Ballet for a new life in St. Petersburg––taking with her a secret that could upend the lives of her best friends, fellow dancers Lindsay and Margaux. Now thirty-six years old, Delphine has returned to her former home and to the legendary Palais Garnier Opera House, to choreograph the ballet that will kickstart the next phase of her career––and, she hopes, finally make things right with her former friends. But Delphine quickly discovers that things have changed while she's been away...and some secrets can't stay buried forever. Moving between the trio's adolescent years and the present day, The Ballerinas explores the complexities of female friendship, the dark drive towards physical perfection in the name of artistic expression, the double-edged sword of ambition and passion, and the sublimated rage that so many women hold inside––all culminating in a twist you won't see coming, with a magnetic cast of characters you won't soon forget.

A heartrending, gripping novel about two sisters in Belle Époque Paris and the young woman forever immortalized as muse for Edgar Degas’ Little Dancer Aged Fourteen. 1878 Paris. Following their father’s sudden death, the van Goethem sisters find their lives upended. Without his wages, and with the small amount their laundress mother earns disappearing into the absinthe bottle, eviction from their lodgings seems imminent. With few options for work, Marie is dispatched to the Paris Opéra, where for a scant seventeen francs a week, she will be trained to enter the famous ballet. Her older sister, Antoinette, finds work as an extra in a stage adaptation of Émile Zola’s naturalist masterpiece L’Assommoir. Marie throws herself into dance and is soon modeling in the studio of Edgar Degas, where her image will forever be immortalized as Little Dancer Aged Fourteen. There she meets a wealthy male patron of the ballet, but might the assistance he offers come with strings attached? Meanwhile Antoinette, derailed by her love for the dangerous Émile Abadie, must choose between honest labor and the more profitable avenues open to a young woman of the Parisian demimonde. Set at a moment of profound artistic, cultural, and societal change, The Painted Girls is a tale of two remarkable sisters rendered uniquely vulnerable to the darker impulses of “civilized society.” In the end, each will come to realize that her salvation, if not survival, lies with the other.

Presents a look at the world of dance; an analysis of ballet movement, music, and history; a close-up look at popular ballets; and a host of performance tips.

NEW YORK TIMES BESTSELLER • NAMED ONE OF THE BEST BOOKS OF THE YEAR BY THE NEW YORK TIMES BOOK REVIEW, LOS ANGELES TIMES, SAN FRANCISCO CHRONICLE, AND PUBLISHERS WEEKLY For more than four hundred years, the art of ballet has stood at the center of Western civilization. Its traditions serve as a record of our past. Lavishly illustrated and beautifully told, Apollo’s Angels—the first cultural history of ballet ever written—is a groundbreaking work. From ballet’s origins in the Renaissance and the codification of its basic steps and positions under France’s Louis XIV (himself an avid dancer), the art form wound its way through the courts of Europe, from Paris and Milan to Vienna and St. Petersburg. In the twentieth century, émigré dancers taught their art to a generation in the United States and in Western Europe, setting off a new and radical transformation of dance. Jennifer Homans, a historian, critic, and former professional ballerina, wields a knowledge of dance born of dedicated practice. Her admiration and love for the ballet, as Entertainment Weekly notes, brings “a dancer’s grace and sure-footed agility to the page.”

The 18th century was a wealth of knowledge, exploration and rapidly growing technology and expanding record-keeping made possible by advances in the printing press. In its determination to preserve the century of revolution, Gale initiated a revolution of its own: digitization of epic proportions to preserve these invaluable works in the largest archive of its kind. Now for the first time these high-quality digital copies of original 18th century manuscripts are available in print, making them highly accessible to libraries, undergraduate students, and independent scholars. Western literary study flows out of eighteenth-century works by Alexander Pope, Daniel Defoe, Henry Fielding, Frances Burney, Denis Diderot, Johann Gottfried Herder, Johann Wolfgang von Goethe, and others. Experience the birth of the modern novel, or compare the development of language using dictionaries and grammar discourses. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to insure edition identification: ++++ British Library T064102 Parallel English and French texts. Titlepage in red and black. Also issued as part of 'Select comedies of Mr. de Moliere' vol. 5, London, 1732. London: printed for John Watts, 1732. [8],123, [1]p.: ill.; 12°