2008 年 2008 巻 31 号 p. 34-47
This paper intends to reappreciate Gasparo Angiolini (1731-1803)'s view of ballet d'action comparing with Jean=Georges Noverre. Close reading of his letters (Lettere di Gasparo Angiolini à Monsieur Noverre sopra i balli pantomimi (1773)) shows that Angiolini's view on the connection of each scene is quite clear; the plot should be the conduct principle. Angiolini thinks that the story should be told only by the means of ‘pas’, the language of ballet, then the libretto is not necessary for its representation. On this point, Angiolini's claim on the narrativity of ballet seems to be much more thorough than that of Noverre. Yet in pursuance of ballet d'action, Angiolini recognizes the ambiguity of the meaning of ballet language compared with spoken language. He thinks ballet language as a kind of sign, and values the ambiguity as its uniqueness. This recognition leads him to the valuation of ‘pas’ as movement itself, and Noverre also shares this idea; it seems to be quite close to our idea of so-called ‘pure dance’. In these senses, Angiolini's view provides us the right point of reference for reconsidering the assertion of ballet d'action, and still holds the significance in the history of ballet.