The project focuses on court theatre in France during the 17th and 18th centuries, understood as a space of creation at the intersection of performing arts and monarchical power. It is particularly concerned with the hybrid forms characteristic of this culture, such as court ballets, comédie-ballets, musical tragedies, and operas, which combine text, music, dance, and spectacular elements within a dynamic of political representation. The aim is notably to shed light on processes of creation, conditions of performance, and the reception of these works. Adopting an interdisciplinary approach, the project seeks to analyse the cross-cutting nature of artistic skills and practices. This hybrid theatre emerged from the constant circulation of artists, artisans, and models between the court and other spaces of theatrical creation, such as Parisian theatres—whether private or institutional—or collegiate and society theatres. Authors, composers, singers, and dancers, as well as craftsmen and technicians, intersect, exchange, and influence the construction of shared artistic languages, while also fostering formal innovation. These processes of transfer across genres and institutions illustrate the porous character of court theatre, which, while serving as an instrument of power, also asserts itself as a space for experimentation and aesthetic renewal.