Abstract

Two Bourbon kings, Louis XIII and XIV, were ballet dancers. What were the aesthetic, political, and ritual functions of court ballet? Did the monarch’s stage appearances sustain his political identity? Franko argues that dance and music, rather than reinforcing, in their blatant magnificence, the political message of power’s presence, were actually the formally subversive means through which the performance sustained the ambiguity and contradiction of personal sovereignty.

pdf

Additional Information

ISSN
1531-4715
Print ISSN
1054-2043
Pages
pp. 71-87
Launched on MUSE
2003-06-03
Open Access
No
Back To Top

This website uses cookies to ensure you get the best experience on our website. Without cookies your experience may not be seamless.