도베르발과 프티파의 ｢헛된 경고｣: 이상화된 목가(牧歌)의 스펙터클

초록

This article traces the process by which Jean Dauberval’s La Fille mal gardée, first staged in Bordeaux in 1789, was reconstructed in 1885 by Marius Petipa and Lev Ivanov as the canonical Imperial Russian ballet La Précaution inutile, and examines the internal logic of its aesthetic and institutional transformation. As the oldest full-evening ballet in the Western tradition to have remained in continuous performance, this work has undergone repeated reconfigurations under the aesthetic principles and institutional conditions that shaped each historical moment. By approaching La Fille mal gardée/La Précaution inutile not as a fixed form but as a historically open artistic text, this article proposes a methodological model for tracing the aesthetic transitions of ballet within the history of a single work. It argues that, when the relation between Dauberval’s original version and the Petipa/Ivanov revision is understood through a dialectic of preservation and transformation, we can better explain both the ballet’s longevity over more than two centuries and its continued vitality as an enduring repository of theatrical language and choreographic inquiry.

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