Unit Three: The Renaissance and the Baroque: Politics of Spectacle in
Western European Dance
Key Themes and Concepts:

Political leaders like Catherine de Medici manipulate how we make meaning of events by
producing massive choreographed spectacles performed by members of the royal court (Anderson
31).

The Ballet Comique de la Reine “has come to be regarded as the most important early attempt to
create an extended choreographic spectacle” (Anderson 32). This performance event united the
now separate disciplines of poetry, music, dance, and stage design (Lihs 41).

Because the audience often sat above the performance in great halls, this informed the dancing
master’s creation of elaborate spatial designs. The performance of these patterns often included
geometrical shapes “such as squares, diamonds, ovals, and triangles” (Anderson 35) which
symbolized political messages. As a result, dance performances served a functional purpose
beyond aesthetics with nonverbal communication.

At the end of performance events the audience often joined the performers in dance, thus
blurring boundaries between the theatrical and everyday life. “The sight of everyone dancing
together could be interpreted as an image of social harmony and stability” (Anderson 36).

Ballet flourished in France. The required protocol in the highly refined movements of the
performer reflected studies in the proper etiquette and decorum needed to maintain social status
appreciated by the aristocrats (Anderson 37).

The synchronization of movement performed in court dances reflected images of harmony,
balance, and stability (Anderson 38).

The emergence of the professional dancing master and choreographer led to the facilitation of
learning more complex dances (Anderson 38).

Most important in the seventeenth century, is that “ballet moved out of ballrooms and halls and
into proscenium theatres” (Anderson 38). This proscenium setting, designed by Italian Giacomo
Torelli lends itself to the success of the ballet performance because “most members of the
audience now faced the stage straight-on” (Anderson 38). This enabled choreographers to create
movement that emphasized solo performers as well as larger ensembles.
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
The proscenium setting created a barrier between the performer and the audience which led to
the decline of everyday people participating in the event, while elevating the status of the dancer
(Anderson 38).

Prominent individuals, like King Louis XIV, use performance to manipulate and control the political
context (Anderson 39).

For King Louis XIV everyday life was viewed as performative. For example, “dining, getting up, and
going to bed were ceremonial occasions that others might behold” (Anderson 39).

The exploitation of deities and a revival of classical scholarship in the arts were common in ballet
performance. “In ballets, courtiers could portray gods and heroes, and offstage they could model
themselves on such balletic characters as Apollo or Alexander the Great” (Anderson 39-40). These
associations with mythological characters provided the performer with exaggerated personas
“endowed with the virtues of courage, strength, elegance, and mental acuity” (Anderson 40).

Advancements in scenic and costume designs were created by Jean Berain; the spectacle in court
theatrical events included “the illusions of storms, flying gods, and collapsing palaces” (Anderson
40). Costumes included trims made of shiny items such as belt buckles and jewels which would
pick-up the candle light in the theatre “and helped make figures more visible” (Anderson 40).

The ability to dance helped one ascend the hierarchical class structure required of royalty and
nobility. “These dances became so important for training in the social graces that many nobles
took daily dance classes” (Lihs 41).

Turn-out was first used in ballet “as a theatrical adaption of the fashionable” (Anderson 43)
fencer’s stance; it was later discovered to increase balance and flexibility which are needed to
open outward for presenting to an audience in a proscenium setting.

The rise in the technical development of dance results in the development of the professional
dancer (Anderson 43).

The founding of the Academie Royale de Danse aids in organizing teachers and giving dance
official recognition in the performing arts (Anderson 43).
Works Cited
Anderson, Jack. Ballet & Modern Dance. Princeton, New Jersey: Dance Horizons, 1992.
Lihs, Harriet R. Appreciating Dance: A Guide to the World’s Liveliest Art. 4th ed.
New Jersey: Prentice Hall, 2009.
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