The article is devoted to the features of the librettos of M. Petipa’s ballets created in the 1860s. The author analyzes the signs and gestures present in them. Signs (explanatory inscriptions, «speaking» names) appear in two librettos created by professional librettist H. V. de Saint-Georges. Gestures are more numerous. These are gestures, both physical (kneeling, hugging, pointing movements, etc.), and emotional, descriptions of the characters’ feelings (love, affection, dignity, fear, horror, arrogance, etc.). In addition, the libretto of the 1860s also contains references to dancing, not only in the form of a traditional list of dance numbers, but also in the form of a description of the character’s actions, sometimes with an emotional coloring of the dance. The librettos of ballets from the mid-19th century can create a visual impression of ballet that has disappeared from theatrical practice and, when read thoughtfully, can help to better understand it. In the final part of the article, the author concludes that the librettos of ballets from the mid-19th century are capable of creating a visual impression of ballet that has disappeared from theatrical practice and, when read thoughtfully, can help to better understand it.