Ruqayyah Snyder
Ballet is a profound cultural heritage in Austria, with the Vienna State Ballet standing as a testament to the country's devotion to the arts. However, in the 18th century, Emperor Joseph II's personal distaste for ballet and his desire to distinguish himself from his predecessors led to the dance form losing favour within the court theatre. This dynamic between the emperor's tastes and the interests of the state resulted in the banning of ballet in Austria during this period.
| Characteristics | Values |
|---|---|
| Who banned ballet in Austria | Emperor Joseph II |
| Reason for banning ballet | He disliked ballet and opera seria (serious opera) |
| Reason for disliking ballet | He considered it a "useless excitement of sensuality by an erotic jumping around on the stage" |
| Other reasons | He wanted to create a German national theatre in Vienna on the cheap |
| Ballet during the reign of Joseph II's mother | Ballet companies enjoyed court patronage |
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What You'll Learn
- Ballet was not banned in Austria, but it was disliked by Emperor Joseph II
- Joseph II's personal distaste for ballet influenced his censorship policies
- He criticised ballet as a useless excitement of sensuality
- Joseph II's censorship was also a message to Jesuit-dominated censors that he decided Austrian policy
- Opera seria and ballet were popular genres in contemporary courts, but Joseph II wanted to be different
Ballet was not banned in Austria, but it was disliked by Emperor Joseph II
Ballet was not banned in Austria, but it certainly fell out of favour during the reign of Emperor Joseph II. Joseph II's personal dislike of ballet and opera seria (serious opera) influenced his policies on the performing arts. In an attempt to distinguish himself from his contemporaries and predecessors, the emperor sought to champion German music and theatre. He even renamed the state theatre the German National Theatre.
Joseph II's distaste for ballet was well-known. In a 1781 letter to his chief minister Kaunitz, he wrote:
> " [Opera seria] is such a boring spectacle that I do not think I will ever use it."
He held similar opinions about ballet, which was often incorporated into opera productions during this period. He described it as a:
> [U]seless excitement of sensuality by an erotic jumping around on the stage.
Ballet had enjoyed some success in Austria during the reign of Joseph II's mother, Maria Theresa. However, when Joseph II became sole ruler, he withdrew court patronage from ballet companies. Although neither ballet nor opera ballet was ever proscribed completely in Austria, they were no longer favoured within the court theatre.
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Joseph II's personal distaste for ballet influenced his censorship policies
> " [Opera seria] is such a boring spectacle that I do not think I will ever use it."
He had similar opinions about ballet, which was often included in opera productions at the time, and was not integral to the plot or production. He described it as a "useless excitement of sensuality" and "erotic jumping around on the stage".
Joseph II's critiques of both opera seria and ballet demonstrate his aversion to both forms, as well as his ideas about the role of musical productions in the Austrian state theatre. As emperor, he wanted to distinguish himself from his contemporaries and predecessors. Both opera seria and ballet were popular genres in contemporary courts, but Joseph II did not want to follow the crowd. He favoured German music and theatre, even renaming the state theatre the German National Theatre. This differentiated his patronage from other courts, such as Francophile Prussia.
Joseph II's censorship policies were also influenced by his desire to reduce the influence of the Jesuits, who had dominated censorship in Austria, and to position himself as a ruler in harmony with the Enlightenment. While he did not permit wide attacks on Christianity, he allowed Protestants to publish in lands where Protestantism was tolerated.
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He criticised ballet as a useless excitement of sensuality
Ballet in Austria is more than just an art form; it is a profound cultural heritage that intertwines with the nation's identity, social functions, and musical traditions. However, during the reign of Emperor Joseph II, ballet faced a significant challenge due to his personal distaste for the art form.
Joseph II's critique of ballet was not just a matter of taste; he described it as a "useless excitement of sensuality." In a letter to his chief minister Kaunitz in 1781, Joseph II expressed his disapproval of both opera seria and ballet, which were large and grandiose productions, often of Italian origin. The emperor saw ballet as nothing more than "erotic jumping around on the stage."
This merging of personal aesthetics and state imperatives was typical of court patronage in the Enlightenment era. As emperor, Joseph II sought to distinguish himself from his contemporaries and predecessors. He wanted to champion German music and theatre, even renaming the state theatre the German National Theatre. This desire to set himself apart, coupled with his co-rulership with his mother, Maria Theresa, further fuelled his determination to deviate from the popular trends of the time.
Ballet had enjoyed success during Maria Theresa's reign, but companies soon lost court patronage under Joseph II. While ballet was not completely banned in Austria, it fell out of favour within the court theatre. This shift in patronage had a significant impact on the art form, as court patronage was crucial for the survival and proliferation of ballet during this period.
The fate of ballet under Joseph II's rule illustrates the intertwining of personal tastes and state interests, where decisions on cultural policies balanced the monarch's preferences with political considerations. Despite the challenges posed by Joseph II's reign, ballet in Austria persevered and evolved, eventually regaining its prominence in the country's cultural landscape. Today, ballet in Austria, particularly in Vienna, is celebrated as a pivotal aspect of its cultural identity, reflecting both tradition and innovation.
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Joseph II's censorship was also a message to Jesuit-dominated censors that he decided Austrian policy
Joseph II's censorship of ballet in Austria was a reflection of his personal distaste for the art form, but it also served a political purpose. The emperor's decision to relax censorship while still banning ballet sent a clear message to the Jesuit-dominated censors that he, and not Rome, dictated Austrian policy. This move positioned him as a ruler embracing the ideals of the Enlightenment, granting religious tolerance to Protestants in lands where it was accepted.
Joseph II's censorship of ballet was also influenced by his desire to create a German national theatre in Vienna. He sought to distinguish himself from his contemporaries and predecessors by promoting German music and theatre over the popular Italian opera seria and ballet. By renaming the state theatre the German National Theatre, he asserted his patronage and differentiated himself from other courts, such as Francophile Prussia.
The emperor's personal distaste for ballet and opera seria, which he described as "boring" and "a useless excitement of sensuality by an erotic jumping around on the stage," played a significant role in his decision to censor these art forms. He viewed them as grandiose Italian productions that were not integral to the plot or production.
Joseph II's censorship of ballet in Austria, therefore, served multiple purposes. It allowed him to shape the cultural landscape by promoting German theatre, assert his authority over Jesuit-dominated censors, and reflect his personal tastes and beliefs. While he did not completely ban ballet and opera seria, he ensured they were no longer favoured within the court theatre, leaving his mark on the Austrian Empire's artistic landscape.
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Opera seria and ballet were popular genres in contemporary courts, but Joseph II wanted to be different
Opera seria and ballet were popular genres in contemporary courts across Europe, including in Austria during the reign of Joseph II's mother, Maria Theresa. However, Joseph II, who styled himself as an enlightened despot, wanted to distinguish himself from his contemporaries and predecessors. He sought to establish his autonomy from Rome and the Jesuits, who had previously dominated censorship, by positioning himself as a ruler in harmony with the Enlightenment.
Joseph II's personal tastes played a significant role in shaping his cultural policies. He disliked both opera seria and ballet, which were often large, Italian productions. In a 1781 letter to his chief minister, Kaunitz, he criticised opera seria as a "boring spectacle", and he held similar opinions about ballet, which was usually included in opera productions at the time. He described it as a "useless excitement of sensuality by an erotic jumping around on the stage".
Joseph II's negative views towards these art forms, combined with his desire to promote German music and theatre, led to his decision to distance himself from the popular genres. He renamed the state theatre the German National Theatre, reflecting his preference for German culture over Italian productions. This shift in patronage also served to differentiate his court from others, such as Francophile Prussia.
While Joseph II did not completely ban ballet and opera ballet in Austria, they fell out of favour within the court theatre. His personal distaste for these art forms influenced the direction of cultural productions, demonstrating the intertwining of personal aesthetics and state imperatives in the Enlightenment court.
Today, ballet in Vienna and across Austria is a celebrated part of the country's cultural heritage, with the Vienna State Ballet being a renowned company that showcases both classical and contemporary works. Despite the historical ban, ballet has evolved and thrived in Austria, contributing to the country's rich cultural landscape.
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Frequently asked questions
Ballet was not banned in Austria but it was no longer favoured within the court theatre during the reign of Emperor Joseph II.
Joseph II simply did not like ballet very much. He disliked both ballet and opera seria (serious opera), which were large, grandiose productions that were typically Italian operas and librettos in this period.
In a 1781 letter to his chief minister Kaunitz, Joseph II admitted that opera seria was a "boring spectacle". He had similar opinions about ballet, which he lambasted as "a useless excitement of sensuality by an erotic jumping around on the stage".
Yes, Joseph II's decision to stop favouring ballet within the court theatre was influenced by his personal distaste for the genre and its association with an opera form he disliked. This was typical of court patronage in the Enlightenment, where decisions on cultural policies balanced the personal tastes of the monarch with politics.
