![]() ![]() ![]() ![]() Its 2011 reinvention at the Paris Opera, following the adoption of new legislation banning the veil in public spaces, might have staged gender and climate justice in sync with the Arab Spring, but opted instead for luxury and dream. One Dead at the Paris Opera Ballet takes readers to four historic performances, over 150 years, showing how- through the sacrifice of a feminized Nature- La Source represented the biopolitics of sex and race, and the cosmopolitics of human and natural resources. Programmed for the opening gala of the new Opera, the Palais Garnier, in 1875 the ballet reflected not so much a timeless Orient as timely colonial policy and engineering in North Africa, the management of water and women. Along with these stereotypes, with a flower promising hybridity in a green ecology, and the death of the embodied Source recuperated as a force for regeneration, the ballet can be read as a fable of science and the performance as its demonstration. ![]() Yet the ballet's botany also played to a public thinking about ethnic and exotic others at the same time-and in the same ways-as they were thinking about plants. In 1866, when the ballet La Source debuted, the public at the Paris Opera may have been content to dream about its setting in the verdant Caucasus, its exotic Circassians, veiled Georgians, and powerful Khan. Oxford Research Encyclopedias: Global Public Health.The European Society of Cardiology Series.Oxford Commentaries on International Law. ![]()
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