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|caption = Portrait of Maria Salle
 
|caption = Portrait of Maria Salle
 
Dancer and choreographer of the 18th century by I.Deshkova
 
Dancer and choreographer of the 18th century by I.Deshkova
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|data3 = 1730s
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|data2 = 1730s
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|data3 = See page for author [Public domain], via Wikimedia Commons - [https://commons.wikimedia.org/wiki/File%3ASalle1.jpg Link]
 
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=Overview=
 
=Overview=
The paragraph should give a three to five sentence abstract about your article. <span style="color: red">'''PLEASE NOTE:'''</span> this article template has only a few sections as examples, but your actual article contributions should have '''many''' relevant sections '''and''' subsections. Please start to block out and complete those sections with relevant information such as the '''very objective, fact-based, and heavily referenced''' "who, what, when, where, and why" about this article. Articles don't just have to be huge buildings; '''individual artifacts and lesser-known people, places, and things count as article topics'''! Don't forget to include relevant [[#Category tags|category tags]] for each article!
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[[Marie Sallé]] whom was born 1707 and died July 27, 1756, in Paris, France, was French dancer and choreographer. According to Encyclopedia Britannica, Salle performed expressive, dramatic dances during a period when displays of technical virtuosity were more popular.<ref name = "brit"> The Editors of Encyclopedia Britannica. ( 1998, July 20). Marie Salle. Retrieved June 05, 2017, from https://www.britannica.com/biography/Marie-Salle </ref> She was the first woman to choreograph the ballets in which she performed in. She integrated music, costumes, and dance styles with the themes of her ballets, a form that was not officially used in ballet until the ballet reformation in the late 18th-century.<ref name = "brit"/>
 
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==Bio==
 
==Bio==
Marie Sallé was born 1707 in France and was a daughter of a tumbler. <ref name = "andros"> Andros, D. (1991, May). Marie Salle, (1707-1756). Retrieved June 05, 2017, from http://michaelminn.net/andros/biographies/salle_marie/ </ref> She was taught dance a very early and made her debut in 1718 at the St. Laurent's Fair in an opera-comique by Lesaye titled La Princesse Carisme. <ref name = "andros"/>
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[[Marie Sallé]] was born 1707 in France and was a daughter of a tumbler who was player in a company of actors directed by Francisque Moylin.<ref name = "french" > Beaumont, C. W. (1934). Marie Sallé. In Three French dancers of the 18th century: Camargo, Sallé, Guimard (pp. 18-25). London: C.W. Beaumont. </ref> She was one of two children who both had a talent for dance. She made her first debut in 1718 at the St. Laurent's Fair in an opera-comique by Lesaye called ''La Princesse Carisme''.<ref name = "andros"> Andros, D. (1991, May). Marie Salle, (1707-1756). Retrieved June 05, 2017, from http://michaelminn.net/andros/biographies/salle_marie/ </ref>
 
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[[File:Maurice-Quentin de La Tour, Retrato de Mademoiselle Sallé (1741).jpg|300px|thumb| Mademoiselle Sallé (1741) <br><small> '''Attributed to''' Maurice Quentin de La Tour [Public domain], via Wikimedia Commons - [https://commons.wikimedia.org/wiki/File%3AMaurice-Quentin_de_La_Tour%2C_Retrato_de_Mademoiselle_Sall%C3%A9_(1741).jpg Link]]]<br>
//get another reference
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In 1725, Marie with her brother Nivelon were chosen by John Rich, who was the manager of the theatre in Lincoln's Inn Fields, to go to London and perform in his production named ''Love's Last Shift''. She stayed in London dancing in many productions for two years with her brother, then returned to Paris where she started then at the Opera. On September 14th, 1727, Marie made her debut in the Opera in ''Les Anmours des Dieux''. <ref name = "french"/> However, she quickly returned to London for some dances then back again to Paris because she would be ridiculed for her ideas in Paris for wanting to refine the dance costumes. She wanted to make them more liberating and free flowing for greater movement. She stayed in Paris from 1728 to 1733 then left to go to Covent Garden (now known as the [[Royal Opera House]]) where she choreographed and performed two of her greatest performances, ''Pigmalion'' and ''Bacchus and Ariadne'' which were both shown in the spring of 1734. <ref name = "inf"> McCleave, S. (2008). Marie Sallé, a Wise Professional Woman of Influence. In L. Brooks (Ed.), Womens work: making dance in Europe before 1800 (pp. 160-182). Madison, WI: University of Wisconsin Press.</ref> <br><br>
She toured in fairs for years and in 1721 appeared for the first time in the Opera in Paris in Les Fetes Venitiennes. She became a student of Francoise Prevost at the Academie Royale, but the jealousy of the older danseuse kept her from advancing rapidly. In 1725 John Rich took her to London where she first appeared in Love's Last Shift in entreacte divertissement with her brother. She danced with her brother through- out her career. Later she danced in Caracteres de la Danse.
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After her season at Covent Garden, she renewed her contract with John Rich and danced for many operas & dance interludes between acts in plays. In an new opera by Handel called ''Alcina'' where she performed dressed as a boy. This decision of hers was not welcomed and she eventually went back to Paris. After a salary raise, she returned to the Paris Opera. During her time there, she produced, choreographed and performed in many different ballets that were all wildly praised for her talent, style & grace.  
 
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She stayed in London for two years and returned to Paris where she danced at the Opera. She danced a solo entree, but for the next few months was in the corps de ballet. In about a year however she was recognized as a dancer of great talent. The rivalry with Camargo which became a feature of both dancers' careers began at this time. During the next few years she alternated her time between London and Paris. She was a noted intellect and associated with the men of letters of her time.
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Sallé retired in 1740 with her final opera in ''Les Talens Lyriques''. She performed a little outside of the opera and her last performance was called ''Phaeton'' in 1753.<ref name = "french"/> She died in 1756. Her reforms in ballet dance were eventually were adopted by other future performers. According to an article about her; "as a dancer she was loved for her naturalness, grace and lack of affectation. As a women she was known for her intelligence and virtue." <ref name = "andros"/>
 
 
She was a reformer in dance. In London in 1734 she appeared in her own production of "Pygmalion". She discarded the cumbersome dress of the day and danced in a muslin costume, her hair down and unornamented. This was in line with her belief that dance should be natural and expressive.
 
 
 
A review of her endeavor read: "For nearly two months Pygmalion has been given without any sign of failing interest...You can imagine, Sir, what the different stages of such an action can become when mimed and danced with the refined and delicate grace of Mlle. Sallé. She has dared to appear in this entree without pannier, skirt or bodice and with her hair down; she did not wear a single ornament on her head. Apart from her corset and petticoat she wore only a simple dress of muslin draped about her in the manner of a Greek statue."
 
 
 
Salle retired in 1740 and many of her reforms were adopted by her successors. She was championed by reformer Noverre who agreed with her precepts. As a dancer she was loved for her naturalness, grace and lack of affectation. As a women she was known for her intelligence and virtue.//
 
 
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==Performances==
 
==Performances==
===France===
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===England===
 
===England===
 
====Pygmalion====
 
====Pygmalion====
 
=====Summary=====
 
=====Summary=====
This performance was shown on the 14th February 1734 with [[Marie Sallé]] as Galatea and choreographer. <ref name = "greek"> Pygmalion (1734), accessed at http://www.apgrd.ox.ac.uk/productions/production/13155 <5 June 2017> </ref> The music was by Jean-Joseph Mouret. The ballet plot was about Pygmalion, king of Cyprus, who carved a statue of his ideal woman and fell in love with her. <ref name = "artmypth"> Reid, J. D., & Rohmann, C. (1993). The Oxford guide to classical mythology in the arts 1300-1900s (Vol. 2). New York: Oxford University Press. </ref> Aphrodite then brought the sculpture to life and Pygmalion married her. The name Galatea was the name given to the statue for this interpretation and other performances <ref name = "artmypth"/> This performance was put on when the Royal Opera House was called Convert Gardens before the second fire. According to an article on Marie, she danced in a muslin costume with her hair down and un-ornamented which emphasized her belief that dance should be natural. <ref name = "andros"> Andros, D. (1991, May). Marie Salle, (1707-1756). Retrieved June 05, 2017, from http://michaelminn.net/andros/biographies/salle_marie/ </ref>
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This performance was shown on the 14th February 1734 with [[Marie Sallé]] as Galatea and choreographer. <ref name = "greek"> Pygmalion (1734), accessed at http://www.apgrd.ox.ac.uk/productions/production/13155 <5 June 2017> </ref> The music was by Jean-Joseph Mouret. The ballet plot was about Pygmalion, king of Cyprus, who carved a statue of his ideal woman and fell in love with her. <ref name = "artmypth"> Reid, J. D., & Rohmann, C. (1993). The Oxford guide to classical mythology in the arts 1300-1900s (Vol. 2). New York: Oxford University Press. </ref> Aphrodite then brought the sculpture to life and Pygmalion married her. The name Galatea was the name given to the statue for this interpretation and other performances <ref name = "artmypth"/> This performance was put on when the [[Royal Opera House]] was called Convert Gardens before the second fire. According to an article on Marie, she danced in a muslin costume with her hair down and un-ornamented which emphasized her belief that dance should be natural. <ref name = "andros"> Andros, D. (1991, May). Marie Salle, (1707-1756). Retrieved June 05, 2017, from http://michaelminn.net/andros/biographies/salle_marie/ </ref>
 
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=====Reviews=====
 
=====Reviews=====
 
At the time, ballet dancers would dress in extravagant costumes with corsets. This did not give freedom for much movement. It was unheard of what [[Marie Sallé]] did in this performance. According to a review from her endeavor ''"For nearly two months Pygmalion has been given without any sign of failing interest...You can imagine, Sir, what the different stages of such an action can become when mimed and danced with the refined and delicate grace of Mlle. Sallé. She has dared to appear in this entree without pannier, skirt or bodice and with her hair down; she did not wear a single ornament on her head. Apart from her corset and petticoat she wore only a simple dress of muslin draped about her in the manner of a Greek statue."'' <ref name = "andros"/> <br><br>
 
At the time, ballet dancers would dress in extravagant costumes with corsets. This did not give freedom for much movement. It was unheard of what [[Marie Sallé]] did in this performance. According to a review from her endeavor ''"For nearly two months Pygmalion has been given without any sign of failing interest...You can imagine, Sir, what the different stages of such an action can become when mimed and danced with the refined and delicate grace of Mlle. Sallé. She has dared to appear in this entree without pannier, skirt or bodice and with her hair down; she did not wear a single ornament on her head. Apart from her corset and petticoat she wore only a simple dress of muslin draped about her in the manner of a Greek statue."'' <ref name = "andros"/> <br><br>
  
Marie was complemented in many reviews for her success & genius in her decision & performance. She even got to perform for the royalty of the day. One review from ..., about her performance said that, ''"Sallé had talents to open a thousand purses"''. Apparently she could bring a lot of people to a theater and the theater made money. Overall, this perfromance was a breakthrough in ballet history with costumes and style.  
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Marie was complemented in many reviews for her success & genius in her costume decision & performance. She even got to perform the dance for the King Geroge II and Queen Caroline and all of the Court. Overall, this performance was a breakthrough in ballet history with it's costumes and style.  
 
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=External Links=
 
=External Links=
 
[http://michaelminn.net/andros/biographies/salle_marie/ Marie Salle Bio]<br>
 
[http://michaelminn.net/andros/biographies/salle_marie/ Marie Salle Bio]<br>
[https://www.britannica.com/biography/Marie-Salle Bio Marie Salle Britannica]
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[https://www.britannica.com/biography/Marie-Salle Bio Marie Salle Britannica Encyclopedia]
 
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If appropriate, add an image gallery
 
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[[Category:Drama & Theater]]
 
[[Category:Drama & Theater]]
 
[[Category:History]]
 
[[Category:History]]

Latest revision as of 14:04, 22 June 2017

Marie Sallé

Marie Sallé
Article Image
Portrait of Maria Salle Dancer and choreographer of the 18th century by I.Deshkova
Year 1730s
Attributed to See page for author [Public domain], via Wikimedia Commons - Link

Overview

Marie Sallé whom was born 1707 and died July 27, 1756, in Paris, France, was French dancer and choreographer. According to Encyclopedia Britannica, Salle performed expressive, dramatic dances during a period when displays of technical virtuosity were more popular.[1] She was the first woman to choreograph the ballets in which she performed in. She integrated music, costumes, and dance styles with the themes of her ballets, a form that was not officially used in ballet until the ballet reformation in the late 18th-century.[1]


Background


Bio

Marie Sallé was born 1707 in France and was a daughter of a tumbler who was player in a company of actors directed by Francisque Moylin.[2] She was one of two children who both had a talent for dance. She made her first debut in 1718 at the St. Laurent's Fair in an opera-comique by Lesaye called La Princesse Carisme.[3]

Mademoiselle Sallé (1741)
Attributed to Maurice Quentin de La Tour [Public domain], via Wikimedia Commons - Link


In 1725, Marie with her brother Nivelon were chosen by John Rich, who was the manager of the theatre in Lincoln's Inn Fields, to go to London and perform in his production named Love's Last Shift. She stayed in London dancing in many productions for two years with her brother, then returned to Paris where she started then at the Opera. On September 14th, 1727, Marie made her debut in the Opera in Les Anmours des Dieux. [2] However, she quickly returned to London for some dances then back again to Paris because she would be ridiculed for her ideas in Paris for wanting to refine the dance costumes. She wanted to make them more liberating and free flowing for greater movement. She stayed in Paris from 1728 to 1733 then left to go to Covent Garden (now known as the Royal Opera House) where she choreographed and performed two of her greatest performances, Pigmalion and Bacchus and Ariadne which were both shown in the spring of 1734. [4]

After her season at Covent Garden, she renewed her contract with John Rich and danced for many operas & dance interludes between acts in plays. In an new opera by Handel called Alcina where she performed dressed as a boy. This decision of hers was not welcomed and she eventually went back to Paris. After a salary raise, she returned to the Paris Opera. During her time there, she produced, choreographed and performed in many different ballets that were all wildly praised for her talent, style & grace.

Sallé retired in 1740 with her final opera in Les Talens Lyriques. She performed a little outside of the opera and her last performance was called Phaeton in 1753.[2] She died in 1756. Her reforms in ballet dance were eventually were adopted by other future performers. According to an article about her; "as a dancer she was loved for her naturalness, grace and lack of affectation. As a women she was known for her intelligence and virtue." [3]

Performances


England

Pygmalion

Summary

This performance was shown on the 14th February 1734 with Marie Sallé as Galatea and choreographer. [5] The music was by Jean-Joseph Mouret. The ballet plot was about Pygmalion, king of Cyprus, who carved a statue of his ideal woman and fell in love with her. [6] Aphrodite then brought the sculpture to life and Pygmalion married her. The name Galatea was the name given to the statue for this interpretation and other performances [6] This performance was put on when the Royal Opera House was called Convert Gardens before the second fire. According to an article on Marie, she danced in a muslin costume with her hair down and un-ornamented which emphasized her belief that dance should be natural. [3]

Reviews

At the time, ballet dancers would dress in extravagant costumes with corsets. This did not give freedom for much movement. It was unheard of what Marie Sallé did in this performance. According to a review from her endeavor "For nearly two months Pygmalion has been given without any sign of failing interest...You can imagine, Sir, what the different stages of such an action can become when mimed and danced with the refined and delicate grace of Mlle. Sallé. She has dared to appear in this entree without pannier, skirt or bodice and with her hair down; she did not wear a single ornament on her head. Apart from her corset and petticoat she wore only a simple dress of muslin draped about her in the manner of a Greek statue." [3]

Marie was complemented in many reviews for her success & genius in her costume decision & performance. She even got to perform the dance for the King Geroge II and Queen Caroline and all of the Court. Overall, this performance was a breakthrough in ballet history with it's costumes and style.

References

  1. 1.0 1.1 The Editors of Encyclopedia Britannica. ( 1998, July 20). Marie Salle. Retrieved June 05, 2017, from https://www.britannica.com/biography/Marie-Salle
  2. 2.0 2.1 2.2 Beaumont, C. W. (1934). Marie Sallé. In Three French dancers of the 18th century: Camargo, Sallé, Guimard (pp. 18-25). London: C.W. Beaumont.
  3. 3.0 3.1 3.2 3.3 Andros, D. (1991, May). Marie Salle, (1707-1756). Retrieved June 05, 2017, from http://michaelminn.net/andros/biographies/salle_marie/
  4. McCleave, S. (2008). Marie Sallé, a Wise Professional Woman of Influence. In L. Brooks (Ed.), Womens work: making dance in Europe before 1800 (pp. 160-182). Madison, WI: University of Wisconsin Press.
  5. Pygmalion (1734), accessed at http://www.apgrd.ox.ac.uk/productions/production/13155 <5 June 2017>
  6. 6.0 6.1 Reid, J. D., & Rohmann, C. (1993). The Oxford guide to classical mythology in the arts 1300-1900s (Vol. 2). New York: Oxford University Press.



External Links

Marie Salle Bio
Bio Marie Salle Britannica Encyclopedia