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Choruses, Ancient and Modern$
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Joshua Billings, Felix Budelmann, and Fiona Macintosh

Print publication date: 2013

Print ISBN-13: 9780199670574

Published to Oxford Scholarship Online: January 2014

DOI: 10.1093/acprof:oso/9780199670574.001.0001

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PRINTED FROM OXFORD SCHOLARSHIP ONLINE (oxford.universitypressscholarship.com). (c) Copyright Oxford University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in OSO for personal use. date: 19 October 2021

Choruses, Community, and the Corps de Ballet

Choruses, Community, and the Corps de Ballet

Chapter:
(p.309) 17 Choruses, Community, and the Corps de Ballet
Source:
Choruses, Ancient and Modern
Author(s):

Fiona Macintosh

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780199670574.003.0018

In ‘Choruses, Community, and the Corps de Ballet’, Fiona Macintosh reinserts the history of dance into discussion of the reception of the ancient Greek chorus and probes the prejudices towards the dancer in the second half of the nineteenth century that account for its earlier omission. The roots of the nineteenth-century corps de ballet lie not in the court of Louis XIV but in the French revolutionary choral festivities, which took their cues from antiquity. In the early nineteenth century, the corps embodied the (often) perilous power of female collectivities at a time when the emergent principal ballerina was bathed in the newly invented stage gas lighting.

Keywords:   corps de ballet, dance history, Romantic ballet, revolutionary choruses, carmagnole, Pierre Gardel, Robert le Diable, Giselle

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