
WEIGHT: 64 kg
Breast: A
One HOUR:90$
NIGHT: +100$
Services: Cum in mouth, Tantric, Fetish, Massage, Lesbi-show hard
Pouvoir des formes : le Prince Rethinking Burlesque Forms in Lou Influential analyses of the burlesque ballets performed at the court of Louis XIII argue that the ballets functioned as space for expression of noble resistance to the absolutist monarchy of Louis XIII and his prime minister, Cardinal Richelieu.
Closer attention to the actual historical contexts and the identities of the noble dancers involved with respect to some of the lavish burlesque ballets performed at court by the king and select group of nobles offers ways of rethinking the politics and meanings of burlesque performance to take into account the ways that the burlesque developed within court and noble cultural institutions and practices.
The burlesque register and style in France can be situated within the context of libertine literary culture and its intersection with noblemen who moved between mondain and court circles in the early seventeenth century. The lavish burlesque ballets produced at court between and involved carefully chosen members of the nobility who danced alongside the king, each other, and professional dancers. Their existence at the center of French political and cultural power invites questions regarding their function within court culture.
How do they fit with the political readings of court ballet? What are the politics of such ballets? How were these ballets understood and received by their original audiences? Are these ballets evidence of the reversals and play of the Bakhtinian carnivalesque, or, because they come from within court culture, are they always only an imitation of the true carnivalesque rooted in the practices of the lower classes? What did it mean for court nobles to dance such roles, either on their own, or alongside their monarch?
How were the professional dancers and their performances viewed? To explore how performances of these comic, grotesque ballets functioned as both divertissement and political theater, it is helpful to attend to the identities of the noble dancers, to take into account the participation of professional dancers, and to address the internal and external politics and challenges that the French monarchy faced during this period.