Jean Dauberval and Carlo Blasis

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Jean Dauberval was born in France in 174. He is a world wide known French ballet

dancer and choreographer. Much of his style was learned from his teacher Noverre but did

much to disseminate his teacher’s ideas on the ballet d’action (ballet with a plot). Dauberval

was best known as the inventor of the comedy ballet. Dauberval’s genre was during the Pre-




Romantic Ballet. The types of dance he worked with during this time was

character or better known as the movement of another nationality, ethnic group, social

class,dances of character or portraying specific historical character, and demi-Character which

was Ballet with folk style. Dauberval made his first appearnce at the Paris Academie (now

Opera) and became noted for his pantomimic dance ability. In 177 he became an assitant

ballet master. In 178 he went on as a dancer to Bordeaux where he later served as ballet

master. He than became popular for his best-known ballet, LA FILLE MAL GARDEE, first

produced in 1786. La Fille Mal Gardee was one of the first comic ballets and one of the first to

include realistic rather than mythological or idealistic characters. It is the oldest ballet still

being performed. This ballet was the first to use the lives of the peasants as the plot. Although

Dauberval’s original choreography was lost, there are serveral more recent versions based upon

the original scenerio. Among his best-known students were Charles-Louis Didelot, Jean Aumer

and Sal Vigano.



Carlo Blasis was born in Italy in 177 and trained in France to later on leave his mark as

mid-nineteenth-century ballet choreographer, theorist, and p�dagogue extraordinaire who

trained the first generation of great Italian ballerinas. His genre was during the Romantic Ballet.

He was a student of Dauberval. He was best known for the responsibility for the importance of

technique for Italian dancers. In 187 Blasis became the Imperial Dancing Academy’s director.

In 1861, he went to Russia, where he spent the next several years teaching at Moscow’s Bolshoi

Theater, reviving and restaging ballets from the company’s repertory, and mounting new

productions. Blasis choreographed for the Bolshoi � Faust (1861), Two Days in Venice, or The

Venetian Carnival (186), Orfa (186), and Pygmalion (186) � as well as one that failed to

materialize, Cagliostro. Blasis published two textbooks, Treatise on the Art of Dancing and

Code of Terpischore, in which he codified his teaching methods and all that was known of

ballet technique. These books form the basis of our modern classical training.

Both men have contributed to the life of ballet in many ways. Both of their styles and

techniques are still being used and perfected. Their style and techniques have enhanced the

teaching of ballet and continue to draw the attention if those whom have good taste in dancing.



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