. . "\u30D0\u30EC\u30FB\u30C9\u30FB\u30AF\u30FC\u30EB"@ja . . "El ballet cortesano o ballet de corte (en franc\u00E9s: ballet de cour) es un g\u00E9nero de ballet que comprende poes\u00EDa, m\u00FAsica vocal e instrumental, coreograf\u00EDa y escenograf\u00EDa, cuyo nacimiento se sit\u00FAa a fines del siglo xvi en la corte de Francia."@es . "Dvorn\u00ED balet (francouzsky ballet de cour), komedie-balet (francouzsky com\u00E9die-ballet), opera-balet (francouzsky op\u00E9ra-ballet) a hrdinsk\u00FD balet (francouzsky ballet h\u00E9ro\u00EFque) jsou bl\u00EDzce p\u0159\u00EDbuzn\u00E9 dramatick\u00E9 \u017E\u00E1nry, kter\u00E9 vznikly a rozv\u00EDjely se od konce 16. stolet\u00ED na francouzsk\u00E9m kr\u00E1lovsk\u00E9m dvo\u0159e."@cs . "Ballet de cour"@en . . . . . . . . . "Ballet de cour - okre\u015Blenie francuskiego baletu dworskiego z ko\u0144ca XVI i XVII wieku. Gatunek dramatyczno-baletowy; rodzaj widowiska teatralnego z\u0142o\u017Conego ze scen, kt\u00F3re mog\u0142y, lecz nie musia\u0142y by\u0107 powi\u0105zane wsp\u00F3ln\u0105 akcj\u0105 dramatyczn\u0105. Na poszczeg\u00F3lne sceny baletu dworskiego sk\u0142ada\u0142y si\u0119: \n* ta\u0144ce (entrees) \u2013 wej\u015Bcia taneczne, w dowolnej ilo\u015Bci; w ko\u0144cowym wielkim balecie brali udzia\u0142 para kr\u00F3lewska i dworzanie \n* pantomima \n* \u015Bpiewane airs (pie\u015Bni; solowe b\u0105d\u017A uj\u0119te w duety, tercety lub kwartety; najcz\u0119\u015Bciej z towarzyszeniem lutni) \n* ch\u00F3ralne madryga\u0142y \n* nietaneczne fragmenty instrumentalne \n* partie m\u00F3wione (recits \u2013 fragmenty obja\u015Bniaj\u0105ce akcj\u0119, m\u00F3wione lub \u015Bpiewane). Szczytowym okresem rozwoju ballet de cour by\u0142a po\u0142owa XVII wieku - okres panowania Ludwika XIV, kt\u00F3ry sam by\u0142 doskona\u0142ym tancerzem i bra\u0142 udzia\u0142 w dworskich widowiskach tego rodzaju. Pod wzgl\u0119dem budowy i tematyki przedstawienia te by\u0142y ca\u0142kowicie swobodne, libreci\u015Bci nie byli tu ograniczeni zasadami obowi\u0105zuj\u0105cymi w dramacie. Niekt\u00F3re sceny mia\u0142y charakter wy\u0142\u0105cznie muzyczny (ta\u0144ce, air i ch\u00F3ry), inne natomiast mog\u0142y by\u0107 wy\u0142\u0105cznie m\u00F3wione. Stosowano tak\u017Ce mieszanie mowy i \u015Bpiewu oraz ta\u0144ca w ramach jednej sceny. Elementami tego gatunku s\u0105: uwertura francuska, air de cour, ta\u0144ce, rozbudowane ch\u00F3ry, chaconne, concertino francuskie. Najbardziej znanym i sugestywnym przyk\u0142adem wykorzystania takich form gry scenicznej s\u0105 komedio-balety Moliere'a z muzyk\u0105 Lully'ego i Charpentiera. Elementami tego gatunku s\u0105: uwertura francuska, air de cour, chaconne, concertino francuskie."@pl . . . "Das Ballet de cour (deutsch Hofballett) ist eine Ballettgattung, die Poesie, Vokal- und Instrumentalmusik, Choreographie und Inszenierung umfasst und sich ab Ende des 16. Jahrhunderts vom franz\u00F6sischen Hof aus in ganz Europa ausbreitete."@de . "Ballet cortesano"@es . . . . . "Das Ballet de cour (deutsch Hofballett) ist eine Ballettgattung, die Poesie, Vokal- und Instrumentalmusik, Choreographie und Inszenierung umfasst und sich ab Ende des 16. Jahrhunderts vom franz\u00F6sischen Hof aus in ganz Europa ausbreitete."@de . "\u30D0\u30EC\u30FB\u30C9\u30FB\u30AF\u30FC\u30EB\uFF08\u30D5\u30E9\u30F3\u30B9\u8A9E\uFF1ABallets de cour, \u5BAE\u5EF7\u30D0\u30EC\u30A8\uFF09\u3068\u306F\u300116\u4E16\u7D00\u30FB17\u4E16\u7D00\u306B\u5BAE\u5EF7\u3067\u6F14\u3058\u3089\u308C\u3066\u3044\u305F\u30D0\u30EC\u30A8\u306E\u3053\u3068\u3002"@ja . . "Ballet de cour (\"balletto di corte\") \u00E8 il nome dato ai balletti eseguiti nel XVI e XVII secolo nelle corti europee."@it . . "7749"^^ . "Ballet de cour"@de . . . . . . . "\u30D0\u30EC\u30FB\u30C9\u30FB\u30AF\u30FC\u30EB\uFF08\u30D5\u30E9\u30F3\u30B9\u8A9E\uFF1ABallets de cour, \u5BAE\u5EF7\u30D0\u30EC\u30A8\uFF09\u3068\u306F\u300116\u4E16\u7D00\u30FB17\u4E16\u7D00\u306B\u5BAE\u5EF7\u3067\u6F14\u3058\u3089\u308C\u3066\u3044\u305F\u30D0\u30EC\u30A8\u306E\u3053\u3068\u3002"@ja . . . . "Ballet de cour (\"balletto di corte\") \u00E8 il nome dato ai balletti eseguiti nel XVI e XVII secolo nelle corti europee."@it . . . . "Genre de spectacle n\u00E9 \u00E0 la fin du XVIe si\u00E8cle \u00E0 la cour de France, le ballet de cour conjugue po\u00E9sie, musique vocale et instrumentale, chor\u00E9graphie et sc\u00E9nographie. Dans\u00E9 par les membres de la famille royale, les courtisans et quelques danseurs professionnels, le ballet de cour est constitu\u00E9 d'une suite d'entr\u00E9es au cours desquelles les interpr\u00E8tes sont mis en valeur tour \u00E0 tour. La derni\u00E8re entr\u00E9e, appel\u00E9e \u00AB grand ballet \u00BB, r\u00E9unit g\u00E9n\u00E9ralement l'ensemble des danseurs."@fr . "\u041F\u0440\u0438\u0434\u0432\u043E\u0440\u043D\u044B\u0439 \u0431\u0430\u043B\u0435\u0442"@ru . . . "993909479"^^ . . . . . "\u041F\u0440\u0438\u0434\u0432\u043E\u0440\u043D\u044B\u0439 \u0431\u0430\u043B\u0435\u0442 (\u0438\u0442\u0430\u043B. balletto, \u0444\u0440. Ballet de cour) \u2014 \u0440\u043E\u0434 \u0437\u0440\u0435\u043B\u0438\u0449\u0430 \u0432 XV \u0432\u0435\u043A\u0435 \u043F\u0440\u0438 \u0434\u0432\u043E\u0440\u0430\u0445 \u0438\u0442\u0430\u043B\u044C\u044F\u043D\u0441\u043A\u043E\u0439 \u0437\u043D\u0430\u0442\u0438, \u0430 \u0441 \u043A\u043E\u043D\u0446\u0430 XVI \u0432\u0435\u043A\u0430 \u043F\u0440\u0438 \u0444\u0440\u0430\u043D\u0446\u0443\u0437\u0441\u043A\u043E\u043C \u0434\u0432\u043E\u0440\u0435. \u0421\u043E\u0447\u0435\u0442\u0430\u043B \u0432 \u0441\u0435\u0431\u0435 \u0447\u0442\u0435\u043D\u0438\u0435 \u043F\u043E\u044D\u0437\u0438\u0438, \u0438\u0441\u043F\u043E\u043B\u043D\u0435\u043D\u0438\u0435 \u0432\u043E\u043A\u0430\u043B\u044C\u043D\u043E\u0439 \u0438 \u0438\u043D\u0441\u0442\u0440\u0443\u043C\u0435\u043D\u0442\u0430\u043B\u044C\u043D\u043E\u0439 \u043C\u0443\u0437\u044B\u043A\u0438, \u0445\u043E\u0440\u0435\u043E\u0433\u0440\u0430\u0444\u0438\u0447\u0435\u0441\u043A\u0438\u0435 \u0438 \u0441\u0446\u0435\u043D\u043E\u0433\u0440\u0430\u0444\u0438\u0447\u0435\u0441\u043A\u0438\u0435 \u043F\u043E\u0441\u0442\u0430\u043D\u043E\u0432\u043A\u0438."@ru . . "Ballet de cour - okre\u015Blenie francuskiego baletu dworskiego z ko\u0144ca XVI i XVII wieku. Gatunek dramatyczno-baletowy; rodzaj widowiska teatralnego z\u0142o\u017Conego ze scen, kt\u00F3re mog\u0142y, lecz nie musia\u0142y by\u0107 powi\u0105zane wsp\u00F3ln\u0105 akcj\u0105 dramatyczn\u0105. Na poszczeg\u00F3lne sceny baletu dworskiego sk\u0142ada\u0142y si\u0119: Elementami tego gatunku s\u0105: uwertura francuska, air de cour, chaconne, concertino francuskie."@pl . "Ballet de cour"@fr . . "Ballet de cour"@it . . . . . . "Ballet de cour"@pl . . . . . . . "Ballet de cour (\"court ballet\") is the name given to ballets performed in the 16th and 17th centuries at courts. The court ballet was a gathering of noblemen and women, as the cast and audience were largely supplied by the ruling class. The festivities, which were descendants of festivals, processions and mummeries dating back to the Middle Ages, looked more like a modern-day parade, than what people today would identify as a ballet performance. Where early court ballet differed from its predecessors, is that it was a secular, not religious happening. It was a carefully crafted mixture of art, socializing, and politics, with its primary objective being to exalt the State."@en . . "Dvorn\u00ED balet (francouzsky ballet de cour), komedie-balet (francouzsky com\u00E9die-ballet), opera-balet (francouzsky op\u00E9ra-ballet) a hrdinsk\u00FD balet (francouzsky ballet h\u00E9ro\u00EFque) jsou bl\u00EDzce p\u0159\u00EDbuzn\u00E9 dramatick\u00E9 \u017E\u00E1nry, kter\u00E9 vznikly a rozv\u00EDjely se od konce 16. stolet\u00ED na francouzsk\u00E9m kr\u00E1lovsk\u00E9m dvo\u0159e."@cs . . . . . . "Ballet de cour (\"court ballet\") is the name given to ballets performed in the 16th and 17th centuries at courts. The court ballet was a gathering of noblemen and women, as the cast and audience were largely supplied by the ruling class. The festivities, which were descendants of festivals, processions and mummeries dating back to the Middle Ages, looked more like a modern-day parade, than what people today would identify as a ballet performance. Where early court ballet differed from its predecessors, is that it was a secular, not religious happening. It was a carefully crafted mixture of art, socializing, and politics, with its primary objective being to exalt the State. Because these celebrations occurred long before the proscenium stage had been invented, and were instead executed in large halls with audience members stacked up on three sides of the performance, early court ballet\u2019s choreography was constructed as a series of patterns and geometric shapes that were intended to be viewed from overhead. Once the performance was through, the audience was encouraged to join the dancers on the floor to participate in a, \u201Cball\u201D which was designed to bring everyone in the hall into unanimity with the ideas expressed by the piece. As they developed through time, court ballets began to introduce comedy, went through a phase where they poked fun at manners and affectations of the time, and they moved into a phase where they became enamoured with pantomime. At the time of the court ballet\u2019s birth, a similar art form appeared in Italy called opera. The difference between the two crafts is that the developing phenomenon in Italy focused on the singing aspect of performance, whereas in France, movement was front and centre. Early court ballets were influenced by the elaborate entertainments common in royal celebrations and aristocratic weddings of France and Italy. When the Florentine Catherine de\u2019 Medici married the French King Henri II in 1533, French and Italian culture enmeshed as Catherine brought from her native Italy her penchant for theatrical and ceremonial events, including elegant court festivals. A more deliberate contribution the court ballet resulted from the Acad\u00E9mie de Po\u00E9sie et de Musique, founded in 1570 by the poet Jean-Antoine de Baif and the composer Thibault de Courville. The aim of the Academie was to revive the arts of the ancient world in order to harmonize dance, music, and language in a way that could result in a higher level of morality. It was from this marriage of traditional grand spectacle and conscious measured order that court ballets were born. Jean-Baptiste Lully is considered the most important composer of music for ballet de cour and instrumental to the development of the form. During his employment by Louis XIV as director of the Acad\u00E9mie Royale de Music, he worked with Pierre Beauchamp, Moli\u00E8re, Philippe Quinault and Mademoiselle De Lafontaine to develop ballet as an art form equal to that of the accompanying music."@en . . "El ballet cortesano o ballet de corte (en franc\u00E9s: ballet de cour) es un g\u00E9nero de ballet que comprende poes\u00EDa, m\u00FAsica vocal e instrumental, coreograf\u00EDa y escenograf\u00EDa, cuyo nacimiento se sit\u00FAa a fines del siglo xvi en la corte de Francia."@es . . "Dvorn\u00ED balet"@cs . . . . "\u041F\u0440\u0438\u0434\u0432\u043E\u0440\u043D\u044B\u0439 \u0431\u0430\u043B\u0435\u0442 (\u0438\u0442\u0430\u043B. balletto, \u0444\u0440. Ballet de cour) \u2014 \u0440\u043E\u0434 \u0437\u0440\u0435\u043B\u0438\u0449\u0430 \u0432 XV \u0432\u0435\u043A\u0435 \u043F\u0440\u0438 \u0434\u0432\u043E\u0440\u0430\u0445 \u0438\u0442\u0430\u043B\u044C\u044F\u043D\u0441\u043A\u043E\u0439 \u0437\u043D\u0430\u0442\u0438, \u0430 \u0441 \u043A\u043E\u043D\u0446\u0430 XVI \u0432\u0435\u043A\u0430 \u043F\u0440\u0438 \u0444\u0440\u0430\u043D\u0446\u0443\u0437\u0441\u043A\u043E\u043C \u0434\u0432\u043E\u0440\u0435. \u0421\u043E\u0447\u0435\u0442\u0430\u043B \u0432 \u0441\u0435\u0431\u0435 \u0447\u0442\u0435\u043D\u0438\u0435 \u043F\u043E\u044D\u0437\u0438\u0438, \u0438\u0441\u043F\u043E\u043B\u043D\u0435\u043D\u0438\u0435 \u0432\u043E\u043A\u0430\u043B\u044C\u043D\u043E\u0439 \u0438 \u0438\u043D\u0441\u0442\u0440\u0443\u043C\u0435\u043D\u0442\u0430\u043B\u044C\u043D\u043E\u0439 \u043C\u0443\u0437\u044B\u043A\u0438, \u0445\u043E\u0440\u0435\u043E\u0433\u0440\u0430\u0444\u0438\u0447\u0435\u0441\u043A\u0438\u0435 \u0438 \u0441\u0446\u0435\u043D\u043E\u0433\u0440\u0430\u0444\u0438\u0447\u0435\u0441\u043A\u0438\u0435 \u043F\u043E\u0441\u0442\u0430\u043D\u043E\u0432\u043A\u0438."@ru . . . "Genre de spectacle n\u00E9 \u00E0 la fin du XVIe si\u00E8cle \u00E0 la cour de France, le ballet de cour conjugue po\u00E9sie, musique vocale et instrumentale, chor\u00E9graphie et sc\u00E9nographie. Dans\u00E9 par les membres de la famille royale, les courtisans et quelques danseurs professionnels, le ballet de cour est constitu\u00E9 d'une suite d'entr\u00E9es au cours desquelles les interpr\u00E8tes sont mis en valeur tour \u00E0 tour. La derni\u00E8re entr\u00E9e, appel\u00E9e \u00AB grand ballet \u00BB, r\u00E9unit g\u00E9n\u00E9ralement l'ensemble des danseurs. L'un des premiers et des plus grandioses est le Ballet comique de la reyne (1581), suivi d'une production abondante sous le r\u00E8gne de Louis XIII. D\u00E9laiss\u00E9 ensuite jusqu'\u00E0 la Fronde, il rena\u00EEt de plus belle et conna\u00EEt son apog\u00E9e sous Louis XIV, qui en fait progressivement un outil de propagande politique, avec l'aide de Mazarin, mettant en \u00E9vidence la puissance de la France et de son monarque. Isaac de Benserade en sera le po\u00E8te principal. Lorsque Louis XIV renonce \u00E0 se produire sur sc\u00E8ne en 1670, il porte un coup fatal au ballet de cour, mais permettra la naissance de deux genres nouveaux port\u00E9s principalement par Lully : l'\u00AB op\u00E9ra-ballet \u00BB et la \u00AB com\u00E9die-ballet \u00BB qui h\u00E9ritent de plusieurs caract\u00E8res du ballet de cour."@fr . "875585"^^ .