The Art of Ballet

by Mark Edward Perugini

There can be no doubt that the appeal of Blasis’ work to artists was greatly due not merely to his technical excellence as a dancer but to the fact that—steeped as he was in the study of music, sculpture and painting—his work was a living expression of a classic art-spirit. Again and again in his writings he emphasises the necessity the young dancer is under of studying not only music, but drawing, painting and sculpture. In one interesting passage, especially, he remarks: “It is in the best productions of painting and sculpture that the dancer may study with profit how to display his figure with taste and elegance. They are a fountain of beauties, to which all those should repair who wish to distinguish themselves for the correctness and purity of their performances. In the Bacchanalian groups which I have composed, I have successfully introduced various attitudes, arabesques and groupings, the original idea of which was suggested to me, during my journey to Naples and through Magna Grecia, on viewing the paintings, bronzes and sculptures rescued from the ruins of Herculaneum.”

The publication at Milan, of his first work, in French, A Theoretical, Practical and Elementary Treatise on the Art of Dancing, brought Blasis into prominent notice throughout the Continent and in London, owing to press notices and demands for translations of a work that was unrivalled of its kind and is valuable to-day.

In 1826 Blasis came to London, where, at the King’s Theatre, Haymarket, he was triumphantly received as dancer, actor and ballet-composer. He remained here for some time, and in 1829-1830 published his still more important work, in English, namely, The Code of Terpsichore in which the whole subject of dancing is dealt with exhaustively. The book was “embellished” with numerous line-engravings, accompanied by music, composed by his sisters, Virginia and Teresa Blasis, and was dedicated to Virginia, then Prima Donna of the Italian Opera at Paris. The work was an instant success and did much to further the aim which Blasis had in all his writings, namely, the raising of the art of the Dance and Ballet nearer to a level with the other imitative arts.

Carlo Blasis
(From a lithograph).

The maître now divided his time between England and Italy, sometimes appearing as a dancer, sometimes producing ballets of his own composition; or yet again as journalist and author, contributing articles to leading reviews, or seeing some fresh volume through the press, always occupied in propagating his school and principles, demonstrating his method, and putting into practice wherever he went every new improvement or suggestion which could advance the cause he had at heart; always encouraging and inspiring all those of his profession with whom he came in touch, with a newer and higher idea of the possibilities of theatrical dance and ballet. It was now said, indeed, that “all who followed the same profession became either his disciples or imitators.”

His triumphs as a dancer, however, were unhappily cut short during an engagement at the San Carlo, Naples, by an accident which occurred during rehearsal, some unaccountable injury to the left leg, for which every remedy was tried without avail. Though he was not unable henceforth to perform the simpler and more natural movements he found himself handicapped by a certain stiffness that made anything like a cabriole or entrechat impossible, and wisely decided to retire rather than diminish the fame he had already acquired as a dancer. Hereafter it was as a composer of ballets and as a widely informed writer on the arts that he elected to occupy himself, and in Italy, France and England—notably at Drury Lane—his productions both on the stage and in the Press, won him increasing recognition and respect.

In 1837 Blasis was appointed by the Italian Government Director of the Imperial Academy of Dancing and Pantomime at Milan, where the reforms he introduced and the new artistic ideal he created shortly raised it to the position of the leading Academy of the world.

By the end of the eighteenth century dancing and ballet at the Paris Opera, had grown, as we have seen, a stiff, formal, dull affair. Carlo Blasis’ rule at the Milan Academy, which put new life into the art, had a tremendous influence throughout the Continent, so much so indeed that Russia, Austria, France, and even England all to-day owe something to the traditions of style and efficiency his genius laid down at that time.

The system of training he instituted then is still much the same in present-day opera-houses, from which most of the famous dancers are drawn. Pupils entered the Milan Academy at an early age. No one was admitted before the age of eight years, nor after twelve, if a girl, or fourteen, if a boy. They were to be medically examined, and be proved to have a robust constitution and to be in good health. They had to be children of respectable parents; and, when admitted, were to remain in the school, devoted to its service and to the service of the theatre for eight years. For the first three years they were to be considered as apprentices and receive no salary; those who were qualified for performance in the theatre came to receive progressive salaries. Their daily practice in the school was for three hours in the morning, from nine to twelve, at dancing; after which they were to be exercised in the art of pantomime for one hour.