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How Prevost Sall and Camargo Extend Art of Dance in London in C18th?
Summary: Personal essay of within the merging and unifying of two different countries styles and indeed two individual dancers style; Camargo's and Salle's that we see how the expressive powers and technique of dance on the London stage were extended in the 18th Century. I will seek to portray this throughout my essay and convey how this in turn dictated how they were represented in society.
In order to explore this question fully I feel I should primarily lay out some of the changes that took place in society around the 18th Century. It was only after the restoration of Charles II in 1660 that there was a law passed permitting women to represent their own sex in the theatre. This did not change society's attitude towards women that chose to act or dance on stage. This is commented on in Anne Coris's article `Women and Dancing after the Restoration' where she highlights that in the 1660's men are given `a legitimate opportunity to ogle at their legs when they are cast in male roles'1. It would seem even after Prevost, Camargo and Sallé's success in the dance world, gentlemen such as Lord Chesterfield refer to women on stage as
`the disgraceful and dangerous commerce of prostitutes, actresses, dancing women, and that sort of...
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This section contains 1,979 words (approx. 7 pages at 300 words per page) |
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