115:. The pricey production lasted five and half hours and the Queen and King both participated in the performance. The Queen, along with a group of lady court dancers arrived on a fountain that was three tiers high dressed as dryads. The dancers were entering and exiting from both sides of the set, which was unusual for previous court ballets. The ballet was also made in hopes of bringing resolution to the religious hardship that caused the French people to separate. Circe was a symbol of civil war, while the restoration of peace at the end of the ballet represented the country's hopes for the future.
599:
22:
514:
Preston, VK (2015). "How do I Touch this text?: Or, the
Interdisciplines Between: Dance and Theatre in Early Modern Archives", pp. 56-89, in George-Graves, Nadine. "The Oxford Handbook of Dance and Theatre." Oxford and New York: Oxford University Press.
307:
Aercke 1994, p. 27 "... Balthasar
Beaujoyeux (actually Baltazarini), with music by Lambert de Beaulieu and Jacques Salmon on a text by La Chesnaye and painted scenery by Jacques Patin (who also designed the costumes), it is the earliest such ballet of which
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Anthony 1997, p. 41, and
Lawrenson 1986, pp. 182–184, both identify the location of the performance as the Petit-Bourbon (known as the Hôtel de Bourbon at the time), and Lawrenson reproduces the engraving shown here. Lacroix 1876,
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series in 1968. The tune has since become well known as a French folk song there, and its melody can be heard today as a chime signaling the hour over the PA systems of some schools and rural municipalities.
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Kasey Marie Mattia, Crossing the channel: Cultural identity in the court ... 2007 Duke
University Page 11 "Beaujoyeulx had ultimate control over the ballet, but was assisted by Lambert Beaulieu and
233:(the source of the image) identifies it as the "Gallery of the Louvre", and McGowan 1998, p. 275, gives "Salle de Bourbon of the Louvre". Brette 1902,
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Anthony 2001. Marguerite de
Vaudemont, also known as Marguerite of Lorraine, was the queen's half-sister, daughter of the queen's father
165:" (the sound of the bell at which Circe leaves her garden), contain a tune that forms the basis of a nineteenth-century arrangement by
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Histoire des édifices où ont siége les assemblées parlementaires de la Révolution française et de la première République, tome premier
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557:(1924). "The Dance, an Historical Survey of Dancing in Europe". London: Halton & Truscott Smith.
511:
McGowan, Margaret M. (1998). "Balet
Comique de la Royne, Le" in Cohen 1998, vol. 1, pp. 275–277.
613:
237:, discusses the history of the confusion of the location of this room in the Petit-Bourbon with the
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The French Stage and
Playhouse in the XVIIth Century: A Study in the Advent of the Italian Order
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129:, and a certain "Sieur de Beaulieu." This composer was identified as "Lambert de Beaulieu" by
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Likely as a result of its popularity in Japan, it was selected as the tune that plays when a
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and was the first piece to combine poetry, music, design and dance according to the rules of
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Le Balet
Comique by Balthazar de Beaujoyeulx, 1581: A Facsimile, With an Introduction
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Manners, Customs, and Dress during the Middle Ages, and during the
Renaissance Period
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who wrote the text, and
Jacques Patin who designed the stage sets and costumes.
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93:'s sister, Marguerite de Vaudemont. The ballet was choreographed by
571:(1988 ). "Chapter XI. The Academies and Court Entertainments: The
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Anthony, James R. (2001). "Ballet de cour" in Sadie 2001. Also at
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Gods of Play: Baroque Festive Performances As Rhetorical Discourse
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361:, revised and extended edition. Portland, Oregon: Amadeus Press.
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Versailles and the Mechanics of Power': The Subjugation of Circe
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482:, second edition, revised and enlarged. New York: AMS Press.
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178:
500:. Binghamton, New York: Medieval and Renaissance Texts.
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Le Son de la clochette auquel Circé sortit de son jardin
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The final nine measures of the first ballet, labelled "
51:performed on October 15, 1581, during the reign of
326:Zojirushi: Design Explained – Our Signature Tune!
643:
169:, which the latter mistakenly attributed to the
532:The New Grove Dictionary of Music and Musicians
359:French Baroque Music from Beaujoyeulx to Rameau
141:, but is today identified with the bass singer
63:in Paris. It is often referred to as the first
429:(6 volumes). Oxford: Oxford University Press.
346:. Albany: State University of New York Press.
105:. The ballet was inspired by the enchantress,
85:, as part of the wedding celebrations for the
577:The French Academies of the Sixteenth Century
383:. New York: E. P. Dutton & Company, Inc.
137:, following a probable error in a letter by
125:. The music was provided by Jacques Salmon,
127:maitre de la musique de la chambre de Roi
632:, 1581: An Analysis" by Elizabeth Cooper
575:", pp. 236–274, in Yates, Frances.
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263:, and his second wife, Joanna of Savoy.
145:who with his wife, the Italian soprano
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328:https://www.zojirushi.com/blog/?p=4406
205:Catherine de' Medici's court festivals
425:Cohen, Selma Jeanne, editor (1998).
25:Engraving of the first scene of the
662:Ballets by Balthasar de Beaujoyeulx
427:International Encyclopedia of Dance
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579:. London and New York: Routledge.
535:, 2nd edition. London: Macmillan.
14:
688:
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381:Choreographic Music for the Dance
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281:Thames & Hudson, 1988 p.14 .
103:Académie de Poésie et de Musique
406:. Paris: Imprimerie Nationale.
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139:Rudolph II, Holy Roman Emperor
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452:. Rotterdam: 010 Publishers.
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630:Le Balet Comique de la Reine
467:. London: Chapman and Hall.
149:themselves sung the airs to
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55:, in the large hall of the
16:1581 French court spectacle
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657:European court festivities
604:Ballet comique de la reine
573:Ballet comique de la Reine
357:Anthony, James R. (1997).
342:Aercke, Kristiaan (1994).
79:Ballet Comique de la Reine
40:Ballet Comique de la Reine
27:Ballet Comique de la Reine
610:Balet comique de la Royne
478:Lawrenson, T. E. (1986).
445:(2004 paperback edition).
47:) was an elaborate court
45:Balet comique de la Royne
448:Graafland, Arie (2003).
376:(subscription required).
294:who composed the music,
261:Nicolas, Duke of Mercœur
173:"Amaryllis" composed by
95:Balthasar de Beaujoyeulx
402:Brette, Armand (1902).
463:Lacroix, Paul (1876).
379:Arvey, Verna. (1941).
135:Biographie universelle
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667:1581 ballet premieres
272:McGowan 1998, p. 275.
43:(at the time spelled
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606:at Wikimedia Commons
494:McGowan, Margaret M.
99:Jean-Antoine de BaĂŻf
83:Catherine de' Medici
374:Oxford Music Online
250:Yates 1988, p. 236.
53:Henry III of France
677:French royal court
317:Arvey 1941, p. 80.
143:Girard de Beaulieu
91:Louise of Lorraine
59:, adjacent to the
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652:Renaissance dance
602:Media related to
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89:and Queen
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412:457140401
193:Zojirushi
133:' in his
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551:(eBook).
496:(1982).
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