“Re-staging” ballets: Jean Aumer at the Porte-Saint-Martin theater, 1802–1805
Olivesi, Vannina
“Re-staging” ballets: Jean Aumer at the Porte-Saint-Martin theater, 1802–1805 - 2020.
14
This paper focuses on the practice of restaging past choreographies through the figure of Jean Aumer, Ballet Master at the Porte Saint Martin theatre, re-appropriating the ballets of his predecessors, Jean Dauberval and Jean-Baptiste Blache. Using these artists’correspondence, the paper puts in perspective the different meanings of this practice within a reflection on the definition of authorship in dance performance. A comparison between the programmes for Dauberval and Aumer’s Déserteur (1785 and 1804 respectively) allows in the final instance the analysis of the role played by each of their rewritings in the restaging of these ballets.
“Re-staging” ballets: Jean Aumer at the Porte-Saint-Martin theater, 1802–1805 - 2020.
14
This paper focuses on the practice of restaging past choreographies through the figure of Jean Aumer, Ballet Master at the Porte Saint Martin theatre, re-appropriating the ballets of his predecessors, Jean Dauberval and Jean-Baptiste Blache. Using these artists’correspondence, the paper puts in perspective the different meanings of this practice within a reflection on the definition of authorship in dance performance. A comparison between the programmes for Dauberval and Aumer’s Déserteur (1785 and 1804 respectively) allows in the final instance the analysis of the role played by each of their rewritings in the restaging of these ballets.
Réseaux sociaux