Abstract
This essay examines Noverre’s strategic naming and omission of sources in the Lettres sur la danse, et sur les ballets as a way of building his credibility as a writer and ballet master. Although Noverre was a pioneer of the ballet d’action, he was certainly not its creator, as he would have liked his reader to believe. His creation of a poetics of the ballet d’action, however, was fundamentally new. This essay focuses in particular on the passages of his work inspired by Cahusac, Diderot, and Garrick, and shows how Noverre, by naming or omitting these writers’ names, attempted to frame his Lettres sur la danse not as a historical, but as a literary project: the theoretical construct of dance as a theatrical art.
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