The Art of Ballet
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Table of contents
1. Front matter2. PREFACE3. BOOK I: THE FIRST ERA4. CHAPTER I A DISTINCTION, AND SOME DIFFERENCES5. CHAPTER II EGYPT6. CHAPTER III GREECE7. CHAPTER IV MIME AND PANTOMIME: ROME, HIPPODROME—OBSCURITY8. CHAPTER V CHURCH THUNDER AND CHURCH COMPLAISANCE9. CHAPTER VI THE BANQUET-BALL OF BERGONZIO DI BOTTA, 1489, AND THE FAMOUS “BALLET COMIQUE DE LA REINE,” 158110. CHAPTER VII THOINOT ARBEAU’S “ORCHÉSOGRAPHIE,” 158811. CHAPTER VIII SCENIC EFFECT: THE ENGLISH MASQUE AS BALLET12. CHAPTER IX BALLET ON THE MOVE13. CHAPTER X COURT BALLETS ABROAD: 1609-165014. CHAPTER XI THE TURNING POINT: LE ROI SOLEIL AND HIS ACADEMY OF DANCING, 1651-167515. CHAPTER XII SOME EARLY STARS AND BALLETS16. CHAPTER XIII PANTOMIME AT SCEAUX: AND MLLE. PRÉVÔT17. CHAPTER XIV ITALIAN COMEDY AND THE THEATRES OF THE FAIR18. CHAPTER XV WATTEAU’S DEBT TO THE STAGE19. CHAPTER XVI THE SPECTATOR AND MR. WEAVER20. CHAPTER XVII A FRENCH DANCER IN EIGHTEENTH-CENTURY LONDON21. CHAPTER XVIII LA BELLE CAMARGO22. CHAPTER XIX THE HOUSE OF VESTRIS23. CHAPTER XX JEAN GEORGES NOVERRE24. CHAPTER XXI GUIMARD THE GRAND: 1743-181625. CHAPTER XXII DESPRÉAUX, POET AND—HUSBAND OF GUIMARD26. CHAPTER XXIII A CENTURY’S CLOSE27. CHAPTER XXIV THE EARLY NINETEENTH CENTURY28. CHAPTER XXV CARLO BLASIS29. CHAPTER XXVI MARIE TAGLIONI (“SYLPHIDE”)30. CHAPTER XXVII CARLOTTA GRISI (GISELLE)31. CHAPTER XXVIII FANNY CERITO (“ONDINE”)32. CHAPTER XXIX LUCILE GRAHN (“EOLINE”)33. CHAPTER XXX THE DECLINE AND REVIVAL34. CHAPTER XXXI THE ALHAMBRA: 1854-190335. CHAPTER XXXII THE ALHAMBRA 1904-191436. CHAPTER XXXIII THE EMPIRE 1884-190637. CHAPTER XXXIV THE EMPIRE 1907-191438. CHAPTER XXXV FINALE: THE RUSSIANS AND—THE FUTURE39. INDEX