The Art of Ballet

by Mark Edward Perugini

CONTENTS

BOOK I. THE FIRST ERA
CHAPTER		PAGE
	OVERTURE: ON THE ART OF BALLET	[15]
I.	A DISTINCTION, AND SOME DIFFERENCES	[21]
II.	EGYPT	[25]
III.	GREECE	[32]
IV.	MIME AND PANTOMIME: ROME, HIPPODROME—OBSCURITY	[41]
V.	CHURCH THUNDER AND CHURCH COMPLAISANCE	[47]
VI.	A BANQUET-BALL OF 1489: AND THE BALLET COMIQUE DE LA REINE, 1581	[53]
VII.	THOINOT ARBEAU’s “ORCHÉSOGRAPHIE,” 1588	[61]
VIII.	SCENIC EFFECT: THE ENGLISH MASQUE AS BALLET, 1585-1609	[71]
IX.	BALLET ON THE MOVE	[83]
X.	COURT BALLETS ABROAD: 1609-1650	[88]
XI.	THE TURNING POINT: “LE ROI SOLEIL AND HIS ACADEMY OF DANCING,” 1651-1675	[99]
BOOK II. THE SECOND ERA
XII.	SOME EARLY STARS AND BALLETS	[109]
XIII.	“PANTOMIME” AT SCEAUX, AND MLLE. PRÉVÔT	[113]
XIV.	ITALIAN COMEDY, AND THE “THEATRES OF THE FAIR”	[119]
XV.	WATTEAU’S DEBT TO THE STAGE	[130]
XVI.	“THE SPECTATOR” AND MR. WEAVER	[142]
XVII.	A FRENCH DANCER IN EIGHTEENTH-CENTURY LONDON	[149]
XVIII.	LA BELLE CAMARGO, 1710-1770	[156]
XIX.	“THE HOUSE OF VESTRIS”	[163]
XX.	JEAN GEORGES NOVERRE	[171]
XXI.	GUIMARD THE GRAND	[179]
XXII.	DESPRÉAUX, POET, “MAÎTRE,” AND “HUSBAND OF GUIMARD”	[195]
XXIII.	A CENTURY’S CLOSE	[201]
BOOK III. THE MODERN ERA
XXIV.	THE EARLY NINETEENTH CENTURY	[207]
XXV.	CARLO BLASIS, A LEADER OF THE MODERN SCHOOL	[213]
XXVI.	THE “PAS DE QUATRE”: I. MARIE TAGLIONI. (“SYLPHIDE”)	[223]
XXVII.	THE “PAS DE QUATRE” II. CARLOTTA GRISI. (“GISELLE”)	[235]
XXVIII.	THE “PAS DE QUATRE”: III. FANNY CERITO. (“ONDINE”)	[240]
XXIX.	THE “PAS DE QUATRE”: IV. LUCILE GRAHN. (“EOLINE”)	[244]
XXX.	THE DECLINE AND REVIVAL	[249]
XXXI.	THE ALHAMBRA 1854 TO 1903	[252]
XXXII.	THE ALHAMBRA 1904 TO 1913	[269]
XXXIII.	THE EMPIRE THEATRE 1884 TO 1906	[276]
XXXIV.	THE EMPIRE THEATRE 1907 TO 1914	[294]
XXXV.	FINALE, THE RUSSIANS AND—THE FUTURE	[309]
	INDEX	[327]

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