Dance as text : ideologies of the baroque body PDF
Preview Dance as text : ideologies of the baroque body
DANCE AS TEXT Oxford Studies in Dance Theory MARK FRANKO, Series Editor French Moves: The Cultural Politics of le hip hop Felicia McCarren Watching Weimar Dance Kate Elswit Poetics of Dance: Body, Image, and Space in the Historical Avant-Gardes Gabriele Brandstetter Dance as Text: Ideologies of the Baroque Body, Revised Edition Mark Franko DANCE AS TEXT Ideologies of the Baroque Body Revised edition Mark Franko 1 1 Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide. Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Oxford is a registered trade mark of Oxford University Press in the UK and certain other countries. Published in the United States of America by Oxford University Press 198 Madison Avenue, New York, NY 10016 © Oxford University Press 2015 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, by license, or under terms agreed with the appropriate reproduction rights organization. Inquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above. You must not circulate this work in any other form and you must impose this same condition on any acquirer. Library of Congress Cataloging-in-Publication Data Franko, Mark. Dance as text : ideologies of the baroque body / Mark Franko.—Revised edition. pages cm Includes bibliographical references and index. ISBN 978-0-19-979401-0 (alk. paper) 1. Ballet—France—History. 2. Dance—Political aspects—France. I. Title. GV1649.F73 2015 792.8—dc23 2014046017 1 3 5 7 9 8 6 4 2 Printed in the United States of America on acid-free paper For Juliet and Alessio, and to Louis Marin in memoriam The irreducible political power that everybody has, his bodily behavior in the space that he occupies. —Paul Goodman, Speaking and Language: Defense of Poetry The people . . . enjoy a spectacle which, basically, is always aimed at pleasing them, and all our subjects, in general, are delighted to see that we share their tastes for what they do best. —Louis XIV, Mémoires for the Instruction of the Dauphin The study of dance and theater is the study of how a particular group of people overcome stage fright. —Randy Martin, Performance as Political Act This is precisely what the tyrant does. He causes this lack of self-presence in the body politic which is simultaneously a loss of language. —Vincent Farenga, “Periphrasis on the Origin of Rhetoric” Contents Preface to the First Edition xi Preface xv Acknowledgments xxiii Illustrations xxv Abbreviations xxvii Prologue: Constructing the Baroque Body 1 1. Writing Dancing, 1573 15 2. Ut Vox Corpus, 1581 31 3. Interlude: Montaigne’s Dance, 1580s 51 4. Political Erotics of Burlesque Ballet, 1624–1627 62 5. Molière and Textual Closure: Comedy-Ballet, 1661–1670 107 Epilogue: Repeatability, Reconstruction, and Beyond 131 Appendix One: Notes on Characters of Dance 153 Appendix Two: Original Text and Translation of Les Fées (1625) 158 Appendix Three: Original Text and Translation of Lettres Patentes (1662) 165 Appendix Four: The Amerindian in French Humanist and Burlesque Court Ballets 183
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