Narrative Variants and Theatrical Constants: Towards a Dramaturgy O F Theballet Fantastique (1830- 1860 )

University of Surrey Department of Dance Studies School of Arts Narrative Variants and Theatrical Constants: Towards a Dramaturgy o f theBallet Fantastique (1830- 1860 ) by MgA. Astrid Bemkopf September 2005 Thesis submitted in fulfilment of the requirement of the degree of Doctor of Philosophy © Astrid Bemkopf 2005 ProQuest Number: 27557546 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 27557546 Published by ProQuest LLO (2019). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLO. ProQuest LLO. 789 East Eisenhower Parkway P.Q. Box 1346 Ann Arbor, Ml 48106- 1346 Abstract Ballet is often perceived as a danced fairy tale and, therefore, considered to be like the fairy tale. In this research, the literary form of the fairy tale is compared with the narrative of the ballet fantastique in two acts. The analytical method of Vladimir Propp’s Morphologie des Màrchens (1975) serves as starting point for an investigation into storytelling and the narrative of the ballet scenario. Until now, narrative analyses have been overlooked by dance analysis. Therefore, the task of this study is to propose the first dramaturgy of the ballet fantastique and, thus, a first independent model of narrative analysis for dance. The scenarios of two-act ballets dating from 1830 to 1860 provide a compact corpus of research, which is treated as a hybrid form, lying between literature and performance. Since the ballet fantastique^s narrative does not follow literary patterns, the application of Propp’s model encounters several restricting factors. Firstly, there are differences between the two art forms, and, secondly, there is the lack of a methodological framework within which a ballet plot can be analysed. Concerning the first case, stage conventions are considered as regulating the ballet plot by setting several of its features into a particular structure or appearance. Literary theory cannot account for these theatrical notions and, therefore, studies on drama and opera are applied to describe and define the stage conventions and their relevance for the narrative. Additionally, psychoanalytical concepts are used to characterise the events and characters of the ballet plot. The lack of an established method results in this thesis following the path of search and research. The main body of text sets up a methodological framework that allows for the construction of the Dramaturgy o f Desire. With this first dramaturgy of the ballet fantastique, narrative analysis is introduced to dance analysis. Ill TABLE OF CONTENT 1. Introduction. 1.1 Introduction. 1 1.2. A Story of Storytelling. 7 1.3. Modus Operandi. 17 1.4. Writing Conventions 30 2. Similar Stories - Similar Actions. The Functions of Romantic ballet. 2.1. Introduction 35 2.2. The Nature of Function. 39 2.3. Fairy Tale Actions depicted in Ballet. 44 2.4. Literature versus Performance. Differences in the Representation 57 of Actions onstage and in the Literary Narrative. 2.5. Actions specific to Romantic Ballet. 65 2.6. Implementing the Functions of Romantic Ballet. 80 2.7. Conclusion. 84 3. Theatre Conventions - the Common Roots of the Performance. 3.1. Introduction. 86 3.2. Getting the Story started - Exposition and Middle Section of the 88 Performance. 3.3. Coup de théâtre - the Turning Point of the Performance. 96 3.4. Dénouement and Closure - the Conventional Solution to the 101 Conflict. 3.5. Monologue and Presentation of the Characters. 109 3.6. Narrative Links - Threads through the Performance. 117 3.7. Conclusion. 123 IV 4. Dramatic, Operatic and Choreographic Stage Conventions - the Separation of the Arts. 4.1. Introduction. 125 4.2. Dances of Hands and Feet - Mimed versus Danced Scenes. 127 4.3. The Corps de Ballet in opposition to the Soloists’ Variations. 133 4.4. A Symphony in Tarlatan - Division of Acts according to 138 Choreography. 4.5. Conclusion. 144 5. Between Love and Hatred - the Characters of the Ballet Fantastique, 5.1. Introduction. 146 5.2. Longing and suffering - the Hero. 149 5.3. Good girls are married - the Unthreatening Woman. 156 5.4. Bad girls must die - the Threatening Woman. 161 5.5. Protecting and warning - the Parental Figures. 167 5.6. Villain and Villainess - the Trickster Figures. 172 5.7. Conclusion. 179 6. Dramaturgy o f Desire — a Model of Narrative Analysis. 6.1.Introduction. 183 6.2. Desire - the Motivating F actor. 185 6.3. Shifting Notions - Theatrical Structures and the Narrative. 193 6.4. Chaos and Order - Distribution of the Narrative Elements. 199 6.5. Personal Stories — the Characters’ Microstructures. 205 6.6. Flexibility over Rigidity - the Theoretical Side of the Drama turgy 211 o f Desire. 6.7. Conclusion. 216 V 7. Dancing Stories - Telling Stories Conclusive Statements. 7.1. Introduction. 219 7.2. Travelling Narratives 221 7.3. Narrative Analysis outside the Field of Dance Analysis. 227 Appendixes. Appendix A. 234 Appendix B. 241 Appendix C. 245 Bibliography. 257 VI Acknowledgments: Without help and advice, the thoughts presented in this thesis would never have come to Hfe. The people who did not believe in the potential of these thoughts have been the true motivators to undergo the ordeal of researching and writing. However, when times grew hard there were always others, who firmly believed in me and my abilities. And it is them whom I would like to thank from the bottom of my heart. My thanks go to the staff of the Bibliothèque de TOpéra, Paris, British Library, Department of Dance Studies, University of Surrey, NRCD, Theatre Museum, London, Theatre Museum, Vienna, University College London and University of London. All these institutions provided me with the materials and facilities needed for my research. In addition to them, there are a few fiiends, who in endless talks over thousands of Cappuccinos always had an open ear for me. Here, I would like to mention Guilherme Schulze in particular and thank him for his time and advice when my computer was doing anything but what I wanted. As in every fairy tale, the heroine of this research had her magic helper, whose encouragement and expertise made the favourable outcome of the story possible. In Dr. Giannandrea Poesio, I found not only an experienced supervisor and fiiend, but also my academic father. He deserves special thanks for guiding me through the enchanted forest of academic studies. A few invisible voices, who suffered through ad hoc translations and warned me whenever I was too venturing in their fields of research, should also be acknowledged. Last but not least, there is my family without the help and support of whom I would not have been able to start and live through this programme. My parents, sister and grandmother provided me with whatever help and support they could give and tried to keep all problems of everyday life far firom me. A little Harlequin on four paws has to be thanked too for adapting well in her new home with my parents and for purring into the phone to chat with her owner. My partner, Tomas, sent me thousands of emails and postcards with cats and sunflowers to bring a bit of sunshine into my study room. This thesis is dedicated to my parents. 1. Looking at Storytelling An Introductory Chapter. 1.1 Introduction. Danced narratives have always been integral to a diversity of dance practices through time. As far as theatre dance is concerned, a differentiation between plotless performances and storytelling ones has developed steadily from the Renaissance ballet de cour to the contemporary era. The dance genre that is mostly popular for its storytelling nature is, arguably, ballet. The few surviving nineteenth-century works which fall into the category of narrative theatre dance are still much favoured by audiences worldwide. These works, however, represent only a discreet number of past narrative choreographic creations elaborating on issues of love, sexuality and relationships between human and non-human beings. Most of the nineteenth-century repertoire, unfortunately, sunk into oblivion and many narrative works from that time are not staged anymore. Nevertheless, the apparently everlasting appeal of the few remaining masterworks such as La Sylphide (lib. Nourrit, 1832), Giselle (lib. Gautier/Saint- Georges, 1841) and Swan Lake (lib. Petipa/M. Tchaikovsky after Begichev/Geltser, 1895) can be seen from their frequent appearance on theatre programmes throughout the world. From their world premiere onwards, there have been only few epochs when these ballets have not been performed. The ballet performances of the nineteenth century were seen as light entertainment, which supported the social aspect of theatre-going. Mainly narrative works were handed down to the twentieth century from nineteenth-century ballet tradition. They encompass, together with the above- mentioned works, Coppélia (lib. Nuitter/Saint-Léon after Hoffrnann, 1870), La Bayadere (lib. Khudekov/Petipa, 1877), The Nutcracker (lib. Petipa/Vsevolozhsky after Hoffrnann, 1892) and Raymonda (lib. Pashkova/Petipa, 1898). These ballets may be found in the repertoire of companies all over the world. Among the non narrative works which have not been forgotten is the Pas de Quatre (1845) of the French choreographer Jules Perrot, which celebrated the four most famous ballerinas of the era. However, although a large number of plotless performances existed, narrative ballets have become the monoliths of nineteenth-century ballet tradition. In addition to the traditional versions of these narrative ballets, the late twentieth century has encountered their resurrection in “revisionist versions” (Poesio, 2002, p.

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