Description
Prominent components of Louis XIV’s propaganda, the humanities of spectacle also was sources of a potent resistance to the monarchy in late seventeenth-century France. With a particular center of attention at the court ballet, comedy-ballet, opera, and opera-ballet, Georgia J. Cowart tells the long-neglected story of how the festive arts deployed an intricate network of subversive satire to undermine the rhetoric of sovereign authority.
With bold revisionist strokes, Cowart traces this strain of artistic dissent throughout the comedy-ballets of Jean-Baptiste Lully and Molière, the late operatic works of Lully and the operas of his sons, the opera-ballets of André Campra and his contemporaries, and the related imagery of Antoine Watteau’s well known painting The Pilgrimage to Cythera. She contends that through plenty of means, including the parody of out of date court entertainments, these works reclaimed traditional allegories for new ideological aims, setting the tone for the Enlightenment. Exploring these arts from the standpoint of spectacle as it emerged from the court into the Parisian public sphere, Cowart in the long run situates the ballet and related genres as the missing link between an imagery of propaganda and an imagery of political protest.
With bold revisionist strokes, Cowart traces this strain of artistic dissent throughout the comedy-ballets of Jean-Baptiste Lully and Molière, the late operatic works of Lully and the operas of his sons, the opera-ballets of André Campra and his contemporaries, and the related imagery of Antoine Watteau’s well known painting The Pilgrimage to Cythera. She contends that through plenty of means, including the parody of out of date court entertainments, these works reclaimed traditional allegories for new ideological aims, setting the tone for the Enlightenment. Exploring these arts from the standpoint of spectacle as it emerged from the court into the Parisian public sphere, Cowart in the long run situates the ballet and related genres as the missing link between an imagery of propaganda and an imagery of political protest.
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