In 1781, ballet master Maximilien Gardel presented La Feste de Mirsa, a sequel to his 1779 ballet en action Mirza. Given the latter’s success, Opéra audiences anticipated another evening of praiseworthy entertainment, but the La Feste proved a total failure, disappearing after one performance. Critics denounced the ballet for its disappointing lack of finesse, but a close reading of the two ballets and their reviews uncovers more aesthetic and narrative similarities than differences. What does distinguish them is the role of affect: Mirza inspiring sympathetic connections to imperial hegemony and white masculinity, La Feste to diversity, femininity, and human equality.

Full Text

Published Version
Open DOI Link

Get access to 250M+ research papers

Discover from 40M+ Open access, 3M+ Pre-prints, 9.5M Topics and 32K+ Journals.

Sign Up Now! It's FREE

Talk to us

Join us for a 30 min session where you can share your feedback and ask us any queries you have

Schedule a call