Comédie-Ballet

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Comédie-Ballet

 

a theatrical genre combining dialogue, dance, pantomime, instrumental and sometimes vocal music, and the fine arts (scenery, costumes). Created by Molière, it was characteristic of the French theater of the mid-17th century. Together with the composers J. B. Lully and M.-A. Charpen-tier, the balletmaster P. Beauchamp, and the set designer G. Vigarani, Molière staged his own comédies-ballets, including Les Fâcheux (1661), Le Manage forcé (1664), La Princesse d’Elide (1664), George Dandin (1668), Monsieur de Pourceaugnac (1668), Le Bourgeois Gentilhomme (1670), Les Amants magnifiques (1670), and Le Malade imaginaire (1673). The comédie-ballet exerted a considerable influence on the subsequent development of the French musical theater.

REFERENCES

Gvozdev, A. A. “Operno-baletnye postanovki vo Frantsii XVI-XVII vv.” In the collection Ocherkipo istorii evropeiskogo teatra. Petrograd, 1923.
La Laurencie, L. de. Frantsuzskaia komicheskaia opera 18 veka. Moscow, 1937. (Translated from French.)
Tiersot, J. La Musique dans la comédie de Molière. Paris, 1922.
References in periodicals archive ?
The famous Comedie-ballet by Moliere will be shown in New York in July.
A principios del siglo XVIII en Francia, la practica de la danza se vincula a varios generos del teatro lirico que son la comedie-ballet, la tragicomedie-ballet, la tragedie-ballet y l'opera-ballet.
To explore this point, Jeanneret discusses (with beautiful accompanying illustrations) Versaille's park and fetes, as well as opera and the genre of the comedie-ballet.
Another chapter, on Moliere's comedie-ballet George Dandin, ou le Mari Confondu and Le Bourgeois Gentilhomme, is similarly enlightening about the invention of musical comedy that shaped these plays.
SCHNEIDER, Herbert, 1897, "La comedie-ballet et la collaboration avec Moliere", en AA.
This renewed favor is certainly related to the greater interest given to the comedie-ballet in general by recent scholars (Claude Abraham, Stephen Fleck and Charles Mazouer, among others) and performers, as part of a growing recognition of the role played by the baroque in the culture of the grand siecle.
For Smith, though, the principal significance of the festival is that it marked the beginning of an active collaboration between Moliere and the Sun King, whose appreciative suggestions to Moliere after the initial performance eventually inspired changes to the script and branded the comedie-ballet as a genre fixated on the identity of the "male courtier.
In addition, her background allowed Smith to think critically about the artistic challenges Moliere would have faced in working within the comedie-ballet form, which intermingled full-length plays with interludes of dance and music.
Setting aside Raymond Picard's defeatist assertion that they lie beyond the apprehension of literary scholars, Julia Prest discusses what can be gleaned from the admittedly incomplete musical and choreographical evidence in respect of Le Mariage force, Moliere's second comedie-ballet, and offers what I am inclined to call the first holistic appreciation of it.
27) Their first collaboration was Les Facheux, Moliere's first comedie-ballet, commissioned for a fete given in 1661 by Nicolas Fouquet, then Minister of Finance.
He exhibited great technical versatility, moving readily from the stylized use of Greek myth, to the rewriting of history, to the comedie-ballet, to the modern comedy of character.
3) To this end the playwright combined different musical-theatrical styles and genres and, through the interworking of poetry, music and dance, introduced into comedie-ballet the play of multiple simultaneous meanings.