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The ''Ballet Comique de la Reine''''' (at the time spelled ''Balet comique de la Royne'') was first showcased on October 15, 1581 to the court of Catherine de' Medici. The "Ballet Comique de la Reine" was created for the wedding celebration of Queen Louise's sister, Marguerite of Lorraine, who married Duc de Joyeuse. The ballet was choreographed by Balthasar de Beaujoyeulx and was the first piece to include poetry, music, design and dance, all rules of Biaf's Academie, to create a storyline. The ballet was inspired by the enchantress, Circe, from Homer's Odyssey. The pricey production lasted five and half hours and the Queen and King both participated in the performance. The Queen, along with a group of lady court dancers arrived on a fountain that was three tiers high dressed as dryads. The dancers were entering and exiting from both sides of the set, which was unusual for previous court ballets. The ballet was also made in hopes of bringing resolution to the religious hardship that caused the French people to separate. Circe was a symbol of civil war, while the restoration of peace at the end of the ballet represented the country's hopes for the future.Thames & Hudson, 1988 p.14Anthony 1997, p. 41, and Lawrenson 1986, pp. 182–184, both identifiy the location of the performance as the Petit-Bourbon, and Lawrenson reproduces the engraving shown here. Lacroix 1876, (p. 506 ) (the source of the image) identifies it as the "Gallery of the Louvre", and McGowan 1998, p. 275, gives "Salle de Bourbon of the Louvre". Brette 1902, (pp. LIV–LXIX ), discusses the history of the confusion of the location of this room in the Petit-Bourbon with the Louvre in great detail.Nicolas Filleul de La Chesnaye, the King's almoner, wrote the text, sets and costumes were designed by Jacques Patin.Kasey Marie Mattia, Crossing the channel: Cultural identity in the court ... 2007 Duke University Page 11 "Beaujoyeulx had ultimate control over the ballet, but was assisted by Lambert Beaulieu and Jacques Salmon who composed the music, La Chesnaye who wrote the text, and Jacques Patin who designed the stage sets and costumes. The music was provided by Jacques Salmon, ''maitre de la musique de la chambre de Roi'', and a certain "Sieur de Beaulieu." This composer was identified as "Lambert de Beaulieu" by Fétis' in his ''Biographie universelle'', following a probable error in a letter by Rudolph II, Holy Roman Emperor, but is today identified with the bass singer Girard de Beaulieu who with his wife, the Italian soprano Violante Doria themselves sung the airs to ''Circé''.Kristiaan Aercke -Gods of Play: Baroque Festive Performances As Rhetorical Discourse 1994 - Page 27 "... Balthasar Beaujoyeux (actually Baltazarini), with music by Lambert de Beaulieu and Jacques Salmon on a text by La Chesnaye and painted scenery by Jacques Patin (who also designed the costumes), it is the earliest such ballet of which ..==See also==*Catherine de' Medici's court festivalshttp://www.youtube.com/watch?v=XCzIWfhEOME&noredirect=1
The ''Ballet Comique de la Reine'' (at the time spelled ''Balet comique de la Royne'') was first showcased on October 15, 1581 to the court of Catherine de' Medici. The "Ballet Comique de la Reine" was created for the wedding celebration of Queen Louise's sister, Marguerite of Lorraine, who married Duc de Joyeuse. The ballet was choreographed by Balthasar de Beaujoyeulx and was the first piece to include poetry, music, design and dance, all rules of Biaf's Academie, to create a storyline. The ballet was inspired by the enchantress, Circe, from Homer's Odyssey. The pricey production lasted five and half hours and the Queen and King both participated in the performance. The Queen, along with a group of lady court dancers arrived on a fountain that was three tiers high dressed as dryads. The dancers were entering and exiting from both sides of the set, which was unusual for previous court ballets. The ballet was also made in hopes of bringing resolution to the religious hardship that caused the French people to separate. Circe was a symbol of civil war, while the restoration of peace at the end of the ballet represented the country's hopes for the future.〔Thames & Hudson, 1988 p.14〕〔Anthony 1997, p. 41, and Lawrenson 1986, pp. 182–184, both identifiy the location of the performance as the Petit-Bourbon, and Lawrenson reproduces the engraving shown here. Lacroix 1876, (p. 506 ) (the source of the image) identifies it as the "Gallery of the Louvre", and McGowan 1998, p. 275, gives "Salle de Bourbon of the Louvre". Brette 1902, (pp. LIV–LXIX ), discusses the history of the confusion of the location of this room in the Petit-Bourbon with the Louvre in great detail.〕
Nicolas Filleul de La Chesnaye, the King's almoner, wrote the text, sets and costumes were designed by Jacques Patin.〔Kasey Marie Mattia, Crossing the channel: Cultural identity in the court ... 2007 Duke University Page 11 "Beaujoyeulx had ultimate control over the ballet, but was assisted by Lambert Beaulieu and Jacques Salmon who composed the music, La Chesnaye who wrote the text, and Jacques Patin who designed the stage sets and costumes.〕 The music was provided by Jacques Salmon, ''maitre de la musique de la chambre de Roi'', and a certain "Sieur de Beaulieu." This composer was identified as "Lambert de Beaulieu" by Fétis' in his ''Biographie universelle'', following a probable error in a letter by Rudolph II, Holy Roman Emperor, but is today identified with the bass singer Girard de Beaulieu who with his wife, the Italian soprano Violante Doria themselves sung the airs to ''Circé''.〔Kristiaan Aercke -Gods of Play: Baroque Festive Performances As Rhetorical Discourse 1994 - Page 27 "... Balthasar Beaujoyeux (actually Baltazarini), with music by Lambert de Beaulieu and Jacques Salmon on a text by La Chesnaye and painted scenery by Jacques Patin (who also designed the costumes), it is the earliest such ballet of which ..〕
==See also==
*Catherine de' Medici's court festivals
http://www.youtube.com/watch?v=XCzIWfhEOME&noredirect=1
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
■ウィキペディアで「The '''''Ballet Comique de la Reine''''' (at the time spelled ''Balet comique de la Royne'') was first showcased on October 15, 1581 to the court of Catherine de' Medici. The "Ballet Comique de la Reine" was created for the wedding celebration of Queen Louise's sister, Marguerite of Lorraine, who married Duc de Joyeuse. The ballet was choreographed by Balthasar de Beaujoyeulx and was the first piece to include poetry, music, design and dance, all rules of Biaf's Academie, to create a storyline. The ballet was inspired by the enchantress, Circe, from Homer's Odyssey. The pricey production lasted five and half hours and the Queen and King both participated in the performance. The Queen, along with a group of lady court dancers arrived on a fountain that was three tiers high dressed as dryads. The dancers were entering and exiting from both sides of the set, which was unusual for previous court ballets. The ballet was also made in hopes of bringing resolution to the religious hardship that caused the French people to separate. Circe was a symbol of civil war, while the restoration of peace at the end of the ballet represented the country's hopes for the future.Thames & Hudson, 1988 p.14Anthony 1997, p. 41, and Lawrenson 1986, pp. 182–184, both identifiy the location of the performance as the Petit-Bourbon, and Lawrenson reproduces the engraving shown here. Lacroix 1876, (p. 506 ) (the source of the image) identifies it as the "Gallery of the Louvre", and McGowan 1998, p. 275, gives "Salle de Bourbon of the Louvre". Brette 1902, (pp. LIV–LXIX ), discusses the history of the confusion of the location of this room in the Petit-Bourbon with the Louvre in great detail.Nicolas Filleul de La Chesnaye, the King's almoner, wrote the text, sets and costumes were designed by Jacques Patin.Kasey Marie Mattia, Crossing the channel: Cultural identity in the court ... 2007 Duke University Page 11 "Beaujoyeulx had ultimate control over the ballet, but was assisted by Lambert Beaulieu and Jacques Salmon who composed the music, La Chesnaye who wrote the text, and Jacques Patin who designed the stage sets and costumes. The music was provided by Jacques Salmon, ''maitre de la musique de la chambre de Roi'', and a certain "Sieur de Beaulieu." This composer was identified as "Lambert de Beaulieu" by Fétis' in his ''Biographie universelle'', following a probable error in a letter by Rudolph II, Holy Roman Emperor, but is today identified with the bass singer Girard de Beaulieu who with his wife, the Italian soprano Violante Doria themselves sung the airs to ''Circé''.Kristiaan Aercke -Gods of Play: Baroque Festive Performances As Rhetorical Discourse 1994 - Page 27 "... Balthasar Beaujoyeux (actually Baltazarini), with music by Lambert de Beaulieu and Jacques Salmon on a text by La Chesnaye and painted scenery by Jacques Patin (who also designed the costumes), it is the earliest such ballet of which ..==See also==*Catherine de' Medici's court festivalshttp://www.youtube.com/watch?v=XCzIWfhEOME&noredirect=1」の詳細全文を読む
'Ballet Comique de la Reine'' (at the time spelled ''Balet comique de la Royne'') was first showcased on October 15, 1581 to the court of Catherine de' Medici. The "Ballet Comique de la Reine" was created for the wedding celebration of Queen Louise's sister, Marguerite of Lorraine, who married Duc de Joyeuse. The ballet was choreographed by Balthasar de Beaujoyeulx and was the first piece to include poetry, music, design and dance, all rules of Biaf's Academie, to create a storyline. The ballet was inspired by the enchantress, Circe, from Homer's Odyssey. The pricey production lasted five and half hours and the Queen and King both participated in the performance. The Queen, along with a group of lady court dancers arrived on a fountain that was three tiers high dressed as dryads. The dancers were entering and exiting from both sides of the set, which was unusual for previous court ballets. The ballet was also made in hopes of bringing resolution to the religious hardship that caused the French people to separate. Circe was a symbol of civil war, while the restoration of peace at the end of the ballet represented the country's hopes for the future.Thames & Hudson, 1988 p.14Anthony 1997, p. 41, and Lawrenson 1986, pp. 182–184, both identifiy the location of the performance as the Petit-Bourbon, and Lawrenson reproduces the engraving shown here. Lacroix 1876, (p. 506 ) (the source of the image) identifies it as the "Gallery of the Louvre", and McGowan 1998, p. 275, gives "Salle de Bourbon of the Louvre". Brette 1902, (pp. LIV–LXIX ), discusses the history of the confusion of the location of this room in the Petit-Bourbon with the Louvre in great detail.Nicolas Filleul de La Chesnaye, the King's almoner, wrote the text, sets and costumes were designed by Jacques Patin.Kasey Marie Mattia, Crossing the channel: Cultural identity in the court ... 2007 Duke University Page 11 "Beaujoyeulx had ultimate control over the ballet, but was assisted by Lambert Beaulieu and Jacques Salmon who composed the music, La Chesnaye who wrote the text, and Jacques Patin who designed the stage sets and costumes. The music was provided by Jacques Salmon, ''maitre de la musique de la chambre de Roi'', and a certain "Sieur de Beaulieu." This composer was identified as "Lambert de Beaulieu" by Fétis' in his ''Biographie universelle'', following a probable error in a letter by Rudolph II, Holy Roman Emperor, but is today identified with the bass singer Girard de Beaulieu who with his wife, the Italian soprano Violante Doria themselves sung the airs to ''Circé''.Kristiaan Aercke -Gods of Play: Baroque Festive Performances As Rhetorical Discourse 1994 - Page 27 "... Balthasar Beaujoyeux (actually Baltazarini), with music by Lambert de Beaulieu and Jacques Salmon on a text by La Chesnaye and painted scenery by Jacques Patin (who also designed the costumes), it is the earliest such ballet of which ..==See also==*Catherine de' Medici's court festivalshttp://www.youtube.com/watch?v=XCzIWfhEOME&noredirect=1
The ''Ballet Comique de la Reine'' (at the time spelled ''Balet comique de la Royne'') was first showcased on October 15, 1581 to the court of Catherine de' Medici. The "Ballet Comique de la Reine" was created for the wedding celebration of Queen Louise's sister, Marguerite of Lorraine, who married Duc de Joyeuse. The ballet was choreographed by Balthasar de Beaujoyeulx and was the first piece to include poetry, music, design and dance, all rules of Biaf's Academie, to create a storyline. The ballet was inspired by the enchantress, Circe, from Homer's Odyssey. The pricey production lasted five and half hours and the Queen and King both participated in the performance. The Queen, along with a group of lady court dancers arrived on a fountain that was three tiers high dressed as dryads. The dancers were entering and exiting from both sides of the set, which was unusual for previous court ballets. The ballet was also made in hopes of bringing resolution to the religious hardship that caused the French people to separate. Circe was a symbol of civil war, while the restoration of peace at the end of the ballet represented the country's hopes for the future.〔Thames & Hudson, 1988 p.14〕〔Anthony 1997, p. 41, and Lawrenson 1986, pp. 182–184, both identifiy the location of the performance as the Petit-Bourbon, and Lawrenson reproduces the engraving shown here. Lacroix 1876, (p. 506 ) (the source of the image) identifies it as the "Gallery of the Louvre", and McGowan 1998, p. 275, gives "Salle de Bourbon of the Louvre". Brette 1902, (pp. LIV–LXIX ), discusses the history of the confusion of the location of this room in the Petit-Bourbon with the Louvre in great detail.〕
Nicolas Filleul de La Chesnaye, the King's almoner, wrote the text, sets and costumes were designed by Jacques Patin.〔Kasey Marie Mattia, Crossing the channel: Cultural identity in the court ... 2007 Duke University Page 11 "Beaujoyeulx had ultimate control over the ballet, but was assisted by Lambert Beaulieu and Jacques Salmon who composed the music, La Chesnaye who wrote the text, and Jacques Patin who designed the stage sets and costumes.〕 The music was provided by Jacques Salmon, ''maitre de la musique de la chambre de Roi'', and a certain "Sieur de Beaulieu." This composer was identified as "Lambert de Beaulieu" by Fétis' in his ''Biographie universelle'', following a probable error in a letter by Rudolph II, Holy Roman Emperor, but is today identified with the bass singer Girard de Beaulieu who with his wife, the Italian soprano Violante Doria themselves sung the airs to ''Circé''.〔Kristiaan Aercke -Gods of Play: Baroque Festive Performances As Rhetorical Discourse 1994 - Page 27 "... Balthasar Beaujoyeux (actually Baltazarini), with music by Lambert de Beaulieu and Jacques Salmon on a text by La Chesnaye and painted scenery by Jacques Patin (who also designed the costumes), it is the earliest such ballet of which ..〕
==See also==
*Catherine de' Medici's court festivals
http://www.youtube.com/watch?v=XCzIWfhEOME&noredirect=1
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
■ウィキペディアで「The '''''Ballet Comique de la Reine''''' (at the time spelled ''Balet comique de la Royne'') was first showcased on October 15, 1581 to the court of Catherine de' Medici. The "Ballet Comique de la Reine" was created for the wedding celebration of Queen Louise's sister, Marguerite of Lorraine, who married Duc de Joyeuse. The ballet was choreographed by Balthasar de Beaujoyeulx and was the first piece to include poetry, music, design and dance, all rules of Biaf's Academie, to create a storyline. The ballet was inspired by the enchantress, Circe, from Homer's Odyssey. The pricey production lasted five and half hours and the Queen and King both participated in the performance. The Queen, along with a group of lady court dancers arrived on a fountain that was three tiers high dressed as dryads. The dancers were entering and exiting from both sides of the set, which was unusual for previous court ballets. The ballet was also made in hopes of bringing resolution to the religious hardship that caused the French people to separate. Circe was a symbol of civil war, while the restoration of peace at the end of the ballet represented the country's hopes for the future.Thames & Hudson, 1988 p.14Anthony 1997, p. 41, and Lawrenson 1986, pp. 182–184, both identifiy the location of the performance as the Petit-Bourbon, and Lawrenson reproduces the engraving shown here. Lacroix 1876, (p. 506 ) (the source of the image) identifies it as the "Gallery of the Louvre", and McGowan 1998, p. 275, gives "Salle de Bourbon of the Louvre". Brette 1902, (pp. LIV–LXIX ), discusses the history of the confusion of the location of this room in the Petit-Bourbon with the Louvre in great detail.Nicolas Filleul de La Chesnaye, the King's almoner, wrote the text, sets and costumes were designed by Jacques Patin.Kasey Marie Mattia, Crossing the channel: Cultural identity in the court ... 2007 Duke University Page 11 "Beaujoyeulx had ultimate control over the ballet, but was assisted by Lambert Beaulieu and Jacques Salmon who composed the music, La Chesnaye who wrote the text, and Jacques Patin who designed the stage sets and costumes. The music was provided by Jacques Salmon, ''maitre de la musique de la chambre de Roi'', and a certain "Sieur de Beaulieu." This composer was identified as "Lambert de Beaulieu" by Fétis' in his ''Biographie universelle'', following a probable error in a letter by Rudolph II, Holy Roman Emperor, but is today identified with the bass singer Girard de Beaulieu who with his wife, the Italian soprano Violante Doria themselves sung the airs to ''Circé''.Kristiaan Aercke -Gods of Play: Baroque Festive Performances As Rhetorical Discourse 1994 - Page 27 "... Balthasar Beaujoyeux (actually Baltazarini), with music by Lambert de Beaulieu and Jacques Salmon on a text by La Chesnaye and painted scenery by Jacques Patin (who also designed the costumes), it is the earliest such ballet of which ..==See also==*Catherine de' Medici's court festivalshttp://www.youtube.com/watch?v=XCzIWfhEOME&noredirect=1」の詳細全文を読む
' (at the time spelled ''Balet comique de la Royne'') was first showcased on October 15, 1581 to the court of Catherine de' Medici. The "Ballet Comique de la Reine" was created for the wedding celebration of Queen Louise's sister, Marguerite of Lorraine, who married Duc de Joyeuse. The ballet was choreographed by Balthasar de Beaujoyeulx and was the first piece to include poetry, music, design and dance, all rules of Biaf's Academie, to create a storyline. The ballet was inspired by the enchantress, Circe, from Homer's Odyssey. The pricey production lasted five and half hours and the Queen and King both participated in the performance. The Queen, along with a group of lady court dancers arrived on a fountain that was three tiers high dressed as dryads. The dancers were entering and exiting from both sides of the set, which was unusual for previous court ballets. The ballet was also made in hopes of bringing resolution to the religious hardship that caused the French people to separate. Circe was a symbol of civil war, while the restoration of peace at the end of the ballet represented the country's hopes for the future.Thames & Hudson, 1988 p.14Anthony 1997, p. 41, and Lawrenson 1986, pp. 182–184, both identifiy the location of the performance as the Petit-Bourbon, and Lawrenson reproduces the engraving shown here. Lacroix 1876, (p. 506 ) (the source of the image) identifies it as the "Gallery of the Louvre", and McGowan 1998, p. 275, gives "Salle de Bourbon of the Louvre". Brette 1902, (pp. LIV–LXIX ), discusses the history of the confusion of the location of this room in the Petit-Bourbon with the Louvre in great detail.Nicolas Filleul de La Chesnaye, the King's almoner, wrote the text, sets and costumes were designed by Jacques Patin.Kasey Marie Mattia, Crossing the channel: Cultural identity in the court ... 2007 Duke University Page 11 "Beaujoyeulx had ultimate control over the ballet, but was assisted by Lambert Beaulieu and Jacques Salmon who composed the music, La Chesnaye who wrote the text, and Jacques Patin who designed the stage sets and costumes. The music was provided by Jacques Salmon, ''maitre de la musique de la chambre de Roi'', and a certain "Sieur de Beaulieu." This composer was identified as "Lambert de Beaulieu" by Fétis' in his ''Biographie universelle'', following a probable error in a letter by Rudolph II, Holy Roman Emperor, but is today identified with the bass singer Girard de Beaulieu who with his wife, the Italian soprano Violante Doria themselves sung the airs to ''Circé''.Kristiaan Aercke -Gods of Play: Baroque Festive Performances As Rhetorical Discourse 1994 - Page 27 "... Balthasar Beaujoyeux (actually Baltazarini), with music by Lambert de Beaulieu and Jacques Salmon on a text by La Chesnaye and painted scenery by Jacques Patin (who also designed the costumes), it is the earliest such ballet of which ..==See also==*Catherine de' Medici's court festivalshttp://www.youtube.com/watch?v=XCzIWfhEOME&noredirect=1
The ''Ballet Comique de la Reine'' (at the time spelled ''Balet comique de la Royne'') was first showcased on October 15, 1581 to the court of Catherine de' Medici. The "Ballet Comique de la Reine" was created for the wedding celebration of Queen Louise's sister, Marguerite of Lorraine, who married Duc de Joyeuse. The ballet was choreographed by Balthasar de Beaujoyeulx and was the first piece to include poetry, music, design and dance, all rules of Biaf's Academie, to create a storyline. The ballet was inspired by the enchantress, Circe, from Homer's Odyssey. The pricey production lasted five and half hours and the Queen and King both participated in the performance. The Queen, along with a group of lady court dancers arrived on a fountain that was three tiers high dressed as dryads. The dancers were entering and exiting from both sides of the set, which was unusual for previous court ballets. The ballet was also made in hopes of bringing resolution to the religious hardship that caused the French people to separate. Circe was a symbol of civil war, while the restoration of peace at the end of the ballet represented the country's hopes for the future.〔Thames & Hudson, 1988 p.14〕〔Anthony 1997, p. 41, and Lawrenson 1986, pp. 182–184, both identifiy the location of the performance as the Petit-Bourbon, and Lawrenson reproduces the engraving shown here. Lacroix 1876, (p. 506 ) (the source of the image) identifies it as the "Gallery of the Louvre", and McGowan 1998, p. 275, gives "Salle de Bourbon of the Louvre". Brette 1902, (pp. LIV–LXIX ), discusses the history of the confusion of the location of this room in the Petit-Bourbon with the Louvre in great detail.〕
Nicolas Filleul de La Chesnaye, the King's almoner, wrote the text, sets and costumes were designed by Jacques Patin.〔Kasey Marie Mattia, Crossing the channel: Cultural identity in the court ... 2007 Duke University Page 11 "Beaujoyeulx had ultimate control over the ballet, but was assisted by Lambert Beaulieu and Jacques Salmon who composed the music, La Chesnaye who wrote the text, and Jacques Patin who designed the stage sets and costumes.〕 The music was provided by Jacques Salmon, ''maitre de la musique de la chambre de Roi'', and a certain "Sieur de Beaulieu." This composer was identified as "Lambert de Beaulieu" by Fétis' in his ''Biographie universelle'', following a probable error in a letter by Rudolph II, Holy Roman Emperor, but is today identified with the bass singer Girard de Beaulieu who with his wife, the Italian soprano Violante Doria themselves sung the airs to ''Circé''.〔Kristiaan Aercke -Gods of Play: Baroque Festive Performances As Rhetorical Discourse 1994 - Page 27 "... Balthasar Beaujoyeux (actually Baltazarini), with music by Lambert de Beaulieu and Jacques Salmon on a text by La Chesnaye and painted scenery by Jacques Patin (who also designed the costumes), it is the earliest such ballet of which ..〕
==See also==
*Catherine de' Medici's court festivals
http://www.youtube.com/watch?v=XCzIWfhEOME&noredirect=1
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
■ウィキペディアで「The '''''Ballet Comique de la Reine''''' (at the time spelled ''Balet comique de la Royne'') was first showcased on October 15, 1581 to the court of Catherine de' Medici. The "Ballet Comique de la Reine" was created for the wedding celebration of Queen Louise's sister, Marguerite of Lorraine, who married Duc de Joyeuse. The ballet was choreographed by Balthasar de Beaujoyeulx and was the first piece to include poetry, music, design and dance, all rules of Biaf's Academie, to create a storyline. The ballet was inspired by the enchantress, Circe, from Homer's Odyssey. The pricey production lasted five and half hours and the Queen and King both participated in the performance. The Queen, along with a group of lady court dancers arrived on a fountain that was three tiers high dressed as dryads. The dancers were entering and exiting from both sides of the set, which was unusual for previous court ballets. The ballet was also made in hopes of bringing resolution to the religious hardship that caused the French people to separate. Circe was a symbol of civil war, while the restoration of peace at the end of the ballet represented the country's hopes for the future.Thames & Hudson, 1988 p.14Anthony 1997, p. 41, and Lawrenson 1986, pp. 182–184, both identifiy the location of the performance as the Petit-Bourbon, and Lawrenson reproduces the engraving shown here. Lacroix 1876, (p. 506 ) (the source of the image) identifies it as the "Gallery of the Louvre", and McGowan 1998, p. 275, gives "Salle de Bourbon of the Louvre". Brette 1902, (pp. LIV–LXIX ), discusses the history of the confusion of the location of this room in the Petit-Bourbon with the Louvre in great detail.Nicolas Filleul de La Chesnaye, the King's almoner, wrote the text, sets and costumes were designed by Jacques Patin.Kasey Marie Mattia, Crossing the channel: Cultural identity in the court ... 2007 Duke University Page 11 "Beaujoyeulx had ultimate control over the ballet, but was assisted by Lambert Beaulieu and Jacques Salmon who composed the music, La Chesnaye who wrote the text, and Jacques Patin who designed the stage sets and costumes. The music was provided by Jacques Salmon, ''maitre de la musique de la chambre de Roi'', and a certain "Sieur de Beaulieu." This composer was identified as "Lambert de Beaulieu" by Fétis' in his ''Biographie universelle'', following a probable error in a letter by Rudolph II, Holy Roman Emperor, but is today identified with the bass singer Girard de Beaulieu who with his wife, the Italian soprano Violante Doria themselves sung the airs to ''Circé''.Kristiaan Aercke -Gods of Play: Baroque Festive Performances As Rhetorical Discourse 1994 - Page 27 "... Balthasar Beaujoyeux (actually Baltazarini), with music by Lambert de Beaulieu and Jacques Salmon on a text by La Chesnaye and painted scenery by Jacques Patin (who also designed the costumes), it is the earliest such ballet of which ..==See also==*Catherine de' Medici's court festivalshttp://www.youtube.com/watch?v=XCzIWfhEOME&noredirect=1」の詳細全文を読む
'Ballet Comique de la Reine'' (at the time spelled ''Balet comique de la Royne'') was first showcased on October 15, 1581 to the court of Catherine de' Medici. The "Ballet Comique de la Reine" was created for the wedding celebration of Queen Louise's sister, Marguerite of Lorraine, who married Duc de Joyeuse. The ballet was choreographed by Balthasar de Beaujoyeulx and was the first piece to include poetry, music, design and dance, all rules of Biaf's Academie, to create a storyline. The ballet was inspired by the enchantress, Circe, from Homer's Odyssey. The pricey production lasted five and half hours and the Queen and King both participated in the performance. The Queen, along with a group of lady court dancers arrived on a fountain that was three tiers high dressed as dryads. The dancers were entering and exiting from both sides of the set, which was unusual for previous court ballets. The ballet was also made in hopes of bringing resolution to the religious hardship that caused the French people to separate. Circe was a symbol of civil war, while the restoration of peace at the end of the ballet represented the country's hopes for the future.Thames & Hudson, 1988 p.14Anthony 1997, p. 41, and Lawrenson 1986, pp. 182–184, both identifiy the location of the performance as the Petit-Bourbon, and Lawrenson reproduces the engraving shown here. Lacroix 1876, (p. 506 ) (the source of the image) identifies it as the "Gallery of the Louvre", and McGowan 1998, p. 275, gives "Salle de Bourbon of the Louvre". Brette 1902, (pp. LIV–LXIX ), discusses the history of the confusion of the location of this room in the Petit-Bourbon with the Louvre in great detail.Nicolas Filleul de La Chesnaye, the King's almoner, wrote the text, sets and costumes were designed by Jacques Patin.Kasey Marie Mattia, Crossing the channel: Cultural identity in the court ... 2007 Duke University Page 11 "Beaujoyeulx had ultimate control over the ballet, but was assisted by Lambert Beaulieu and Jacques Salmon who composed the music, La Chesnaye who wrote the text, and Jacques Patin who designed the stage sets and costumes. The music was provided by Jacques Salmon, ''maitre de la musique de la chambre de Roi'', and a certain "Sieur de Beaulieu." This composer was identified as "Lambert de Beaulieu" by Fétis' in his ''Biographie universelle'', following a probable error in a letter by Rudolph II, Holy Roman Emperor, but is today identified with the bass singer Girard de Beaulieu who with his wife, the Italian soprano Violante Doria themselves sung the airs to ''Circé''.Kristiaan Aercke -Gods of Play: Baroque Festive Performances As Rhetorical Discourse 1994 - Page 27 "... Balthasar Beaujoyeux (actually Baltazarini), with music by Lambert de Beaulieu and Jacques Salmon on a text by La Chesnaye and painted scenery by Jacques Patin (who also designed the costumes), it is the earliest such ballet of which ..==See also==*Catherine de' Medici's court festivalshttp://www.youtube.com/watch?v=XCzIWfhEOME&noredirect=1">ウィキペディア（Wikipedia）』
■ウィキペディアで「The '''''Ballet Comique de la Reine''''' (at the time spelled ''Balet comique de la Royne'') was first showcased on October 15, 1581 to the court of Catherine de' Medici. The "Ballet Comique de la Reine" was created for the wedding celebration of Queen Louise's sister, Marguerite of Lorraine, who married Duc de Joyeuse. The ballet was choreographed by Balthasar de Beaujoyeulx and was the first piece to include poetry, music, design and dance, all rules of Biaf's Academie, to create a storyline. The ballet was inspired by the enchantress, Circe, from Homer's Odyssey. The pricey production lasted five and half hours and the Queen and King both participated in the performance. The Queen, along with a group of lady court dancers arrived on a fountain that was three tiers high dressed as dryads. The dancers were entering and exiting from both sides of the set, which was unusual for previous court ballets. The ballet was also made in hopes of bringing resolution to the religious hardship that caused the French people to separate. Circe was a symbol of civil war, while the restoration of peace at the end of the ballet represented the country's hopes for the future.Thames & Hudson, 1988 p.14Anthony 1997, p. 41, and Lawrenson 1986, pp. 182–184, both identifiy the location of the performance as the Petit-Bourbon, and Lawrenson reproduces the engraving shown here. Lacroix 1876, (p. 506 ) (the source of the image) identifies it as the "Gallery of the Louvre", and McGowan 1998, p. 275, gives "Salle de Bourbon of the Louvre". Brette 1902, (pp. LIV–LXIX ), discusses the history of the confusion of the location of this room in the Petit-Bourbon with the Louvre in great detail.Nicolas Filleul de La Chesnaye, the King's almoner, wrote the text, sets and costumes were designed by Jacques Patin.Kasey Marie Mattia, Crossing the channel: Cultural identity in the court ... 2007 Duke University Page 11 "Beaujoyeulx had ultimate control over the ballet, but was assisted by Lambert Beaulieu and Jacques Salmon who composed the music, La Chesnaye who wrote the text, and Jacques Patin who designed the stage sets and costumes. The music was provided by Jacques Salmon, ''maitre de la musique de la chambre de Roi'', and a certain "Sieur de Beaulieu." This composer was identified as "Lambert de Beaulieu" by Fétis' in his ''Biographie universelle'', following a probable error in a letter by Rudolph II, Holy Roman Emperor, but is today identified with the bass singer Girard de Beaulieu who with his wife, the Italian soprano Violante Doria themselves sung the airs to ''Circé''.Kristiaan Aercke -Gods of Play: Baroque Festive Performances As Rhetorical Discourse 1994 - Page 27 "... Balthasar Beaujoyeux (actually Baltazarini), with music by Lambert de Beaulieu and Jacques Salmon on a text by La Chesnaye and painted scenery by Jacques Patin (who also designed the costumes), it is the earliest such ballet of which ..==See also==*Catherine de' Medici's court festivalshttp://www.youtube.com/watch?v=XCzIWfhEOME&noredirect=1」の詳細全文を読む
' (at the time spelled ''Balet comique de la Royne'') was first showcased on October 15, 1581 to the court of Catherine de' Medici. The "Ballet Comique de la Reine" was created for the wedding celebration of Queen Louise's sister, Marguerite of Lorraine, who married Duc de Joyeuse. The ballet was choreographed by Balthasar de Beaujoyeulx and was the first piece to include poetry, music, design and dance, all rules of Biaf's Academie, to create a storyline. The ballet was inspired by the enchantress, Circe, from Homer's Odyssey. The pricey production lasted five and half hours and the Queen and King both participated in the performance. The Queen, along with a group of lady court dancers arrived on a fountain that was three tiers high dressed as dryads. The dancers were entering and exiting from both sides of the set, which was unusual for previous court ballets. The ballet was also made in hopes of bringing resolution to the religious hardship that caused the French people to separate. Circe was a symbol of civil war, while the restoration of peace at the end of the ballet represented the country's hopes for the future.Thames & Hudson, 1988 p.14Anthony 1997, p. 41, and Lawrenson 1986, pp. 182–184, both identifiy the location of the performance as the Petit-Bourbon, and Lawrenson reproduces the engraving shown here. Lacroix 1876, (p. 506 ) (the source of the image) identifies it as the "Gallery of the Louvre", and McGowan 1998, p. 275, gives "Salle de Bourbon of the Louvre". Brette 1902, (pp. LIV–LXIX ), discusses the history of the confusion of the location of this room in the Petit-Bourbon with the Louvre in great detail.Nicolas Filleul de La Chesnaye, the King's almoner, wrote the text, sets and costumes were designed by Jacques Patin.Kasey Marie Mattia, Crossing the channel: Cultural identity in the court ... 2007 Duke University Page 11 "Beaujoyeulx had ultimate control over the ballet, but was assisted by Lambert Beaulieu and Jacques Salmon who composed the music, La Chesnaye who wrote the text, and Jacques Patin who designed the stage sets and costumes. The music was provided by Jacques Salmon, ''maitre de la musique de la chambre de Roi'', and a certain "Sieur de Beaulieu." This composer was identified as "Lambert de Beaulieu" by Fétis' in his ''Biographie universelle'', following a probable error in a letter by Rudolph II, Holy Roman Emperor, but is today identified with the bass singer Girard de Beaulieu who with his wife, the Italian soprano Violante Doria themselves sung the airs to ''Circé''.Kristiaan Aercke -Gods of Play: Baroque Festive Performances As Rhetorical Discourse 1994 - Page 27 "... Balthasar Beaujoyeux (actually Baltazarini), with music by Lambert de Beaulieu and Jacques Salmon on a text by La Chesnaye and painted scenery by Jacques Patin (who also designed the costumes), it is the earliest such ballet of which ..==See also==*Catherine de' Medici's court festivalshttp://www.youtube.com/watch?v=XCzIWfhEOME&noredirect=1">ウィキペディア（Wikipedia）』
■ウィキペディアで「The '''''Ballet Comique de la Reine''''' (at the time spelled ''Balet comique de la Royne'') was first showcased on October 15, 1581 to the court of Catherine de' Medici. The "Ballet Comique de la Reine" was created for the wedding celebration of Queen Louise's sister, Marguerite of Lorraine, who married Duc de Joyeuse. The ballet was choreographed by Balthasar de Beaujoyeulx and was the first piece to include poetry, music, design and dance, all rules of Biaf's Academie, to create a storyline. The ballet was inspired by the enchantress, Circe, from Homer's Odyssey. The pricey production lasted five and half hours and the Queen and King both participated in the performance. The Queen, along with a group of lady court dancers arrived on a fountain that was three tiers high dressed as dryads. The dancers were entering and exiting from both sides of the set, which was unusual for previous court ballets. The ballet was also made in hopes of bringing resolution to the religious hardship that caused the French people to separate. Circe was a symbol of civil war, while the restoration of peace at the end of the ballet represented the country's hopes for the future.Thames & Hudson, 1988 p.14Anthony 1997, p. 41, and Lawrenson 1986, pp. 182–184, both identifiy the location of the performance as the Petit-Bourbon, and Lawrenson reproduces the engraving shown here. Lacroix 1876, (p. 506 ) (the source of the image) identifies it as the "Gallery of the Louvre", and McGowan 1998, p. 275, gives "Salle de Bourbon of the Louvre". Brette 1902, (pp. LIV–LXIX ), discusses the history of the confusion of the location of this room in the Petit-Bourbon with the Louvre in great detail.Nicolas Filleul de La Chesnaye, the King's almoner, wrote the text, sets and costumes were designed by Jacques Patin.Kasey Marie Mattia, Crossing the channel: Cultural identity in the court ... 2007 Duke University Page 11 "Beaujoyeulx had ultimate control over the ballet, but was assisted by Lambert Beaulieu and Jacques Salmon who composed the music, La Chesnaye who wrote the text, and Jacques Patin who designed the stage sets and costumes. The music was provided by Jacques Salmon, ''maitre de la musique de la chambre de Roi'', and a certain "Sieur de Beaulieu." This composer was identified as "Lambert de Beaulieu" by Fétis' in his ''Biographie universelle'', following a probable error in a letter by Rudolph II, Holy Roman Emperor, but is today identified with the bass singer Girard de Beaulieu who with his wife, the Italian soprano Violante Doria themselves sung the airs to ''Circé''.Kristiaan Aercke -Gods of Play: Baroque Festive Performances As Rhetorical Discourse 1994 - Page 27 "... Balthasar Beaujoyeux (actually Baltazarini), with music by Lambert de Beaulieu and Jacques Salmon on a text by La Chesnaye and painted scenery by Jacques Patin (who also designed the costumes), it is the earliest such ballet of which ..==See also==*Catherine de' Medici's court festivalshttp://www.youtube.com/watch?v=XCzIWfhEOME&noredirect=1」の詳細全文を読む
'Ballet Comique de la Reine'' (at the time spelled ''Balet comique de la Royne'') was first showcased on October 15, 1581 to the court of Catherine de' Medici. The "Ballet Comique de la Reine" was created for the wedding celebration of Queen Louise's sister, Marguerite of Lorraine, who married Duc de Joyeuse. The ballet was choreographed by Balthasar de Beaujoyeulx and was the first piece to include poetry, music, design and dance, all rules of Biaf's Academie, to create a storyline. The ballet was inspired by the enchantress, Circe, from Homer's Odyssey. The pricey production lasted five and half hours and the Queen and King both participated in the performance. The Queen, along with a group of lady court dancers arrived on a fountain that was three tiers high dressed as dryads. The dancers were entering and exiting from both sides of the set, which was unusual for previous court ballets. The ballet was also made in hopes of bringing resolution to the religious hardship that caused the French people to separate. Circe was a symbol of civil war, while the restoration of peace at the end of the ballet represented the country's hopes for the future.Thames & Hudson, 1988 p.14Anthony 1997, p. 41, and Lawrenson 1986, pp. 182–184, both identifiy the location of the performance as the Petit-Bourbon, and Lawrenson reproduces the engraving shown here. Lacroix 1876, (p. 506 ) (the source of the image) identifies it as the "Gallery of the Louvre", and McGowan 1998, p. 275, gives "Salle de Bourbon of the Louvre". Brette 1902, (pp. LIV–LXIX ), discusses the history of the confusion of the location of this room in the Petit-Bourbon with the Louvre in great detail.Nicolas Filleul de La Chesnaye, the King's almoner, wrote the text, sets and costumes were designed by Jacques Patin.Kasey Marie Mattia, Crossing the channel: Cultural identity in the court ... 2007 Duke University Page 11 "Beaujoyeulx had ultimate control over the ballet, but was assisted by Lambert Beaulieu and Jacques Salmon who composed the music, La Chesnaye who wrote the text, and Jacques Patin who designed the stage sets and costumes. The music was provided by Jacques Salmon, ''maitre de la musique de la chambre de Roi'', and a certain "Sieur de Beaulieu." This composer was identified as "Lambert de Beaulieu" by Fétis' in his ''Biographie universelle'', following a probable error in a letter by Rudolph II, Holy Roman Emperor, but is today identified with the bass singer Girard de Beaulieu who with his wife, the Italian soprano Violante Doria themselves sung the airs to ''Circé''.Kristiaan Aercke -Gods of Play: Baroque Festive Performances As Rhetorical Discourse 1994 - Page 27 "... Balthasar Beaujoyeux (actually Baltazarini), with music by Lambert de Beaulieu and Jacques Salmon on a text by La Chesnaye and painted scenery by Jacques Patin (who also designed the costumes), it is the earliest such ballet of which ..==See also==*Catherine de' Medici's court festivalshttp://www.youtube.com/watch?v=XCzIWfhEOME&noredirect=1">ウィキペディアで「The '''''Ballet Comique de la Reine''''' (at the time spelled ''Balet comique de la Royne'') was first showcased on October 15, 1581 to the court of Catherine de' Medici. The "Ballet Comique de la Reine" was created for the wedding celebration of Queen Louise's sister, Marguerite of Lorraine, who married Duc de Joyeuse. The ballet was choreographed by Balthasar de Beaujoyeulx and was the first piece to include poetry, music, design and dance, all rules of Biaf's Academie, to create a storyline. The ballet was inspired by the enchantress, Circe, from Homer's Odyssey. The pricey production lasted five and half hours and the Queen and King both participated in the performance. The Queen, along with a group of lady court dancers arrived on a fountain that was three tiers high dressed as dryads. The dancers were entering and exiting from both sides of the set, which was unusual for previous court ballets. The ballet was also made in hopes of bringing resolution to the religious hardship that caused the French people to separate. Circe was a symbol of civil war, while the restoration of peace at the end of the ballet represented the country's hopes for the future.Thames & Hudson, 1988 p.14Anthony 1997, p. 41, and Lawrenson 1986, pp. 182–184, both identifiy the location of the performance as the Petit-Bourbon, and Lawrenson reproduces the engraving shown here. Lacroix 1876, (p. 506 ) (the source of the image) identifies it as the "Gallery of the Louvre", and McGowan 1998, p. 275, gives "Salle de Bourbon of the Louvre". Brette 1902, (pp. LIV–LXIX ), discusses the history of the confusion of the location of this room in the Petit-Bourbon with the Louvre in great detail.Nicolas Filleul de La Chesnaye, the King's almoner, wrote the text, sets and costumes were designed by Jacques Patin.Kasey Marie Mattia, Crossing the channel: Cultural identity in the court ... 2007 Duke University Page 11 "Beaujoyeulx had ultimate control over the ballet, but was assisted by Lambert Beaulieu and Jacques Salmon who composed the music, La Chesnaye who wrote the text, and Jacques Patin who designed the stage sets and costumes. The music was provided by Jacques Salmon, ''maitre de la musique de la chambre de Roi'', and a certain "Sieur de Beaulieu." This composer was identified as "Lambert de Beaulieu" by Fétis' in his ''Biographie universelle'', following a probable error in a letter by Rudolph II, Holy Roman Emperor, but is today identified with the bass singer Girard de Beaulieu who with his wife, the Italian soprano Violante Doria themselves sung the airs to ''Circé''.Kristiaan Aercke -Gods of Play: Baroque Festive Performances As Rhetorical Discourse 1994 - Page 27 "... Balthasar Beaujoyeux (actually Baltazarini), with music by Lambert de Beaulieu and Jacques Salmon on a text by La Chesnaye and painted scenery by Jacques Patin (who also designed the costumes), it is the earliest such ballet of which ..==See also==*Catherine de' Medici's court festivalshttp://www.youtube.com/watch?v=XCzIWfhEOME&noredirect=1」の詳細全文を読む
' (at the time spelled ''Balet comique de la Royne'') was first showcased on October 15, 1581 to the court of Catherine de' Medici. The "Ballet Comique de la Reine" was created for the wedding celebration of Queen Louise's sister, Marguerite of Lorraine, who married Duc de Joyeuse. The ballet was choreographed by Balthasar de Beaujoyeulx and was the first piece to include poetry, music, design and dance, all rules of Biaf's Academie, to create a storyline. The ballet was inspired by the enchantress, Circe, from Homer's Odyssey. The pricey production lasted five and half hours and the Queen and King both participated in the performance. The Queen, along with a group of lady court dancers arrived on a fountain that was three tiers high dressed as dryads. The dancers were entering and exiting from both sides of the set, which was unusual for previous court ballets. The ballet was also made in hopes of bringing resolution to the religious hardship that caused the French people to separate. Circe was a symbol of civil war, while the restoration of peace at the end of the ballet represented the country's hopes for the future.Thames & Hudson, 1988 p.14Anthony 1997, p. 41, and Lawrenson 1986, pp. 182–184, both identifiy the location of the performance as the Petit-Bourbon, and Lawrenson reproduces the engraving shown here. Lacroix 1876, (p. 506 ) (the source of the image) identifies it as the "Gallery of the Louvre", and McGowan 1998, p. 275, gives "Salle de Bourbon of the Louvre". Brette 1902, (pp. LIV–LXIX ), discusses the history of the confusion of the location of this room in the Petit-Bourbon with the Louvre in great detail.Nicolas Filleul de La Chesnaye, the King's almoner, wrote the text, sets and costumes were designed by Jacques Patin.Kasey Marie Mattia, Crossing the channel: Cultural identity in the court ... 2007 Duke University Page 11 "Beaujoyeulx had ultimate control over the ballet, but was assisted by Lambert Beaulieu and Jacques Salmon who composed the music, La Chesnaye who wrote the text, and Jacques Patin who designed the stage sets and costumes. The music was provided by Jacques Salmon, ''maitre de la musique de la chambre de Roi'', and a certain "Sieur de Beaulieu." This composer was identified as "Lambert de Beaulieu" by Fétis' in his ''Biographie universelle'', following a probable error in a letter by Rudolph II, Holy Roman Emperor, but is today identified with the bass singer Girard de Beaulieu who with his wife, the Italian soprano Violante Doria themselves sung the airs to ''Circé''.Kristiaan Aercke -Gods of Play: Baroque Festive Performances As Rhetorical Discourse 1994 - Page 27 "... Balthasar Beaujoyeux (actually Baltazarini), with music by Lambert de Beaulieu and Jacques Salmon on a text by La Chesnaye and painted scenery by Jacques Patin (who also designed the costumes), it is the earliest such ballet of which ..==See also==*Catherine de' Medici's court festivalshttp://www.youtube.com/watch?v=XCzIWfhEOME&noredirect=1">ウィキペディアで「The ''Ballet Comique de la Reine''''' (at the time spelled ''Balet comique de la Royne'') was first showcased on October 15, 1581 to the court of Catherine de' Medici. The "Ballet Comique de la Reine" was created for the wedding celebration of Queen Louise's sister, Marguerite of Lorraine, who married Duc de Joyeuse. The ballet was choreographed by Balthasar de Beaujoyeulx and was the first piece to include poetry, music, design and dance, all rules of Biaf's Academie, to create a storyline. The ballet was inspired by the enchantress, Circe, from Homer's Odyssey. The pricey production lasted five and half hours and the Queen and King both participated in the performance. The Queen, along with a group of lady court dancers arrived on a fountain that was three tiers high dressed as dryads. The dancers were entering and exiting from both sides of the set, which was unusual for previous court ballets. The ballet was also made in hopes of bringing resolution to the religious hardship that caused the French people to separate. Circe was a symbol of civil war, while the restoration of peace at the end of the ballet represented the country's hopes for the future.Thames & Hudson, 1988 p.14Anthony 1997, p. 41, and Lawrenson 1986, pp. 182–184, both identifiy the location of the performance as the Petit-Bourbon, and Lawrenson reproduces the engraving shown here. Lacroix 1876, (p. 506 ) (the source of the image) identifies it as the "Gallery of the Louvre", and McGowan 1998, p. 275, gives "Salle de Bourbon of the Louvre". Brette 1902, (pp. LIV–LXIX ), discusses the history of the confusion of the location of this room in the Petit-Bourbon with the Louvre in great detail.Nicolas Filleul de La Chesnaye, the King's almoner, wrote the text, sets and costumes were designed by Jacques Patin.Kasey Marie Mattia, Crossing the channel: Cultural identity in the court ... 2007 Duke University Page 11 "Beaujoyeulx had ultimate control over the ballet, but was assisted by Lambert Beaulieu and Jacques Salmon who composed the music, La Chesnaye who wrote the text, and Jacques Patin who designed the stage sets and costumes. The music was provided by Jacques Salmon, ''maitre de la musique de la chambre de Roi'', and a certain "Sieur de Beaulieu." This composer was identified as "Lambert de Beaulieu" by Fétis' in his ''Biographie universelle'', following a probable error in a letter by Rudolph II, Holy Roman Emperor, but is today identified with the bass singer Girard de Beaulieu who with his wife, the Italian soprano Violante Doria themselves sung the airs to ''Circé''.Kristiaan Aercke -Gods of Play: Baroque Festive Performances As Rhetorical Discourse 1994 - Page 27 "... Balthasar Beaujoyeux (actually Baltazarini), with music by Lambert de Beaulieu and Jacques Salmon on a text by La Chesnaye and painted scenery by Jacques Patin (who also designed the costumes), it is the earliest such ballet of which ..==See also==*Catherine de' Medici's court festivalshttp://www.youtube.com/watch?v=XCzIWfhEOME&noredirect=1」の詳細全文を読む
'Ballet Comique de la Reine'' (at the time spelled ''Balet comique de la Royne'') was first showcased on October 15, 1581 to the court of Catherine de' Medici. The "Ballet Comique de la Reine" was created for the wedding celebration of Queen Louise's sister, Marguerite of Lorraine, who married Duc de Joyeuse. The ballet was choreographed by Balthasar de Beaujoyeulx and was the first piece to include poetry, music, design and dance, all rules of Biaf's Academie, to create a storyline. The ballet was inspired by the enchantress, Circe, from Homer's Odyssey. The pricey production lasted five and half hours and the Queen and King both participated in the performance. The Queen, along with a group of lady court dancers arrived on a fountain that was three tiers high dressed as dryads. The dancers were entering and exiting from both sides of the set, which was unusual for previous court ballets. The ballet was also made in hopes of bringing resolution to the religious hardship that caused the French people to separate. Circe was a symbol of civil war, while the restoration of peace at the end of the ballet represented the country's hopes for the future.Thames & Hudson, 1988 p.14Anthony 1997, p. 41, and Lawrenson 1986, pp. 182–184, both identifiy the location of the performance as the Petit-Bourbon, and Lawrenson reproduces the engraving shown here. Lacroix 1876, (p. 506 ) (the source of the image) identifies it as the "Gallery of the Louvre", and McGowan 1998, p. 275, gives "Salle de Bourbon of the Louvre". Brette 1902, (pp. LIV–LXIX ), discusses the history of the confusion of the location of this room in the Petit-Bourbon with the Louvre in great detail.Nicolas Filleul de La Chesnaye, the King's almoner, wrote the text, sets and costumes were designed by Jacques Patin.Kasey Marie Mattia, Crossing the channel: Cultural identity in the court ... 2007 Duke University Page 11 "Beaujoyeulx had ultimate control over the ballet, but was assisted by Lambert Beaulieu and Jacques Salmon who composed the music, La Chesnaye who wrote the text, and Jacques Patin who designed the stage sets and costumes. The music was provided by Jacques Salmon, ''maitre de la musique de la chambre de Roi'', and a certain "Sieur de Beaulieu." This composer was identified as "Lambert de Beaulieu" by Fétis' in his ''Biographie universelle'', following a probable error in a letter by Rudolph II, Holy Roman Emperor, but is today identified with the bass singer Girard de Beaulieu who with his wife, the Italian soprano Violante Doria themselves sung the airs to ''Circé''.Kristiaan Aercke -Gods of Play: Baroque Festive Performances As Rhetorical Discourse 1994 - Page 27 "... Balthasar Beaujoyeux (actually Baltazarini), with music by Lambert de Beaulieu and Jacques Salmon on a text by La Chesnaye and painted scenery by Jacques Patin (who also designed the costumes), it is the earliest such ballet of which ..==See also==*Catherine de' Medici's court festivalshttp://www.youtube.com/watch?v=XCzIWfhEOME&noredirect=1」の詳細全文を読む
' (at the time spelled ''Balet comique de la Royne'') was first showcased on October 15, 1581 to the court of Catherine de' Medici. The "Ballet Comique de la Reine" was created for the wedding celebration of Queen Louise's sister, Marguerite of Lorraine, who married Duc de Joyeuse. The ballet was choreographed by Balthasar de Beaujoyeulx and was the first piece to include poetry, music, design and dance, all rules of Biaf's Academie, to create a storyline. The ballet was inspired by the enchantress, Circe, from Homer's Odyssey. The pricey production lasted five and half hours and the Queen and King both participated in the performance. The Queen, along with a group of lady court dancers arrived on a fountain that was three tiers high dressed as dryads. The dancers were entering and exiting from both sides of the set, which was unusual for previous court ballets. The ballet was also made in hopes of bringing resolution to the religious hardship that caused the French people to separate. Circe was a symbol of civil war, while the restoration of peace at the end of the ballet represented the country's hopes for the future.Thames & Hudson, 1988 p.14Anthony 1997, p. 41, and Lawrenson 1986, pp. 182–184, both identifiy the location of the performance as the Petit-Bourbon, and Lawrenson reproduces the engraving shown here. Lacroix 1876, (p. 506 ) (the source of the image) identifies it as the "Gallery of the Louvre", and McGowan 1998, p. 275, gives "Salle de Bourbon of the Louvre". Brette 1902, (pp. LIV–LXIX ), discusses the history of the confusion of the location of this room in the Petit-Bourbon with the Louvre in great detail.Nicolas Filleul de La Chesnaye, the King's almoner, wrote the text, sets and costumes were designed by Jacques Patin.Kasey Marie Mattia, Crossing the channel: Cultural identity in the court ... 2007 Duke University Page 11 "Beaujoyeulx had ultimate control over the ballet, but was assisted by Lambert Beaulieu and Jacques Salmon who composed the music, La Chesnaye who wrote the text, and Jacques Patin who designed the stage sets and costumes. The music was provided by Jacques Salmon, ''maitre de la musique de la chambre de Roi'', and a certain "Sieur de Beaulieu." This composer was identified as "Lambert de Beaulieu" by Fétis' in his ''Biographie universelle'', following a probable error in a letter by Rudolph II, Holy Roman Emperor, but is today identified with the bass singer Girard de Beaulieu who with his wife, the Italian soprano Violante Doria themselves sung the airs to ''Circé''.Kristiaan Aercke -Gods of Play: Baroque Festive Performances As Rhetorical Discourse 1994 - Page 27 "... Balthasar Beaujoyeux (actually Baltazarini), with music by Lambert de Beaulieu and Jacques Salmon on a text by La Chesnaye and painted scenery by Jacques Patin (who also designed the costumes), it is the earliest such ballet of which ..==See also==*Catherine de' Medici's court festivalshttp://www.youtube.com/watch?v=XCzIWfhEOME&noredirect=1」の詳細全文を読む
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