Le ballet féerique (Les Petites Fées) (French Edition)

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This self-referential gesture offers a chance to think about the spectacle as something more than a script or a text. But when one examines these librettos more closely, dancing and the observation of dance by the onstage crowd appears to be a pervasive theme in librettos. The enactment of village and court dances might have been used as a justification of dance.

With its abstract gestures, ballet could not lend itself to any narrative action, and thus could only be featured as itself.

The witnessing of the dance within the ballet would have been the means with which they imagined the perception and reception of their art by the real audience members. The dancers, playing for their false audience rather than their real one, no longer acknowledged the performativity of the performance. But one could also say that the conspicuousness of the staging frame in a meta-performance interrupts the operative of spectacle itself. The optical devices and effects from this time period that remain with us now appear worn, their images faded, while they were first seen as the equivalent of Technicolor splendor.


On the surface of these merchandise and their scopophilic pleasures, dance would appear to be the worst of all mediums under consideration for study. It has long been celebrated as escaping the economy of reproduction, resisting commodification because it does not endure and thus cannot be exchanged and traded. This last quality makes it all the more difficult to consider as a historian. It would seem paradoxical to try to outline the history of vision through the analysis of objects that have themselves been lost. But since dance as a medium took its cues strictly from the visual and corporeal, communicating per the silencing of the voice and the expression and signification of the body, the Romantic ballet can inform our understanding of this problem of imagery and subjectivity.

Chaque judas de loge The librettos as fictions are not particularly convincing in their own right, but they depended on a vision remote from the words on the page. The effect of a multiplication of such images would reach its apotheosis with the crowd of corps de ballet members, all identically dressed, all replicating the same movement with the same technique. One would have seen what Michel Foucault would identify as the kaleidoscopic multiplication of the commodity.

Reality, the belief in it and power over it are expressed in terms of what can be seen. The male heroes see the heroines first as an apparition, a foil of the senses rather than women of the flesh. The divide between the real and the unreal on the ballet stage is further complicated by the fact that the women perceived in such visions represented pure escapist fantasy, their characters half-human, half-beast or fairy.

The crowds gather onstage for social, celebratory occasions; their presence usually sanctifies the union of a marriage.

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These are the spaces in which the love interest inevitably comes from, and where the rest of her otherworldly cohorts live, the look-alike sylphides or wilies. His solitude relegates these visions to an individual, private experience; he cannot rely on anyone else to substantiate the perceived miracle. The dancers dancing these roles were demimondaines, most of them participating in illicit prostitution practices that were unregulated by the State.

These librettos depict them as full-throttled creatures of the night. However much the gentleman-dandy might like looking at them and engaging with them casually on the side, he was advised not to bring them into the public sphere, where they would not, according to these narratives, survive. Dance associated itself into the political per this cultural longing for freedom of expression.

List of works by Jules Massenet - IMSLP/Petrucci Music Library: Free Public Domain Sheet Music

In the instances in which voyeurs play a narrative role, their characters are mocked and laughed at when they communicate what they have seen, even when what they say would appear to be true. Their treatment never seems to be quite fair.

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They act as a foil to the hero, a character in these contexts acknowledged in the scenarios as fickle and caddish. The viewing position of the spectator thus inevitably aligns with the hero. They seem to be held culpable for their role in dissipating the dream of the women. Their actions of spying in order to survey and control were also undoubtedly aligned with those of the police censor, who was present in Le Peletier at the time.

In the case of the camera obscura employed as a metaphor for vision in the previous century, the apparatus and the observer are two distinct entities. The perspective of the observer exists independently from the optical device that is a physical piece of technical equipment. The shift to physiological, embodied vision meant that sight was trapped in a singular body and the sensual information it delivered.

Audience members are told to see through the eyes of the hero and no one else. His presence also indicates a heightened interest in that which constituted normative vision. While the voyeur is hidden from plain sight, the performers, including the hero and heroine, were often hidden from each other, adopting a variety of guises and postures belying their true identity.