Interview from Bal Le Revue (BR) of Marie-Therese Perdou de Subligny (MT)
BR: Bonjour Marie-Therese de Subligny!
MT: Bonjour! Pleased to meet you!
BR: So Mademoiselle, let us discuss your early life. Explain the time and place that you lived.
MT: Of course! I was born in July 1666 (Graine and Mackrell) in France. I lived there most my life, but traveled a bit during my career as a dancer. It was the time of the Enlightenment, and everything was changing. There were all these great new thinkers and people who thought of new ideas. Dance started even years before I had lived, but now ballet was a new European style of dance. Ballet was a new art that became more popular in France after the Restoration (Dance in History, 2015).
Ballet began in Italy about 150-200 years back, but spread to become very popular in France. King Louis was one of the most famous dancers at the time, and made many advances in the world of ballet (Atlanta Ballet). When ballet began, they had not named the steps and positions, but King Louis XIV needed names for the steps, so they were written in French. Plie, chase, jete, tendu, frappe-all French words with various meanings, and all names for ballet steps. At this time, female dancers were only beginning this profession, so I just happen to be one if the very first prima ballerinas! I like to think of ballet as one of the best Enlightenment ideas!
BR: What events during your early years made you have an interest in the art of dance?
MT: My father was a great figure when it came to the arts, which inspired me. There were also a lot of new changes going on that made me want to dance. There were so many changes in society, during this time of the Enlightenment, and it made me choose to dance. France was just about the best place to do ballet at the time, for it was progressing greatly. There were many other things that also affected my choice in the arts.
By the time I began dancing, it had become much more popular, and was starting to grow in many ways. Ballet was no longer limited to men, and now women could dance, too (Atlanta Ballet). I thought ballet would be a great opportunity for me, although I would have never imagined to have gotten so far with it. It was something very new, and I loved it. At the time, ballet was nothing like it is in the modern society, but it was a beautiful art form back then, as it is now.
BR: How did your mentors and other inspiring figures during your life help your interest and career in ballet?
MT: Well, my father was mostly involved. He was very much a part of the arts. He was a well-educated man, and an inspiration to me. He was a playwright and author (Danse Revues), which gave me an interest in the arts. He was very smart and he allowed me to be a dancer.
My father created my passion for dance, but other people also impacted my career in many ways. One very famous dancer that I worked with, was Claude Balon. He was a very talented choreographer, teacher and professional dancer. He was very famous, and even composed some ballets for our king at the time (The Biography). He was often a partner of mine, and without him, I would never had made it so far. Together we were amazing in our dancing, and we were also very successful.
So many people have helped me become a great artist, and without them, I do not know what I would do. They never gave up on me. They made me work to my full potential, and strive for perfection. Without having them by my side, my life would have turned out completely different. I would not be so successful and happy, and would not have learned to follow my dreams.
BR: What was the world of ballet like at the time that you entered it?
MT: I must say ballet is constantly changing, but also there are things about it that have been the same since it was invented. Many of the steps, and technical aspects have remained the same, or only slightly modified. There are also things that have changed dramatically, too. Costumes and choreography are just a few of the changes made throughout history. Ballet is a very complicated art form, but it did not begin that way.
I entered the ballet world in its early years. Although, it was changing. Previously only men were permitted to dance, but they changed it so women could dance, too. This change was made only years before I began dancing. Since women had only just begun ballet, I was one of the first ballerinas, but the very first was Mademoiselle de Lafontaine(Core of Culture, Ballet).
At this time ballet was also spreading. It had become very popular in French cultures, and King Louis loved it. It was also found in England, and Russia. I happened to travel to London and performed there in 1699 which I believe made the English begin to notice ballet (Graine and Mackrell).
BR: How did cultural, economic, and political situations at the time impact your work as a dancer?
MT: Well, it was the time of the Enlightenment. There were so many new ideas. There were ideas about politics, economics, all kinds of ideas. There were tons of ideas about almost anything you could think of. Ballet was also an idea that they had. They wanted to create a something new, so they made ballet.
All of these ideas going around me affected me a lot, and ballet. People had found out more explanations for things, which made society grow. Dance has a lot to do with science in terms of balance, and exercise, so scientists had more explanations for dance, and what it does. People were also exploring new places. This benefited my career, because I was able to travel and share my ability and passion for dance with other people.
BR: What were some of your major accomplishments during your career in ballet?
MT: Well, I have had many. First, I was one of the very first ballerinas to dance professionally. I was also the very first professional dancer to perform in front of an English audience, which I did with my good friend, Claude Balon (Graine and Mackrell). I have also succeeded Mlle Lafontaine and received the title "The Queen of Dance" (Core of Culture, Ballet). I have been very successful.
Another accomplishment was that I had performed at the Paris Opera from 1688, when I was 22-years-old, till my retirement in 1707 when I was 41 (Wikiwand). I held the position of sujet in l' Académie Royale de Musique de Paris in 1689, a dance company. I appeared in many opera ballets. I performed many roles in various operas (Campardon-Biographical Dictionary...).Some of them are of Andre Campra, Jean Baptist Lully, and Guillaume Pécour (The Biography). I also performed in the final court ballets given by King Louis XIV (Graine and Mackrell). I am very proud of my accomplishments during my life.
BR:What were the key opportunities that led to turning points in your life and art?
MT: There were many opportunities for my dancing career at the time. In previous years, recitation was used during dance, but a few years before I began dancing, they now danced to songs. This was a turning point to the dance world, and also allowed musicians, singers, and composers to be more creative and create new works. They were not only dancing to song, but in full length operas. I have performed in many operas myself.
Dancing court dances for King Louis was also an opportunity that allowed me to be such a well-recognized dancer. Everyone knew the king, so almost everyone must know me, too! Also being one of the first female dancers was a big deal. Going to London to perform in front of many English people was also an opportunity that made people that were not from France recognize me (Graine and Mackrell). All of these things made me a dancer of fame, as people hundreds of years later still know who I am.
BR: What hardships did you encounter and overcome in order to be the artist you are?
MT: Well, there were many. Any dancer is going to go through hardships. Its part of it, but they make you stronger, and you have to learn to get back up. There never has been, and never will be a dancer who does not experience problems along the way. One thing, though, is that almost every dancer goes through almost the same problems.
If I told you every obstacle I had to overcome we would be here forever. One that I have had to deal with is my number of injuries. Every dancer goes through them. I don't believe a single dancer ever to live has not had at least one injury. Injuries come with being a dancer, and I had my share of them.
BR: What personal stories best illustrate how you became successful in the arts?
MT: Well, there was one time in particular. One time, was when I performed in my first opera. I was very nervous about what everyone would think. I didn't know what to expect and didn't want to mess up. I finally performed with the most confidence and pride. When I had finished, I felt wonderful, and everyone loved me! I was now comfortable performing in front of anyone.
This experience helped to lead me to fame. After getting over my fears, I became an even better dancer. I also performed at more, and more operas. So many people recognized me, now. If I had not gone through that, I don't believe I would have been so successful. I wouldn't change anything that happened. I am thankful for every moment I've had.
BR: How did your work impact the world of ballet?
MT: There were many things that I have contributed to ballet. I have made many changes in ballet, and its technique. I made it much more like modern ballet in many ways. I have been said to show the imagery of a danced self portrait. (Beauchamp-Feuillet [Danse Revue 2]). This is because of my high technical ability at the time of my dancing.
Another contribution I have made is the idea of turn-out in the legs, and feet. I officially made the concept of turn-out common. Turn-out has been used ever since, and is now one of the most important things in dance. It is necessary to become a ballet dancer. I have also been known to have exquisite technique in the legs, which goes along side of turn-out (Beauchamp-Feuillet [Danse Revue 2]). These things have impacted the way ballet has grown.
BR: Thank you for your time, Mademoiselle!
MT: It has been a pleasure! Bonjour!
Bibliography:
1-Atlanta Ballet: www.atlantaballet.com/resources/brief-history-of-ballet
2-Dance in History, 2015: http://danceinhistory.com/tag/marie-therese-de-subligny/
3-Danse Revues (1): http://danse.revues.org/871
4-Biography of Claude Balon (The Biography): http://thebiography.us.en/balon-claude
5-Core of Culture, Ballet: http://www.coreofculture.org/ballet.html
6-Grane and Mackrell: Oxford Dictionary of Dance
7-Wikiwand: http://www.wikiwand.com/en/Women_in_dance
8-The Biography of Marie-Therese Perdou de Subligny: http://thebiography.us/en/subligny-marie-therese
9-Beauchamp-Feuillet (Danse Revue 2): http://danse.revues.org/871
10-Campardon-Biographical Dictionary of Actors, Actresses, Musicians...,Volume 14: https://books.google.com/books?id=Gql3JbSYeG4C&pg=PA328&lpg=PA328&dq=marie+therese+de+subligny+biography&source=bl&ots=TyBshFqkR9&sig=kL2JWgM-Wii2skhT51GVKXapZSI&hl=en&sa=X&ved=0CC4Q6AEwA2oVChMI3-eAy_CByQIViRgeCh3q5gzP#v=onepage&q=marie%20therese%20de%20subligny%20biography&f=false
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