Abstract

This paper focuses on the cultural exchanges which took place in the dance practice at the beginning of the reign of Philip V, during the war of the Spanish succession. Considering the staging of the two comedies performed in 1709 ("Duendes son alcahuetes y el espíritu foleto" by Antonio de Zamora, and "Hércules ofendido, defendido y apaciguado", by the Italian company of the "Trufaldines") the essay analyses the models of theatrical production of the time. It focuses in particular on changes in the practice of theatrical and social dance within the framework of the operative distinctions of that moment, which were expressed by binomials "courtier/ urban culture" and "social/theatrical dance", in the context of cultural relations between Spain, France and Italy.