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Encenar Le Bourgeois Gentilhomme : reconstruir, interpretar e adaptar uma comédie-ballet de Molière, Lully e Beauchamp
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“Staging Le Bourgeois Gentilhomme: reconstruct, interpret and adapt a comédie-ballet by Molière, Lully and Beauchamp” is a theoretical-practical thesis born from the desire to discuss baroque dance, an artistic practice to which I have dedicated myself since 1980 and which shares with my parallel musical training (recorder) an ancient music based repertoire, namely the period between the 17th and 18th centuries, an ongoing object of my deep interest, personal engagement and study. My research work aims to help make the art of dance practiced at the French court and theatres in the 17th and 18th centuries more widely known, particularly dances that are part of the work Le Bourgeois Gentilhomme, first performed in 1670. It also intends to contribute to reflections on the way that these dances are currently presented to audiences. The comédie-ballet dances were not recorded in any material way, that is why the original choreography is not known in its entirely. Unlike its dialogues and music, whose preservation was ensured by its authors, the dances were, over time, subjected to diferente movements, choreographies and interpretations. Thus, the main objective of this thesis will be the choreographic presentation of the dances in Le Bourgeois Gentilhomme within a contexto of reconstruction, with a view to staging the work with all its components: the dialogues, the music and the dance. This thesis comprises three chapters. The first chapter – “Reconstructions in Dance” – starts by addressing the issue of the culture of reconstructing dances from past historical periods, specifically from 20th and 17th centuries, to then draw a similarity between the question of reconstructing dances from the baroque period and the issues that arise when interpreting ancient music. The second chapter – “Relation between Theory and Practice” – first presents and describes practice-based research in art, research that also provides a practical side and allows to generate knowledge, elucidate, justify and establish concepts across practice and theory. Next, it analyses my role as choreographer, defining its most relevant aspects, taking into account the nature of this comédie-ballet and the importance of dance within the work, while also highlighting the critical role of its performers. Further on, the chapter identifies and details the procedural aspects involved in the creative process and the choreographic reconstruction of the dances in Le Bourgeois Gentilhomme. Finally, it describes the approach used in the three texts of this work: the dramatic text, the musical text and the choreographic text. Chapter three – “The Choreographic Reconstruction of the Dances in the Research Project”– describes the choreographic reconstruction of the dances in Le Bourgeois Gentilhomme. To help understanding the choreographic description of the reconstructed and created dances, choreographic drawings for all the dances worked on and the complete choreography of Menuet I (Ballet des Nations) are included.
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Dança barroca Reconstrução Interpretação Coreografias Encenação Ballet - comédia