Domenico da Piacenza

Domenico da Piacenza, also Domenico da Ferrara (* 1420, † 1475 ) was an Italian dancing master and dance theoretician. He was knight of the golden spur and not know how to erroneously found in the literature, Knight of the Golden Fleece, a Burgundian Order, which was reserved for the European aristocracy. His pupil Antonio Cornazzano calls him Domenico da Piacenza and speaks of him as its sole maestro e compatriota, suggesting an origin from Piacenza both dancing master. His pupil Guglielmo Ebreo calls him Domenico da Ferrara, probably because he had spent most of his life as a dancing master at the court of the Este family in Ferrara.

From him the first comprehensive treatise comes to ballroom dancing, where the choreography of steps and some with accompanied music (unanimous tenor) are described. Despite the bilingual title - De arte salt andi et chorea ducendi / De la arte di ballare et danzare - the treatise is written only in Italian themselves.

Life

Little is known about the life of Domenico da Piacenza. Between 1439 and 1475 he is mentioned repeatedly in the payrolls at the Este court in Ferrara. Due to this long period of time is to assume that he probably had a permanent position at the court of the Este. Likewise, it can be concluded only on the basis of these data on dates of his life. 1455 he worked as a dancer and dancing master at the court of the Sforza in Milan on the occasion of the wedding of Tristan Sforza and Beatrice d' Este. Between 1455 and 1462 he is in other places, such as occupied in Milan ( Sforza ) and Faenza. 1455 and 1462 he is mentioned together with his pupil Guglielmo Ebreo the occasion of festivities in Milan and Forli. He was with Giovanna Trotto, who came from a respected family ferrarensischen married.

Dance theory and choreography

His choreography and dance theory have survived (national, unit- 972 ital Paris, Bibliothèque ) in the treatise De arte handwritten salt andi et chorea ducendi. These non- autograph manuscript was to 1455th The description contained therein of choreography is so minutely that a re- choreographing to some extent is possible. Apart from the Balli and Bassedanze described in his treatise, other works of Domenico have been handed down in the treatises of his students Guglielmo Ebreo and Antonio Cornazzano. Even if you (probably because they could be assumed to be known ) the movements in detail definitely can not dance its due only superficial step description, allows accurate description of the step sequences and partly also the spatial movements an insightful analysis of choreographies. A striking feature of Domenico is the great variability of the executors in the individual choreographies. Whether it is in the treatise in itself is a logically closed cycle, or whether the choreographies are arranged according to other criteria would be to examine in detail yet.

Domenico's choreographies are based on the five main steps:

  • Sempio
  • Doppio
  • Continenza
  • Ripresa
  • Riverenza.

Sempio and Doppio denote steps forward, with Continenza likely a lateral direction of motion be meant Ripresa (actually resuming a previously 'lost ' space ) should mean a backward movement, the Riverenza takes place on the square. These steps are - although exact step descriptions missing - different from the steps of the 16th century, as described in the treatises of Caroso and Negri, danced. The research of the last twenty years has made ​​it through meticulous analysis of all over a hundred of traditional choreographies some clarity on the nature of the steps, although most step interpretations based on hypotheses. Apart from these five main patterns of movement, there are other steps and step names, their movement, however, is largely unknown, and for which a separate, modern codification has developed.

From the treatises of the 15th century, a certain regularity of dance can be derived, however, is based more on syntactic functions and is not designed according to the rules of poetry and versification, as it then applies to the dances of the 16th century. These steps can now be four different " tempos " (ie, speeds) and cycle ways, namely 6/4-Takt, 4/4-time, 3/4-time (aka 6/8) and 2/4-cycle ( actually 4/8) are danced. In the rhythmic proportions, this results in a harmonically logical sequence of 6:4:3:2 (see Pythagoras ). About this detour now arises a connection between the harmonious proportions of the microcosm and macrocosm. On one hand, the man himself is composed of harmonious proportions, as about Albrecht Dürer has described in his treatise on human proportions. On the other hand, man is dancing to the music always, the intervals just correspond to the given proportions of nature. Finally, the man dances to the music in rooms which are built according to musical proportions (see Leon Battista Alberti ).

Works

BALLISTIC ( in the order given in the treatise ):

A) in the Bibliothèque Nationale in Paris (F- Pn) narrated:

  • Belriguardo
  • Belriguardo novo
  • Lioncello vecchio
  • Lioncello novo
  • La Ingrata
  • La Gelosia
  • Pinzochera
  • Verçeppe
  • Prigioniera
  • Belfiore
  • Anello
  • La Marchesana
  • Giove
  • Figlia di Guglielmino (2 versions)
  • Mercanzia
  • Sobria
  • Tesara

B ) narrated in other sources and Domenico attributed to:

  • Fioretto
  • La Gelosia
  • Lioncello vecchio ( another version )
  • Petite Rose
  • Rostiboli Gioioso

BASSEDANZE ( in the same order as in the treatise ):

A) in F- Pn handed:

  • Daphne
  • Mignotta vecchia
  • Mignotta nova
  • Corona
  • Zoglioxa ( rather uncertain attribution )

B ) narrated in other sources and Domenico attributed to:

  • Daphne
  • Febus
  • Flandesca
  • Fortunosa
  • Reale ( 2 versions)
Italy Order of the Golden Fleece Basse danse Cesare Negri
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