The current notion of ballet history holds that the theatrical dance of the eighteenth century was simple, earthbound, and limited in range of motion, scarcely different from the ballroom dance of the same period. Contemporary opinion also maintains that this early form of ballet was largely a stranger to the tours de force of grand jumps, multiple turns, and lifts so typical of classical ballet, owing to a supposed prevailing sense of Victorian-like decorum. The Styles of Eighteenth-Century Ballet explodes this utterly false view of ballet history, showing that there were in fact a variety of different styles of dance cultivated in this era, from the simple to the remarkably difficult, from the dignified earthbound to the spirited airborne, from the gravely serious to the grotesquely ridiculous. This is a fascinating exploration of the various styles of eighteenth-century dance covering ballroom and ballet, the four traditional styles of theatrical dance, regional preferences for given styles, and the importance of caprice, dance according to gender, the overall voluptuous nature of stage dancing, and finally dance notation and costume. Fairfax takes the reader on an in-depth journey through the world of ballet in the age of Mozart, Boucher, and Casanova.

Edmund Fairfax's profile page

Edmund Fairfax is an author of literary fiction, with a love of satire, rich plot, and linguistic invention. The latter are prominent features in his literary novel Outlaws (2017), a fast-paced coming-of-age tale in a picaresque vein set during the English Civil War. He is keenly interested in early Germanic languages (esp. Gothic and Old English). He has had published both scholarly articles on elder-futhark runology, as well as Gothic-language translations of children’s stories. He is particularly interested in the literary use of a “constructed” form of English employing words of mainly Germanic origin, either living or resuscitated, or coinages based on the same (cf. the poetry of Gerard Manley Hopkins, and the linguistic invention of William Barnes). He is also a composer of mainly vocal music (song and chamber opera) in a style that has strong ties to music before 1800. He was an early-dance consultant for the Toronto-based company Ballet Espressivo 2003-2008, and was appointed Adjunct Professor of Dance at York University (Toronto) in 2005, in recognition of his contribution to early-dance research (The Styles of Eighteenth-Century Ballet 2003).