Born: April 15, 1710 (Brussels)
Biography:
Marie Anne de Cupis de Camargo, also known as La Camargo, was a French dancer who made significant contributions to ballet during the 18th century. She was born on April 15, 1710, in Brussels, to Ferdinand Joseph de Cupis and Marie-Anne de Smet. Her father, of Spanish descent, worked as a violinist and dancing-master, and from a young age, Marie Anne was trained for the stage.
At the age of ten, Marie Anne began taking lessons from Françoise Prévost, the first dancer at the Paris Opéra. Her talent and skill quickly became evident, and she secured an engagement as the premiere danseuse, first in Brussels and then in Rouen.
Marie Anne’s Paris debut took place on May 5, 1726, at the Paris Opera Ballet, where she performed in Les Caractères de la Danse. Choreographed by her teacher Prévost with music by Jean Ferry Rebel, this piece showcased Marie Anne’s exceptional technique and vibrant energy. It was during this performance that she became the first woman to execute the entrechat quatre, a complex ballet jump consisting of four crossings of the legs in mid-air.
La Camargo captivated audiences with her dazzling execution of entrechats and cabrioles, earning her immense popularity and praise. She introduced two significant innovations to ballet: the use of slippers instead of heeled shoes and the shortening of the ballet skirt to calf-length, a trend that later became the norm. Her name became synonymous with style and fashion, and her influence extended beyond the dance world. Her unique hairstyle, for instance, became a popular trend among the nobility.
Although La Camargo’s rising fame inspired jealousy in her teacher Prévost, leading to her demotion to the corps de ballet, she quickly regained her status as a principal ballerina. In a fortunate turn of events, when a male dancer went missing, La Camargo confidently stepped into his place and improvised a brilliant solo, further solidifying her position as a leading dancer.
Throughout her career, La Camargo attracted many titled admirers, including Louis de Bourbon, Count of Clermont. However, her extravagant lifestyle nearly ruined some of these relationships. At the Count’s request, she eventually retired from the stage.
Marie Anne de Cupis de Camargo’s impact on ballet and her contributions to the development of the art form are immeasurable. Her technical prowess, innovations in costume, and personal style continue to influence ballet to this day.