Historical SourcePublic Domain
Discours au vray du ballet danse par le Roy, le dimanche XXIXe jour de janvier MDCXVII — Ballet de la Delivrance de Renaud (Durand / Bordier / Guedron, Paris 1617)
Publisher: Paris (Royal-press, avec privilege de Sa Majeste). Etienne Durand (1585-1618; poet-courtier) / verses by Rene Bordier (15..-1658) / airs & dances by Pierre Guedron (156.?-1620?; Intendant de la musique de Sa Majeste) with Jacques Mauduit (choral concert) and the Sieur de Belleville (Ballet-master / particular conducteur des Demons). Printed at Paris 1617 by the Royal presses. Source: DATA/LIBRARY_OF_DANCE/ABBYY TXT/1617-Durand-Discours_(BNF).txt (420 lines) and LOC_Ballroom_Companion/1617-durand PDF. BNF Gallica scan. CONTENT: the published livret + discours describing the *Ballet de la Delivrance de Renaud* danced by Louis XIII and his court in the Grande-Salle du Louvre on Sunday 29 January 1617 (LEAST the first major Louis XIII ballet de cour). Subject drawn from Torquato Tasso's Gerusalemme Liberata (1581), Canto XVI — Armide's enchanted garden, Renault's delivrance by two armed cavaliers bearing the diamond shield and wand of Ubaldo & the Danish Knight. Music ensemble: 64 voices + 28 vielles + 14 luths, conducted by Mauduit in the Palais-et-Paysage perspective; 24 violins per Entree in the niche-ensemble. STRUCTURE: ten Entrees of demons, a Grand Ballet de Quatorze, a Cavaliers entree, Six Monsters (hibou / chien / singe), Demons in shells (ecrevisse / tortue / limacon), Demons in Vieilles, Hermite + 16 Chevaliers-chanteurs, and the Grand Ballet finale of 16 noble dancers flanking the King as Godefroy on the pavillon-d'or throne. Has_Step_Detail = No: livret-only narrative + 10 engraved plates of costumes; the 1617 publication contains no choreographic notation (Beauchamp-Feuillet would not emerge for 83 years). HISTORIC CONTEXT: parallel London production same month — LOC-1617-MAILLET 'Balet de la revanche du mespris d'Amour' danced before Anne of Denmark (28 January 1617) — documents the 1617 trans-Channel Stuart-Bourbon ballet exchange. Direct choreographic genealogy to LOC-1619-GRAMONT (Ballet de Tancrede en la Forest enchantee, 12 February 1619) also Tasso-sourced, also featuring Louis XIII as principal role + Bordier librettist + similar infernal-demons/rescue-knights structure. The Durand-Bordier-Guedron triumvirate predates and shapes the subsequent Bordier 1625 Fees des Forests (LOC-1625-BORDIER-FEES) and the Estoile 1626 Douairiere de Billebahaut (1626-Estoile-Maistre_(BNF)). Rosetta-stone value: establishes the 1617 Louis XIII court-ballet vocabulary of Demons-by-Element and Demons-by-Vice (Jeu/Avaricieux/Vanite/Guerre/Mores/Villageoises) that will recur through Bordier 1625's Fee-led-by-Vice structure and Estoile 1626's Douairiere-by-Satire structure.Year: 1617Family: durandCatalog: local
Dance manual/reference by Paris (Royal-press, avec privilege de Sa Majeste). Etienne Durand (1585-1618; poet-courtier) / verses by Rene Bordier (15..-1658) / airs & dances by Pierre Guedron (156.?-1620?; Intendant de la musique de Sa Majeste) with Jacques Mauduit (choral concert) and the Sieur de Belleville (Ballet-master / particular conducteur des Demons). Printed at Paris 1617 by the Royal presses. Source: DATA/LIBRARY_OF_DANCE/ABBYY TXT/1617-Durand-Discours_(BNF).txt (420 lines) and LOC_Ballroom_Companion/1617-durand PDF. BNF Gallica scan. CONTENT: the published livret + discours describing the *Ballet de la Delivrance de Renaud* danced by Louis XIII and his court in the Grande-Salle du Louvre on Sunday 29 January 1617 (LEAST the first major Louis XIII ballet de cour). Subject drawn from Torquato Tasso's Gerusalemme Liberata (1581), Canto XVI — Armide's enchanted garden, Renault's delivrance by two armed cavaliers bearing the diamond shield and wand of Ubaldo & the Danish Knight. Music ensemble: 64 voices + 28 vielles + 14 luths, conducted by Mauduit in the Palais-et-Paysage perspective; 24 violins per Entree in the niche-ensemble. STRUCTURE: ten Entrees of demons, a Grand Ballet de Quatorze, a Cavaliers entree, Six Monsters (hibou / chien / singe), Demons in shells (ecrevisse / tortue / limacon), Demons in Vieilles, Hermite + 16 Chevaliers-chanteurs, and the Grand Ballet finale of 16 noble dancers flanking the King as Godefroy on the pavillon-d'or throne. Has_Step_Detail = No: livret-only narrative + 10 engraved plates of costumes; the 1617 publication contains no choreographic notation (Beauchamp-Feuillet would not emerge for 83 years). HISTORIC CONTEXT: parallel London production same month — LOC-1617-MAILLET 'Balet de la revanche du mespris d'Amour' danced before Anne of Denmark (28 January 1617) — documents the 1617 trans-Channel Stuart-Bourbon ballet exchange. Direct choreographic genealogy to LOC-1619-GRAMONT (Ballet de Tancrede en la Forest enchantee, 12 February 1619) also Tasso-sourced, also featuring Louis XIII as principal role + Bordier librettist + similar infernal-demons/rescue-knights structure. The Durand-Bordier-Guedron triumvirate predates and shapes the subsequent Bordier 1625 Fees des Forests (LOC-1625-BORDIER-FEES) and the Estoile 1626 Douairiere de Billebahaut (1626-Estoile-Maistre_(BNF)). Rosetta-stone value: establishes the 1617 Louis XIII court-ballet vocabulary of Demons-by-Element and Demons-by-Vice (Jeu/Avaricieux/Vanite/Guerre/Mores/Villageoises) that will recur through Bordier 1625's Fee-led-by-Vice structure and Estoile 1626's Douairiere-by-Satire structure. (1617). Imported from local collection.