000			02135nab a2200193 c 4500
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008			181003s2014 stk||||fr 00| u|eng u
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100	1		_aDaye, Anne _9137117
245	0		_aThe Role of Le Balet Comique in Forging the Stuart Masque _bPart 1 The Jacobean Initiative _cAnne Daye
260			_c2014 _aEdinburgh: _bEdinburgh University Press,
300			_a23 p.
520			_aRESUMEN: The prominence of Le Balet Comique in the narrative of Western theatre dance cannot be denied, as every dance history book implies that this performance of 1581 initiated the ballet de cour, while the image of the fugitive gentlemen is reproduced over and over again to represent the work (McGowan, 2008, 169). The performance was certainly innovative, but also a development of previous theatre dance in France and Italy. Barbara Sparti questions the basis of the work's fame and places it in a context of earlier Italian dance theatre (2011, 304-322). The impact of the publication in England has not so far been examined. Amongst its many claims to fame, Le Balet Comique was unique in the latter half of the sixteenth century as a publication that brought together information on the performance, costumes, décor, music and dance of a ballet de cour, as well as the planning and intentions of the organisers. The records of other ballets of the period are scattered between published verses, eyewitness accounts, musical scores, costume desings and financial records, most of which remain hidden and uncollated in archives. The following discussion argues for the use of a single text as a model for new invention in dance theatre. In pursuing this argument, it offers new insights, from a dance perspective, illuminating key works that have principally been discussed as text rather than as performances. Part 1 deals with the exciting period of innovation under the aegis of the first Stuart king, James VI and I.
773	0		_tDance Research _072889 _wmyd_16032 _gVol. 32, núm. 2, Winter 2014, p. 185 - 207
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