The Fate of La Feste: An Affective Reading of Maximilien Gardel's Mirsa Ballets

In 1781, ballet master Maximilien Gardel presented La Feste de Mirsa, a sequel to his 1779 ballet en action Mirza. Given the latter's success, Opera audiences anticipated another evening of praiseworthy entertainment, but the La Feste proved a total failure, disappearing after one performance. Critics denounced the ballet for its disappointing lack of finesse, but a close reading of the two ballets and their reviews uncovers more aesthetic and narrative similarities than differences. What does distinguish them is the role of affect: Mirza inspiring sympathetic connections to imperial hegemony and white masculinity, La Feste to diversity, femininity, and human equality.

Automated summary

This passage describes the failure of the ballet sequel "La Feste de Mirsa" in 1781, following the success of its predecessor "Mirza." Despite criticism for its lack of refinement, a closer examination of both ballets and their reviews reveal more similarities than differences in aesthetics and narrative. The distinguishing factor lies in the role of affect, with "Mirza" inspiring sympathetic connections to imperial hegemony and white masculinity, while "La Feste" evokes diversity, femininity, and human equality.