![]() ![]() Among other contributors to the catalogue, Pierre Gaudibert also condemned “the symbolic violence of the Western world” and Mark Francis ironically stigmatized the “condescending position” of those who had excluded non-Western artists from their museums for so long. Interestingly, in each case, the planisphere was reoriented in such a way that the referent dot remained at the center. It also included references to the 104 exhibited artists, presented in an unusual manner: the two pages allocated to each artist offered biographies and reproductions of works, as well a small planisphere indicating their geographical location. ![]() ![]() This unusual catalogue, formatted akin to an atlas, appeared to be a radical manifesto against the iniquities of the Western world, offering a body of political texts, photos, illustrations, and collages. After his break with Molière, Lully turned to opera but he collaborated with Jean Racine for a fete at Sceaux in 1685, and with Campistron for an entertainment at Anet in 1686.“The common statement that artistic production can only exist in the Western world can be blamed on the arrogance of our culture,” wrote Jean-Hubert Martin, chief curator of the Magiciens de la Terre exhibition, in the catalogue. Lully's intermèdes reached their apogee in 1670–1671, with the elaborate incidental music he composed for Le Bourgeois gentilhomme and Psyché. With Le Mariage forcé and La Princesse d'Élide (1664), intermèdes by Lully began to appear regularly in Molière's plays: for those performances there were six intermèdes, two at the beginning and two at the end, and one between each of the three acts. "Also, to avoid breaking the thread of the piece by these interludes, it was deemed advisable to weave the ballet in the best manner one could into the subject, and make but one thing of it and the play." The music for the premiere of Les Fâcheux was composed by Pierre Beauchamp, but Lully later provided a sung courante for act 1, scene 3. Intermèdes became part of a new genre, the comédie-ballet, in 1661, when Molière described them as "ornaments which have been mixed with the comedy" in his preface to Les Fâcheux . The teenager's talents as a guitarist, violinist, and dancer quickly won him the nicknames "Baptiste", and "le grand baladin" (great street-artist). He probably honed his musical skills by working with Mademoiselle's household musicians and with composers Nicolas Métru, François Roberday and Nicolas Gigault. Guise took the boy to Paris, where the fourteen-year-old entered Mademoiselle's service from 1647 to 1652 he served as her "chamber boy" (garçon de chambre). In 1646, dressed as Harlequin during Mardi Gras and amusing bystanders with his clowning and his violin, the boy attracted the attention of Roger de Lorraine, chevalier de Guise, son of Charles, Duke of Guise, who was returning to France and was looking for someone to converse in Italian with his niece, Mademoiselle de Montpensier (la Grande Mademoiselle). He used to say that a Franciscan friar gave him his first music lessons and taught him guitar. His general education and his musical training during his youth in Florence remain uncertain, but his adult handwriting suggests that he manipulated a quill pen with ease. Lully was born on November 28, 1632, in Florence, Grand Duchy of Tuscany, to Lorenzo Lulli and Caterina Del Sera, a Tuscan family of millers. ![]()
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