This study examines the artistic significance and value production of choreographer Park Kihyun’s re-enactment performance based on Lakeside Adagio of Act I, of Swan Lake, focusing on the concepts of ‘prototype/archetype’ and ‘re-enactment.’ The analysis examines the original dance notation and musical score to investigate how the prototype of the classical ballet was documented and structured. It also conducts interviews with the choreographer and dancers and observes the rehearsal process to explore the embodied memory and experiential performance of the ballet master and dancers in the re-enactment process. The study argues that the original value of the classical work is preserved and transmitted not only through the physical conservation of notation but also through the bodily archive of the ballet master and dancers. Re-enactment in classical ballet is understood not as a passive repetition of the original text, but as an exploratory practice realized through the interpretation of documentation and the creative execution of embodied knowledge.

The notational method for Baroque dances, created by Pierre Beauchamps in 1674 and published by Raoul-Auger Feuillet in 1700, was received exceptionally well and understood to be the best method to record Baroque dances during that time. However, it was not until the 1980’s that it was appreciated again, and enjoyed a renaissance. This paper focuses on the Baroque dances choreographed by Guillaume Louis Pécour. There are 539 Baroque existing dance notations and Pécour is recognized as the most productive choreographer in the Baroque era, making 49 dances for balls and 71 dances for theaters. One of his masterpieces, Entrée Espagnol pour un homme et une femme, is analyzed to show the characteristics of his choreography. Pécour’s most notable characteristics in his choreography of Entrée Espagnol pour un homme et une femme, from the Opera-Ballet L'Europe Gallant, was the intermixing of the difficult movements with the easy ones, and the soft movements with the strong ones. For the music, Pécour used a variety of methods and would use three beats in the first part, or in the second part. He utilized these atypical music and dance methods to choreograph technically difficult movements harmoniously. We emphasize the importance of the notation by reproducing the dance choreographed exactly as it was done 318 years ago and analyzing the characteristics of Pécour. Without the notation, we could never figure out how beautiful the Baroque dances were. We expect this paper to encourage further study of Baroque dances in Korea.