as the personal teacher to Louis XIV. He is also credited with coming up with the five fundamental foot positions from which all balletic movements move through. Beauchamps techniques were taught throughout France in secondary schools as well as by private teachers. Contemporary dancers would astonish Beauchamps at their ability to have 180-degree turnout. Beauchamps dancers wore high-heeled shoes and bulky costumes which made turnout difficult and slight. One of the first things that Lully and Beauchamps worked together on was Les Fêtes de l'Amour et de Bacchus, which they called opéra-ballet. The opéra-ballet is a form of lyric theatre in which singing and dancing were presented as equal partners in lavish and spectacular stagings. The Les Fêtes de l'Amour et de Bacchus, one of their first and most famous collaborations, consisted of excerpts from court ballets linked by new entrées stages by Beauchamps. Customarily, King Louis and courtiers danced in the court ballets; however, in this new form of entertainment, the opéra-ballet, all of the dancers were professionals. Beauchamps not only collaborated with Lully, but he also had the great privilege to partner with Molière during his lifetime. Beauchamps also originated the Beauchamp–Feuillet notation, which provided detailed indications of the tract of a dance and the related footwork. Starting in 1700, hundreds of social and theatrical dances were recorded and widely published in this form. Although this has been superseded in modern times by even more expressive notations, the notation is sufficiently detailed that, along with contemporary dancing manuals, these dances can be reconstructed today Molière Molière was a well-known comedic playwright during that time period. He and Beauchamps collaborated for the first time in 1661, which resulted in the invention of comédie-ballet. His invention of comedies-ballets was said to be an accident. He was invited to set both a play and court ballet in honor of Louis XIV, but was short of dancers and decided to combined the two productions together. This resulted in Les Facheux in 1661. This and the following comédie-ballets were considered the most important advance in baroque dance since the development of Renaissance geometric figures. One of the most famous of these types of performances was Le Bourgeois gentilhomme, which is still performed today and continues to entertain audiences. The idea behind a comédie-ballet was a combination of spoken scenes separated by balletic interludes; it is the roots for today's musical theatre. Many of