This website is intended to make available some of my (Edmund Fairfax’s) ongoing research into the technique of eighteenth-century ballet. Dance history, especially the history of early ballet, is still virgin territory, as it were, and misconceptions abound in popular and even more scholarly discussions. A work in progress (with more material to be added piecemeal), this site is meant to dispel at least a few of these misconceptions before the publication of my findings in a multi-volume scholarly study to be entitled The Technique of Eighteenth-Century Ballet. This study is the second part of a major research project that began with my earlier The Styles of Eighteenth-Century Ballet (2003, Scarecrow Press).
The chapters of The Technique of Eighteenth-Century Ballet are as follows: 1 Preliminary Considerations; 2 Beauchamps Notation; 3 The Carriage of the Body and the Positions of the Feet; 4 The Movements of the Legs; 5 The Positions and Movements of the Torso; 6 The Positions and Movements of the Arms; 7 The Positions and Movements of the Head; 8 Introduction to the Steps; 9 Marchés; 10 Coupés; 11 Balancés; 12 Bourrées; 13 Pas de Menuet; 14 Pas de Courante; 15 Temps; 16 Pas de Marcel; 17 Jetés; 18 Glissades; 19 Assemblés; 20 Pas de Gaillarde and Pas Tombés; 21 Chassés; 22 Contretemps; 23 Pas de Rigaudon; 24 Sissonnes; 25 Pas Sautés; 26 Entrechats and Cabrioles; 27 Tours de Jambe; 28 Pas Tournés; 29 The Comic and Grotesque; 30 Attitudes.
Through the “technique” tab in the menu-bar above, one can access a handful of excerpts from my study. To date, I have posted sections dealing with some of the general (problematic) issues in reconstructing the theatrical dance of the eighteenth century (“Preliminary Considerations”); as well as some sections dealing with specific aspects of the dance technique: the turnout of the legs, la statue, the manner of landing from jumps (retombé tendu & retombé plié), the balancement or sway, fifth position of the arms, spotting in pirouetting steps, and the pas de rigaudon; and finally a few sections dealing with some issues related to theatrical performance: suitable musical tempi, entrances, and dance footwear.
Ultimately, this site will become a visual library of eighteenth-century theatrical dance positions, movements, and poses intended to complement the aforementioned study, i.e., an extensive collection of stills and video clips showing computer-generated 3D animations, reconstructing the vocabulary of eighteenth-century ballet based on my research (cf. the CG stills below). Indeed, one of the major hurdles in reconstructing a lost dance tradition is attempting to describe it in words and thereby have it understood, but a picture is worth a thousand words, and a moving picture worth ten thousand.
I also intend to release periodically short blog-posts which present (hopefully) interesting tidbits from the history of early ballet, meant to be “easy reading.” (See “blog” above in the menu-bar.) Those interested in receiving notification of postings can click the “follow” bottom at the bottom of the page.