Choreography & Narrative: Ballet's Staging of Story and Desire

Abstract

Illustrations Preface Introduction: PygmalionOs No-Boby and The Body of Dance 1. Originary Gestures 13 Painting the situations of the soul Vanishing physicalities Transgressive gestures Originating the action ballet The Bank of Grass (le banc de gazon) Telemaque dans lOile de Calipso (1759) On One Side, On the Other Above and Below Arlequin Soldat Magicien, ou le Canonier, Pantomime (1764) 2. Staging the Canvas and the Machine Spectacular dancing bodies Horizontal and vertical perfection Challenging hierarchy The more sensible machine Make the Scheme Known Jason et Medee (1771) The Invigilant DancerApelles et Campaspe (1776)3. Narrating Passion and Prowess Dancing the action A passion for anatomy The language of dance The self-filled body The Duel Mirza (1779) The Earth Trembles: The Thunder Roars Le Premier Navigateur, ou le Pouvoir de lOAmour (1785) Escape into the Heavens Hercule et Omphale, Pantomime en 1 Acte (1787) 4. Governing the Body The street, the stage, the nation Muscular geometry Virtuoso docility Governing the Body politic The Magically Inscribed Message Les Royalistes de la Vendee, ou les Epoux Republicains, Pantomime en Trois Actes (1794) To Throw Oneself in the Arms Of (Se Jeter dans les Bras) La Dansomanie (1800) Begin and End with Dancing Nina, ou La Folle par Amour (1813) Tell-Tale Evidence Les Pages du Duc de Vendome (1820) 5. Fugitive Desires Cruel nocturnal dancing Crafting diversion Dancing the object of desire The dissolving object of the gaze Making Merry/Gazing On La Sylphide (1832) Maybe Yes Maybe No La Voliere, ou les Oiseaux de Boccace (1838) Dark Spaces Giselle, ou les Wilis (1841) Conclusion: BalletOs Bodies and The Body of Narrative apendix notes bibliography index

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