Parisian music-hall ballet, 1871-1913
Author(s)
Bibliographic Information
Parisian music-hall ballet, 1871-1913
(Eastman studies in music)
University of Rochester Press, 2015
Available at 3 libraries
  Aomori
  Iwate
  Miyagi
  Akita
  Yamagata
  Fukushima
  Ibaraki
  Tochigi
  Gunma
  Saitama
  Chiba
  Tokyo
  Kanagawa
  Niigata
  Toyama
  Ishikawa
  Fukui
  Yamanashi
  Nagano
  Gifu
  Shizuoka
  Aichi
  Mie
  Shiga
  Kyoto
  Osaka
  Hyogo
  Nara
  Wakayama
  Tottori
  Shimane
  Okayama
  Hiroshima
  Yamaguchi
  Tokushima
  Kagawa
  Ehime
  Kochi
  Fukuoka
  Saga
  Nagasaki
  Kumamoto
  Oita
  Miyazaki
  Kagoshima
  Okinawa
  Korea
  China
  Thailand
  United Kingdom
  Germany
  Switzerland
  France
  Belgium
  Netherlands
  Sweden
  Norway
  United States of America
Note
Includes bibliographical references and index
Description and Table of Contents
Description
This pioneering study of ballets staged in Parisian music halls brings to light a vibrant dance culture central to the renewal of French choreography at the fin de siecle.
This pioneering study of Parisian music-hall ballet brings to light a vibrant dance culture that was central to the renewal of French ballet at the turn of the twentieth century. Long thought a lost period for ballet in France, the fin de siecle in fact saw a flourishing of choreographic activity. More than four hundred ballets were created to great acclaim, half of which were full-scale pantomime-ballets, with entertaining narratives, catchy music, titillating choreography, lavish sets and costumes, appealing corps girls, and star ballerinas. Most of these productions were staged not at the elite Paris Opera but in the city's trendiest commercial venues: music halls.
Between 1871 and 1913, the Folies-Bergere, the Olympia, and the Casino de Paris brought together the era's leading authors of light theater and comic opera to produce a flurry of imaginative ballets that combined the conventional structures of high art with the popular idioms of mass entertainment. They also drew unprecedented numbers of people who had never before attended ballet. Parisian Music-Hall Ballet, 1871-1913 rediscovers this repertoire and culture, supplying a missing chapter in the history of French dance.
Sarah Gutsche-Miller is Assistant Professor of Musicology at the University of Toronto.
Table of Contents
List of Figures
Acknowledgments
Introduction
The Venues and the Shows
Music Halls for Tout-Paris
Creative Artists: Authors, Composers, and Choreographers
The Ballet-Divertissement
Real Pantomime-Ballets: The Choreographic Conventions of 1890s Music-Hall Ballet
Music as Storyteller: The Musical Conventions of 1890s Music-Hall Ballet
As Pleasing to the Ear as to the Eye: A Popular Musical Style
The Stories of Music-Hall Ballet: Romance, Flirtations, and Other Pleasures
A Delight to Behold: Glitter, Glamour, and Girls
Appendix A: Tables of Ballets Staged by the Folies-Bergere, the Olympia, and the Casino de Paris
Appendix B: Synopses of Ballets Staged at the Folies-Bergere, the Olympia, and the Casino de Paris
Notes
Bibliography
Index
by "Nielsen BookData"