Ballet des Ballets, Dansé devant Sa Majesté en son Chasteau de S. Germain en Laye au mois de Décembre 1671 (Molière / Lully / Beauchamp, Paris 1671)

Dance manual/reference by Robert Ballard (Paris). Molière (Jean-Baptiste Poquelin, 1622-1673) / Jean-Baptiste Lully (1632-1687) / Pierre Beauchamp (c.1631-1705, Maître de Ballet du Roi) / Robert Ballard, seul Imprimeur du Roy pour la Musique, rue S. Jean de Beauvais (au Mont-Parnasse), Paris 1671 (avec privilège de Sa Majesté). Source: DATA/LIBRARY_OF_DANCE/ABBYY TXT/1671-Moliere-Ballet_(BNF).txt (BnF / Gallica scan, 745 lines). Compilation programme assembled by Molière at Louis XIV's request to honor Madame (the Princess Palatine Elizabeth Charlotte of Bavaria) on her arrival at Court. A greatest-hits anthology drawing on previous comédie-ballets (notably *Psyché* 1671, *Le Bourgeois Gentilhomme* 1670, *Les Amants Magnifiques* 1670), unified by a frame Comédie. Structure: opening Prologue Maritime + 7 Actes of Comédie + intermèdes — Acte I 'La Plainte' / Entrée des Furies et des Lutins; Acte II 'Les Magiciens'; Acte III 'Le Combat de l'Amour & de Bacchus'; Acte IV 'Les Boëmiens' + 'Vulcain — Entrée des Cyclopes & des Fées'; Acte V REPRISE 'La Cérémonie Turque' (from Bourgeois Gentilhomme); Acte VI REPRISE 'Les Italiens' + 'Les Espagnols' (from Bourgeois Gentilhomme); Acte VII 'Septième et Dernier' celestial divertissement with Apollon / Bachus / Mome / Mars suites + Dernière Entrée. Dancer roster overlaps almost completely with the 1670 Bourgeois Gentilhomme — Beauchamp, Favier, La Pierre, S. André, Magny, Dolivet, Chicanneau, Mayeu — confirming the stable Court Ballet ensemble of the late-1660s/early-1670s. The Acte V/VI reprises of the Bourgeois Gentilhomme Turkish, Italian, and Spanish entrées are explicit cross-references that enable Rosetta-stone matching of these entrées as recurring court-ballet umbrellas. HISTORIC POSITION: The 1671 Ballet des Ballets is the LAST Lully-Molière collaboration before their 1672 break (when Lully obtained the royal patent for the Académie Royale de Musique, excluding Molière from large-scale music-theater); it represents the final apex of the Beauchamp-Lully-Molière court-ballet synthesis just before the institutional split. Has_Step_Detail = No: livret-only narrative; no notation extant (Beauchamp-Feuillet notation not invented until 1700). Step rows not registered. Rosetta-stone value derives from intra-source cross-references (Acte V/VI reprises of 1670 Bourgeois Gentilhomme entrées) and from cross-source Rosetta links to Lambranzi 1716, Taubert 1717, and Feuillet 1700 entrée umbrellas. (1671). Imported from local collection.