14 research outputs found
La nuditĂ© des danseuses professionnelles au thĂ©Ăątre de lâOpĂ©ra, 1830-1850
La nuditĂ© des danseuses de lâOpĂ©ra sous la Monarchie de Juillet nâapparaĂźt jamais Ă lâhistorien comme une nuditĂ© vĂ©cue et narrĂ©e par les danseuses. Câest le regard masculin qui sâimpose en premier lieu Ă lâhistorien : celui des thĂ©oriciens du ballet-pantomime dâinspiration romantique ou des spectateurs de lâOpĂ©ra. Lâanalyse des sources normatives et des critiques de ballet permet de mieux comprendre les enjeux culturels et sociaux liĂ©s Ă lâexhibition en scĂšne des corps fĂ©minins. Enfin, elle invite Ă une Ă©tude approfondie des Ă©motions ressenties par les spectateurs.For the historian, the nudity of the Opera dancers under the July Monarchy is never perceived nor counted by the dancers themselves but through a male point of view: either theorists of the romantic inspired ballet-mime show or Opera audience. The analysis of normative sources and ballet critics give us information about cultural and social stakes linked with feminine bodies exhibition on stage.  It also opens on a thorough study of the audienceâs emotions
Entre plaisir et censure, Marie Taglioni chorégraphe du Second Empire
Le prĂ©sent article explore la reconversion professionnelle de Marie Taglioni, vedette du ballet romantique de la Monarchie de Juillet devenue pĂ©dagogue et chorĂ©graphe Ă lâOpĂ©ra de Paris sous le Second Empire. Lâexamen des sources montre le rĂŽle jouĂ© par ses parents dans sa formation Ă la composition chorĂ©graphique dans un contexte de fĂ©minisation de la danse thĂ©Ăątrale professionnelle Ă lâĂ©chelle de lâEurope occidentale. Si la composition fĂ©minine demeure lâobjet de fortes censures, Marie Taglioni parvient Ă tisser un rĂ©seau professionnel favorable Ă sa promotion au rang de chorĂ©graphe. Son essai de reconversion, aprĂšs la composition des ballets Le Papillon (1860) et Zara (1862), se heurte cependant Ă des normes de genre qui assignent les femmes Ă lâinterprĂ©tation des Ćuvres et les excluent de lâaccession Ă lâemploi de maĂźtre de ballet.This article focuses on the late career of Marie Taglioni who, after having performed as a dancer for three decades, adapted her skills to the employment of teaching and choreographing ballets during the Second Empire. It highlights the role played by her parents in her initial training during a period that saw the feminization of professional ballet in Western Europe. Although the composition of ballets was an activity strongly censored for female dancers, Marie Taglioni managed to develop a professional network that effectively promoted her to the rank of choreographer. Despite this success and after composing two ballets, Le Papillon (1860) and Zara (1862), Taglioni still struggled against gender norms that limited womenâs role to the performance of othersâ works, and excluded women from the status of salaried ballet master
Fanny Cerrito chorégraphe
Dans le prĂ©sent article, nous proposons dâĂ©tudier la rĂ©ception critique de Gemma, ballet composĂ© par Fanny Cerrito en 1854 pour lâOpĂ©ra de Paris, avec lâobjectif de tracer les contours du statut professionnel concĂ©dĂ© Ă Fanny Cerrito dans lâespace public parisien. On constate que le succĂšs de Gemma auprĂšs des spectateurs, pourtant dĂ©crit par lâensemble de la critique dramatique, se trouve oblitĂ©rĂ© par des discours disqualifiants qui mettent en doute la compĂ©tence professionnelle de la chorĂ©graphe et privent celle-ci de son auctorialitĂ© sur la chorĂ©graphie en lui assignant le statut dâinterprĂšte. La rĂ©ception de Gemma montre, enfin, les effets des reprĂ©sentations discursives sur la carriĂšre dâune artiste dont lâĆuvre chorĂ©graphique reste, Ă ce jour, encore trop mĂ©connue des historiens.This article examines the response to Gemma, a ballet composed by Fanny Cerrito in 1854 for the Paris Opera. It outlines how the choreographerâs professional status was defined within the Parisian public sphere. Despite drama criticsâ documentation of the balletâs success, Gemma was excluded from the Paris Opera repertory because of other discourses disqualifying Cerritoâs professional competence. The choreographer was thus deprived of the authorship of her own ballet and assigned instead the role of performer. Gemmaâs reception highlights how discursive representations impacted Cerritoâs carreer, which remains neglected by dance historians
CRAL-MUS â Musique
Ălizabeth Claire, chargĂ©e de recherche au CNRSEmmanuelle Delattre, doctorante Ă lâUniversitĂ© Versailles Saint-Quentin-en-YvelinesMarie Glon, Juan Ignacio Vallejos, doctorantsSophie Jacotot, postdoctoranteVannina Olivesi, doctorante Ă lâUniversitĂ© de ProvenceMarion RhĂ©ty, doctorante Ă lâUniversitĂ© Paris 1-PanthĂ©on-Sorbonne Histoire culturelle de la danse Cette annĂ©e, le sĂ©minaire a explorĂ© les contours dâun projet collectif intitulĂ© Danse et morale, Ă lâĂ©poque moderne et contemporaine. Plusieu..
CRAL â Centre de recherches sur les arts et le langage
Esteban Buch, Giovanni Careri, directeurs dâĂ©tudesMarielle MacĂ©, chargĂ©e de recherche au CNRS Lâart et lâesthĂ©tique en questions Le CRAL a proposĂ© cette annĂ©e un rendez-vous collectif autour de questions-clĂ©s de lâesthĂ©tique contemporaine. Autour dâune sĂ©rie dâinterventions dâinvitĂ©s et de membres du centre, on a construit des sĂ©ances-dĂ©bats privilĂ©giant les partis pris ou les conflits de disciplines qui animent le champ de lâesthĂ©tique. La premiĂšre sĂ©ance, inaugurale, Ă©tait un entretien (men..
CRAL â Centre de recherches sur les arts et le langage
Esteban Buch, Giovanni Careri, directeurs dâĂ©tudesMarielle MacĂ©, chargĂ©e de recherche au CNRS Lâart et lâesthĂ©tique en questions Le CRAL a proposĂ© cette annĂ©e un rendez-vous collectif autour de questions-clĂ©s de lâesthĂ©tique contemporaine. Autour dâune sĂ©rie dâinterventions dâinvitĂ©s et de membres du centre, on a construit des sĂ©ances-dĂ©bats privilĂ©giant les partis pris ou les conflits de disciplines qui animent le champ de lâesthĂ©tique. La premiĂšre sĂ©ance, inaugurale, Ă©tait un entretien (men..
âCelebritiesâ and âartistsâ : a history of the feminization of the Paris Opera Ballet, 1830-1860
Cette Ă©tude propose une histoire de la fĂ©minisation des « artistes de la danse » de lâOpĂ©ra, groupe qui rassemble les professionnels des deux sexes les plus qualifiĂ©s (solistes et maĂźtres de ballet) dans un contexte oĂč la production des spectacles sâappuie sur le vedettariat. AprĂšs avoir dĂ©montrĂ© que la fĂ©minisation des emplois rĂ©sulte dâune dynamique statistique remontant au siĂšcle prĂ©cĂ©dent, on Ă©tudie la trajectoire parisienne de la danseuse Marie Taglioni (1827-1837) pour montrer que le vedettariat fĂ©minin peut ĂȘtre le fruit de la reproduction sociale et quâil sâadosse Ă une dĂ©finition Ă©conomique de la valeur artistique. Mais, si lâĂ©toile fĂ©minine Ă©tend sa responsabilitĂ© dans la rĂ©ussite commerciale des Ćuvres chorĂ©graphiques et devient lâobjet de discours et dâappropriations commerciales qui valorisent son statut dâartiste interprĂšte, lâexamen de la carriĂšre du maĂźtre de ballet Jean Coralli (1831-1850) montre combien les emplois consacrĂ©s Ă la composition des danses demeurent une spĂ©cificitĂ© masculine. LâĂ©tude de lâauctoralitĂ© masculine sur les danses combinĂ©e aux effets de la fĂ©minisation des emplois permet enfin de comprendre les conditions dâĂ©mergence Ă l'OpĂ©ra des chorĂ©graphes fĂ©minines Fanny Cerrito et Marie Taglioni.This dissertation retraces the history of the feminization of a professional category of âdance artistsâ at the Paris Opera that included the most highly qualified dance professionals of both genders (soloists and ballet masters) who were working within a system where the production of ballet performances relied on a culture of celebrity. Once having demonstrated that the feminization of the professional corps of dancers at the Opera resulted from a statistical dynamic that emerged in the 18th century, I study the Paris-based career trajectory of the female dancer Marie Taglioni (1827-1837) in order to demonstrate that female celebrity was the fruit of social reproduction that served to reify an economic model of assessing artistic value. This female celebrity culture meant that female ballet stars extended their professional responsibility to include the commercial success of the choreographic works they performed, and this resulted in their serving as the objects of discourse and as subjects of commercial appropriations valorising their status as performers. Yet, a close examination of the career path of the ballet master Jean Coralli (1831-1850) reveals to what extent any professional employment related to the composition of ballets still remained a masculine affair. Our study of male auctoriality over ballet composition, combined with our historical survey of the feminisation of the ballet profession in the early 19th century, reveals what made it possible for a certain number of female dancers, notably Fanny Cerrito and Marie Taglioni, to emerge as choreographers despite the institutional constraints of the Paris Opera
Writing for the Ballet in the Eighteenth Century
This article studies the links between ballet, writing and power in the 18th century. It first focuses on the âdances in charactersâ â new scriptural objects, giving rise to a publishing phenomenon in the first half of the 18th century, meant to actually set the readerâs body into motion -, and then on the ballet programmes of the âballet pantomimeâ in the second half of the century, by which ballet masters become writers. Finally, it studies the way this project begins to materialise in the habits and rules of such an institution as the Paris Opera, granting a specific status and retribution to the ballet masters as authors. This exploration of writings related to the ballet and to dance pieces in operas shows the diversity of writing and publishing practices invented or appropriated by dance professionals in the 18th century, and reveals how those writing practices are responsible for a deep renewal of the activities related to dance and of the status of both dancers and dance authors at the dawn of the 19th century.Fil: Vallejos, Juan Ignacio. Consejo Nacional de Investigaciones CientĂficas y TĂ©cnicas; Argentina. Universidad Nacional de San MartĂn. Instituto de Altos Estudios Sociales; ArgentinaFil: Olivesi, Vannina. Ăcole des Hautes Ătudes en Sciences Sociales; FranciaFil: Glon, Marie. UniversitĂ© de Lille; Franci
Le corps dénudé
La question du corps dĂ©nudĂ© a, jusquâĂ prĂ©sent, fait surtout lâobjet de travaux en histoire de lâart. Mais lâĂ©cart entre les reprĂ©sentations et les rĂ©alitĂ©s du dĂ©nudement est, dans lâaire occidentale, considĂ©rable, particuliĂšrement pour les siĂšcles passĂ©s ; une histoire de la nuditĂ© â totale ou partielle â, de ses usages sociaux, de ses normes et de ses transgressions reste donc Ă faire, au confluent de lâhistoire du corps, de lâhistoire des sensibilitĂ©s et des Ă©motions. Les Ă©tudes rĂ©unies ici, qui vont du Moyen Ăge Ă lâentre deux guerres, posent quelques jalons permettant de repĂ©rer les normes, les pratiques et les significations du dĂ©nudement des corps dans des contextes prĂ©cis : religieux, artistique, judiciaire, hygiĂ©nique, hĂ©doniste