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Le Roi Danse - DVD

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In only two hours, I think this film accurately captures the spirit of Louis XIV’s court, and of the competitive relationships among the courtiers and artists who surrounded him.

Louis gave him money, status and a position of power in French music but he withdrew his friendship and rejected Lully's homosexual adventures.That manifesto for theatrical reform naturally reflected Wagner's sociopolitical outlook of the period, hostile as it was to the status quo presided over by the aristocracy. Corbiau is well served by his cast, with Benoît Magimel ("The Piano Teacher"), in particular, making a charismatic if aloof Louis.

Don Quijote’s’ Golden Age meditation, declaimed before uncomprehending goatherds (I, xi), rehearses several pastoral conventions. Members of the audience, eager with expectation, take to their seats and boxes: What will appear on stage? Don Quijote’s soliloquy expresses another pastoral topos, derived from Hesiod’s Works and Days: the appealing vision (so influential in later formulations of pre-lapserian themes) of the spontaneously-productive natural world in which, as Don Quijote expresses it, “a nadie le era necesario para alcanzar su ordinario sustento tomar otro trabajo que alzar la mano, y alcanzarle de las robustas encinas que liberalmente les estaban convidando con su dulce y sazonado fruto” (I, xi).His god-like standing in the world of French music constituted a parallel to the divine appointments of his patron, Louis XIV, who reigned from 1643 to his death in 1715. The pastoral mode has traditionally been understood to sentimentalize, even mythologize, ideas, objects and phenomena associated with the rural landscape, often contrasting the bucolic and the urban, irrespective of literary or artistic genre. Meanwhile, Molière desires to strike a bargain with Lully: They will compose comedy-ballets as a counter to the current popularity. Gérard Corbiau's lavish costume drama "The King is Dancing" vividly illustrates how the young Louis used dance to project his image to the world and strengthen his hold on power during a turbulent time for the kingdom. Aha - as I'm thinking about Lully to post something about him on the Baroque Exchange, I remembered this film.

The score is performed on antique instruments, and the designs for the ballets, masques and operas are based on the surviving designs and descriptions of contemporary audiences. The music is like a character in the story and it makes the sweeping, sentimental story of the unrequited passion of the composer for the king seem more like an opera than a conventional film biography. Everything in this film is like a dance,whenever you see Louis XIV as Apollo (Interestingly that is where he earned his nickname from) dancing infront of his family or the rhythmic editing of the painting process of the portrait of King Louis XIV. At last it was on in Norwich on Tuesday 17th September and I was very impressed with the story-line, acting, and of course the music.Then comes a chapter examining how the revolutionary motive force of the Popular Front was compromised by the Socialist party leader Léon Blum's 'occupation' of power in June 1936. No one can be absolutely sure when many of these dance tunes were written or first used by the composers‚ and while the director‚ Gérard Corbiau‚ clearly took sound advice‚ he hasn’t shirked from exercising occasional cinematic licence. Those who love dance,Jean Baptiste-Lully (There should be more love for this composer) and anything French-You got to grab your hands on this film. Black may disingenuously claim that she is not interested in history, but if her literary argument is to be based on a presumption of historical/social fact, she needs to pay attention to the work of historians. Black's interests and methodology are firmly aligned with literature and postmodernist cultural studies.

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