How did ballet d'action use mime and narrative to express a story?

The ballet d’action emerged in the 18th century as a reform movement that sought to move ballet away from purely decorative spectacle toward a form where all production elements—including choreography, sets, and costumes—were subordinate to the plot and theme.12

Pioneered by figures like John Weaver and championed by Jean-Georges Noverre, this style emphasized dramatic motivation over technical virtuosity. Noverre argued that dance movement should not be meaninglessly decorative but should instead reflect the ballet’s action.312

Regarding mime, Noverre advocated for gestures that were as natural as possible, rather than relying on the rigid, symbolic codes that had previously dominated the stage. By integrating these naturalistic gestures, choreographers aimed to express individual character personalities and clarify the narrative, ensuring that the dance movement itself became a primary vehicle for storytelling. This approach established a foundation for later reforms, such as those by Michel Fokine, which continued to push for mime that illuminated theme and character rather than serving as a separate, often incomprehensible, narrative device.3