You may take ballet classes, and you’ve probably wondered at some point: Who invented the five ballet positions? Who created those precise movements and codified them? Delving deeper into the history of ballet, one of the most prominent figures in the era of King Louis XIV was the Grand Master of Classical Ballet Pierre Beauchamp. He was one of the best dancers of that time.
This renowned French choreographer was a pioneer in the development of classical dance. So, his contributions have left an indelible mark on the world of dance. In this article, we will explore Pierre Beauchamp’s biography, legacy, and impact on the world of ballet.
Table of Contents
Early Life and Rise at Court
Historians believe that Pierre Beauchamp was born between 1631 and 1636 at Versailles. He belonged to a long line of dancing masters and violinists; his father was one of the king’s musicians. This connection allowed him access to royal circles. And it paved the way for his monumental impact on the art of dance. From a young age, Beauchamp displayed an exceptional talent for dance and music, training in both disciplines. In 1648, he made his debut in Le Dérèglement des Passions. This was a court ballet, which marked the beginning of his successful career.
Years later, in 1653, Beauchamps danced alongside Louis XIV in the Ballet de la Nuit. This work also marked the court debut of Jean-Baptiste Lully. He was a rising star with whom Beauchamp’s future career would be closely linked. Here, the pieces of the great creators and interpreters of dance in classical ballet begin to come together.
Historians say he was one of the first dancers to perform the tour en l’air (turn in the air). This ballet step involves a single or double turn in the air, starting and finishing in fifth position. It is still performed by male dancers today. Beauchamp danced at the king’s side, often taking over His Majesty’s role when the king was indisposed. He also became wealthy, boasting a fine collection of Italian art. Known for his skill and achievements, Beauchamp became the king’s dancing master in 1661 and taught him to dance for over 20 years.
The Académie Royale de Danse
Louis XIV took the art of dance seriously. So, he founded the Académie Royale de Danse in 1661, the first dance school in the Western world. This institution operated for over 100 years before closing down for good during the French Revolution, in 1789. This school employed 13 ballet masters, selected from among the most prominent teachers and choreographers of the time. One of them was, of course, Pierre Beauchamp. Under French patronage, ballet became an independent theatrical art taught in Paris by the dancer Pierre Beauchamp at the Académie Royale de Danse.
Collaboration with Lully and Molière
Louis XIV appointed Beauchamp the first intendant of the Ballet du Roy (Ballet of the King) in 1661. So, he was responsible for staging court ballets for the king. He collaborated with the composer Jean-Baptiste Lully. Also, he worked as a composer and choreographer with the playwright and actor Jean-Baptiste Molière. They helped shape the evolution of the comédie-ballet, which mixed spoken plays with music and dance. The first comédie-ballet produced was Les Facheux, performed in 1661. The comédie-ballet was a satirical genre that mixed drama and music with ballet interludes performed by professional dancers. These three artists frequently worked together, creating popular works such as Le Bourgeois Gentilhomme (1670).
Codifying Ballet Technique
Eight years later, Louis XIV founded the Académie Royale de Musique (1669). It was also known as the Opéra, which recruited singers, musicians and dancers from the Académie Royale de Danse. Beauchamp joined the Opéra as ballet master in 1672. It was here that Pierre Beauchamp, dancer and ballet teacher, first defined the five positions of the feet, which to this day form the basis of ballet. As the fundamental positions of ballet, beginning and ending all movements, the five positions are the first steps taught in ballet classes worldwide today. He also standardised the five-arm positions for Baroque ballet. Beauchamp worked at the Opéra until the death of his director and great friend, Lully, in 1687.
Beauchamp’s Choreographies
Some of his most renowned works were:
- 1661: Les Fâcheux and L’Impatience, both comédie-ballets with music by Lully and the comic text by Molière.
- 1670: Le Bourgeois Gentilhomme (The Bourgeois Gentleman), a comédie-ballet with music by Lully and libretto by Molière.
- 1671: At the Jeu de Paume, he presented pastoral dances for Pomone, the first French opera. On the other hand, he also choreographed Psyché, a tragédie-ballet with music by Lully and libretto by Molière.
- 1673: Le Malade Imaginaire (The Imaginary Invalid). It was a popular satire in three acts, debuted in Paris at the King’s Palace Theatre.
- 1674: Alceste, ou le Triomphe d’Alcide (Alcestis or The Triumph of Alcides). It was a five-act musical tragedy with a libretto by Philippe Quinault based on a Greek myth of the struggle between life and death.
- 1681: Le Triomphe de l’Amour, an opera ballet that was the first to incorporate female dancers into the all-male casts. It was performed by the artist Mademoiselle De Lafontaine.
Invention of Dance Notation
After retiring from his position at the Opera (1687), Beauchamp continued to work under the king as a court choreographer. It was at this last stage of his life that he set about creating a notation system for dance.
While Louis’s Academy of Dance established etiquette and ballet as a central feature of court life, it also aimed to spread French culture to the rest of Europe. Indeed, it was one of many such institutions founded in the 17th century. For example, the Academy of Painting (1648) and the Academy of Architecture (1671). The idea was to centralize French culture under royal authority.
With this aim, the king ordered Beauchamps to invent “a way of making dance understood on paper.” It was a crucial step: with a notation, French ballet masters could send their dances abroad and reach an international clientele.
Although Beauchamp’s system was not published under his name, the French choreographer Raoul-Auger Feuillet later documented and distributed the notation in 1700. Beauchamp then took legal action to prove his copyright. However, he died before proving it, in 1705.
Eventually, the system became known as Beauchamp-Feuillet notation and allowed French ballet to gain international recognition. The work was reprinted several times in French. Besides, it was translated into English and German, and used by ballet masters throughout Europe well into the 18th century.
Summary
Conclusion
Beauchamp was one of the first to create a system of notation using written symbols. Also, he defined the five positions of the feet, which remain fundamental to ballet. His legacy undoubtedly lives on to this day. Lastly, his influence is evident in the way classical dance is taught and performed worldwide.
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