A dança na Corte e os balés nas Óperas de Portugal no Século XVIII : aspectos da presença de elementos franceses no ambiente cultural português / Dance at the Court and Ballets at the Opera in Eightheen century Portugal : French elements in the Portuguese Cultural Ambience

AUTOR(ES)
DATA DE PUBLICAÇÃO

2010

RESUMO

The French model for the arts was spread all over Europe during the Eighteen century, due to the political power that Louis the XIV exerted. This influence has touched the education of the nobility as much as the spectacles noblemen attended. In the former, relating to the dance, it happened through the publication and translation of treatises used to train the nobles - specially the book of Pierre Rameau Le Mâitre à danser (Paris, 1725). In the latter, we can note French influence in the execution of ballet in Operas - a feature of the French approach at the genre - which stimulated, in France and Italy, the development of a special literature concerned with the relations between music, plays and dance. In Portugal, three treatises about the court dance following the French model were published (Cabreira, 1760, Pantezze, 1761 and Bonem, 1767), and also many ballets were included in the operas performed in the country. The ballets were signed by renowned choreographers, such as François Sauveterre (he preceded François Noverre at the Stuttgart court), Antonio Marrafa, Carlo Bencini, Luigi Chiaveri, Alessandro Zucchelli, Pedro Pieroni, Luiz Chiavre (pupils of Noverre), Pietro Angiolini and Gaetano Gioja (choreographers of the preromantic ballet). This dissertation has the purpose of showing the influence of French cultural elements on the Portuguese cultural milieu throughout the 18th-century, in which dance played an important role as a way to express court codes (in private and semi-private environment), as much as a co-participant in operatic performances, where it becomes one of the main focus in the discussion concerning changes in opera. This research aims to give context to and to typify the ballets performed in operas in 18th-century Portugal, revealing the complexity of the connections of French and Italian influences. It aims as well to explain how these features took part in the evolution of the dramatic genre in Portugal. The research was based on primary sources - treatises on court dance published in Portugal and abroad, as well as on documents concerning theatrical dance related to opera (including technical dance treatises and theoretical reflections of philosophers that analysed changes in operatic spectacles) -, and secondary sources

ASSUNTO(S)

portugal dança teatro opera dance theater opera portugal

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