The existence and nature of the seventeenth- and eighteenth-century ballets produced at Jesuit colleges in Catholic Europe, most often in France and German-speaking lands, is better known now, in the United States and in France, than it was several decades ago. Researchers have come to understand much more about the ballets, their motivation and widespread production, and their professionalism. The Jesuit college ballets are a rich nexus of art, theology, philosophy, and culture. Looking again at what we already know reveals questions that need to be addressed in future research. The most fruitful future research is likely to come from scholars committed to interdisciplinary work, including some physical understanding of dance as an art form. As with any phenomenon involving the meeting of an art form and theology, historians of the art form and historians of the theology tend to know and be interested in very different things. And their colleagues, historians of culture, may be interested in yet something else. As scholars approach a variety of possible future Jesuit college ballet projects, this interdisciplinary challenge can illumine more completely the commitments and intentions of the ballets’ Jesuit producers, as well as the ballets’ influence on their surrounding cultures, and the cultures’ shaping of the ballets.

中文翻译：

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耶稣会学院芭蕾舞团：我们所知道的和接下来的事

17 和 18 世纪在欧洲天主教耶稣会学院制作的芭蕾舞剧的存在和性质，最常见的是在法国和德语国家，现在在美国和法国比几十年前更为人所知. 研究人员对芭蕾舞、它们的动机和广泛的制作以及它们的专业性有了更多的了解。耶稣会学院芭蕾舞团是艺术、神学、哲学和文化的丰富纽带。再看看我们已经知道的东西，就会发现未来研究中需要解决的问题。未来最富有成果的研究可能来自致力于跨学科工作的学者，包括对舞蹈作为一种艺术形式的一些物理理解。与任何涉及艺术形式和神学相遇的现象一样，艺术形式的历史学家和神学的历史学家往往对非常不同的事物有所了解并感兴趣。他们的同事，文化历史学家，可能对别的东西感兴趣。随着学者们接近各种可能的未来耶稣会大学芭蕾舞项目，这种跨学科的挑战可以更全面地阐明芭蕾舞团耶稣会制作人的承诺和意图，以及芭蕾舞对周围文化的影响，以及文化对芭蕾舞团的塑造。芭蕾舞。