... of inauthentic artistry informed Fitzgerald’s self-conception as a popular short storyist. In Baker, Fitzgerald presents an artist who has bridged the ‘high’ and popular arts: ballet and cabaret. Fitzgerald sets up jazz dance as formulaic by satirising blind adherence to rules and fashions, and this chapter...

... of the Abbey Theatre and the setting up of its associated School of Ballet. Delving into her background, including her development under Diaghilev at the Ballets Russes, illuminates how her choreographic aims intersected with Yeats’s notions of performance in the late 1920s. Her conception of bodily movement...

...On March 19, 1615, Louis XIII (1601–1643), then fourteen years old, danced the role of a Hermaphrodite in Le Ballet de Madame. This article contains a close reading of the ballet’s textual sources and a historical contextualization of its circumstances, putting these in relation to twentieth...

... French-style ballet and banqueting fashions which they combined with traditional English music and song. This essay explains the reason for these artistic choices. Ben Jonson burlesque ballet ‘Gypsies Metamorphos'd’ (1621) influence of French Court Ballet the English Masque...

... for the Ballet Les Plaisirs de la Paix (1715) which are analysed in this essay and published here for the first time. Costume designs for ballet Jean II Berain ‘Ballet des Plaisirs de la Paix’ (1715) Nicodemus Tessin and his theatre collection In the late seventeenth century, the Swedish ambassador...

... Ghelderode Michel Giraudoux Jean Gleizes Albert Honneger Arthur Le Somptier René Lhote André Lista Giovanni Milhaud Darius Poulenc Francis Prokofiev Sergei Ravel Maurice Satie Erik Stravinsky Igor Tseëlon Efrat Arzumanova Inna Ballet Russes Bausch Pina Duncan Isadora Jooss Kurt Kaminsky...

... Ballet School, the Dublin Drama League, the Municipal Galley of Modern Art, the United Arts Club and the Irish Academy of Letters. A notable culture of sociability in the city is shown to have acted as a dynamic force across Yeats’s career. This operated alongside and helped to further certain cultural...

...In Chapter 5 affect is considered as corporeal tension and intensity in two modernist works by the Ballets Russes, Léonide Massine’s Parade (1917) and Vaslav Nijinsky’s L’après-midi d’un faune (1912). Following Massumi’s theory of affect as an autonomous intensity...

...The fifth chapter explores Darren Aronofsky’s Black Swan as an example of a film in which Hollywood’s historical treatment of classical ballet is referenced to provide a self-reflexive and critical commentary on the role of the melancholic white woman in artistic representation...

...Please Provide (as in Journal Copy) It was customary in the seventeenth century to assimilate court ballet with drama, as both art forms were seen to strive for a common aim: the imitation or representation of nature. However, critics were also keen to point out their essential differences...

...This chapter focuses on the balletic conversions of A Midsummer Night's Dream. This play is the only work in the canon in which the well-being of the cosmos, and of the society that subsists within it, is predicated on the dance. It is also unique among the comedies in having...