Jean Dauberval was born in France in 1742. He is a world wide known French ballet dancer and choreographer. Much of his style was learned from his teacher No verre but did much to disseminate his teacher's ideas on the ballet d'action (ballet with a plot). Dauberval was best known as the inventor of the comedy ballet. Dauberval's genre was during the Pre- Romantic Ballet. The types of dance he worked with during this time was: character or better known as the movement of another nationality, ethnic group, social class, dances of character or portraying specific historical character, and demi-Character which was Ballet with folk style.
Dauberval made his first appearance at the Paris Academie (now Opera) and became noted for his pantomimic dance ability. In 1773 he became an assistant ballet master. In 1783 he went on as a dancer to Bordeaux where he later served as ballet master. He than became popular for his best-known ballet, LA FILLE MAL GARDEE, first produced in 1786. La Fille Mal Gardee was one of the first comic ballets and one of the first to include realistic rather than mythological or idealistic characters. It is the oldest ballet still being performed.
This ballet was the first to use the lives of the peasants as the plot. Although Dauberval's original choreography was lost, there are several more recent versions based upon the original scenario. Among his best-known students were Charles-Louis Diderot, Jean Amer and Sal Vig ano. Carlo Blasis was born in Italy in 1797 and trained in France to later on leave his mark as mid-nineteenth-century ballet choreographer, theorist, and p'edagogue extraordinaire who trained the first generation of great Italian ballerinas. His genre was during the Romantic Ballet. He was a student of Dauberval.
He was best known for the responsibility for the importance of technique for Italian dancers. In 1837 Blasis became the Imperial Dancing Academy's director. In 1861, he went to Russia, where he spent the next several years teaching at Moscow's Bolshoi Theater, reviving and re staging ballets from the company's repertory, and mounting new productions. Blasis choreographed for the Bolshoi - Faust (1861), Two Days in Venice, or The Venetian Carnival (1862), Orf a (1862), and Pygmalion (1863) - as well as one that failed to materialize, Cagliostro. Blasis published two textbooks, Treatise on the Art of Dancing and Code of Terpischore, in which he codified his teaching methods and all that was known of ballet technique. These books form the basis of our modern classical training.
Both men have contributed to the life of ballet in many ways. Both of their styles and techniques are still being used and perfected. Their style and techniques have enhanced the teaching of ballet and continue to draw the attention if those whom have good taste in dancing.