“[A] remarkable biography….Moorehead deftly wields periods detail…to tell the story of a captivating woman who kept her sense of self amid the vicissitudes of politics.” —Vogue From acclaimed biographer Caroline Moorhead comes Dancing to the Precipice, a sweeping chronicle of the remarkable life of Lucie de la Tour du Pin—“an astute, thoroughly engaging biography of a formidable woman” (Boston Globe) who, over the span of some 80 years, was witness to, and often a participant in the major social upheavals of eighteenth-century French history.
He also addresses concerns about how dance performance is documented, including issues around spectatorship and the display of sexuality, the relationship of Ailey's dances to civil rights activism, and the establishment and maintenance of a successful, large-scale Black Arts institution."--Jacket.
Madame de la Tour du Pin was born Henrietta-Lucy Dillon in Paris in 1770. An aristocrat, she spent her youth surrounded by wealth and luxury. This work presents a record of her life that recounts the terrible fate that awaited all those who attended the Court of Louis XVI during the years of the French Revolution.
Set during the French Revolution, this "riveting historical novel" ("The New Yorker") is the story of three young provincials who together helped destroy a way of life and, in the process, destroyed themselves.
The unleashing of the French Revolution in 1789 resulted in the acceleration of time coupled with an inability to predict what might happen next. As unprecedented events outpaced the days, those caught up in the whirlwind had little time to make judicious decisions about which course of action to follow. The lack of reliable information and delays in communication between Paris and the provinces only exacerbated the situation. Consequently, some fled into exile in Europe and the United States, while others remained to take advantage of new opportunities provided by the revolutionary government. Between 1789 and 1794, the government moved from a position of hopeful cooperation to one of desperate measures instigated during the Terror of 1793–1794. As a result, those French citizens who had fled early in the revolution, including many aristocrats and the king's brothers, as well as the artist Elisabeth Vigee-LeBrun, could not return until many years later, while those who had remained, such as Vigée-LeBrun’s husband, the art dealer Jean-Baptiste Pierre LeBrun, as well as the artist Jacques-Louis David, the writers Sébastien Chamfort and André Chénier, and expelled Girondin deputies, chose survival strategies that they hoped would be successful. For all those concerned, timing was key to survival, and those who lived found that they had crossed a bridge between the Ancien Régime and the beginning of the modern world. It would not be possible to grasp the full import of the period between 1789 and 1795 until time had decelerated to a more reasonable level after the fall of Robespierre in 1794. Yet few could have then imagined that almost one hundred years would pass before a stable French republic would be established.
