Historical dance
The term Historical Dance originated in parallel with the early music. How has started at the beginning of the 20th century, early music on replica instruments perform again, so you have almost the same time also started nachzutanzen old dances after the writing of traditional products. Much of the traditional dances are dances of the upper strata of society. For this reason, historical dance is often equated with a courtly dance. However, there are also numerous sources in which the dances of the middle class are recorded ( Branle, contra dances, Ecossaise, Quadrille, etc.). The term historical dance has the 15th to the 19th century firmly established itself as opposed to the people dance, contemporary dance and classical ballet as a generic term for European art of dance.
- 8.1 Dances of the Renaissance
- 8.2 dances of the Baroque and the Rococo
- 8.3 English Country Dances ( quadrille, contra dance, Contredanse ) ( 17-18. Century)
- 8.4 dances of the 19th century
Sources and notation
During the Middle Ages dances were handed down only by practical sharing of dancer to dancer. The earliest dance notations are from the first half of the 15th century. Many of the older dances are often only known by name. Prior to the written record, the dance forms are often only known from iconographic sources such as frescoes, paintings, drawings, book illustrations, reliefs, statues and figurines possibly. In the late Middle Ages and early Renaissance dances were then increasingly by dance masters, partly in specially designed notations held. From the beginning of the first written records to the present, no universally understandable and of theorists (dance scientists, choreographers ) as practitioners ( dancers ) has equally able to enforce Applied dance notation. For this reason you have to for each epoch, sometimes get acquainted to each dance master and choreographer with the corresponding notation. The incorporation in the respective dance notation difficult not irrelevant to reconstruct the dances, but provides for most sources, especially if the notation was used internationally, such as the word shortcut notation of the 15th century or the Feuillet notation at the beginning of the 18th century, not an insurmountable hurdle dar. Rather, it must be said that the particular notation at the same time the ultimate in period gravity emphasized, and therefore allows conclusions about the weightiness of individual parameters such as space, material step or arm movement. In the case of Feuillet notation was on display after decades of employment that they must be used very well for dance practice. Even newly choreographed in the style of the 18th century are now being recorded by the choreographers or their assistants so.
Renaissance
Although it has generally naturalized, to speak of ' Renaissance dance ', the term is inaccurate. A distinction is certainly the source of about 1450-1530, namely the dance books in the wake of the Italian dancing master Domenico da Piacenza, by a second group of sources, the earliest of which is dated 1559 (La caccia ) and about to 1630 (reprint of F. Carosos Nobiltà di Dame) continues. For the latter period, people have started to introduce the concept Caroso / Negri style. In the first epoch, in turn, the Italian sources are to be distinguished from the sources of French / Burgundian.
1588 appeared in the French city of Langres a book entitled Orchésographie ( "The doctrine of the dance description ." That pressure privilege is dated November 22, 1588 ). It described the canon of Langres Jehan Tabourot ( under the pseudonym Thoinot Arbeau ) 35 French couple dances of his time. He gave to each description of a musical example, mostly monophonic and to not always complete. He began with the oldest known him dance, the " Basse danse ", was it the description of other ballroom dances like the " Gaillarde " and the " Branle ", in order then to take towards the end some show dances in the attack as the sword dance " Les Bouffons " the costume dance " La danse des Canaries " and the lively solo dance " Morisque ".
Almost simultaneously appeared in Italy extensive dance treatises, such as by Fabritio Caroso ( 1525/35-1605/20 ) and Cesare Negri.
Caroso / Negri style
Baroque and Rococo
A more general notation was not developed until the time of Louis XIV at the Academie Royale du Danse. Broad specified therein steps are still evident in the repertoire of classical ballet.
Numerous Country Dances are found for example in the collection of John Playford " The English Dancing Master", which was 1651-1728 frequently launched and expanded.
Online, you can view the collection here:
- Http://www.contrib.andrew.cmu.edu/ ~ flip / contrib / dance / playford.html edition
- Http://www.shipbrook.com/jeff/playford/ 2nd Edition
- Http://www.izaak.unh.edu/nhltmd/indexes/dancingmaster/ summary of all editions
The French dance master Louis Lorin attended the late 17th century the English court and was then in 1685 his descriptions that are preserved only in manuscript, out and dedicated it to the French King Louis XIV in 1700 published Raoul Auger Feuillet - the epochal writing the choreography ( from which the term ' choreography ' is derived: gr = choreos dance and graphein = write ). 1706 then was the publication of a simplified notation for the so-called Contre- Danses, a French variant of English Country Dances. Both volumes were 1706 several times translated into English.
Online is the Orchesographie (English title) here:
- Http://www.pbm.com/ ~ Lindahl / weaver / English Translation
In Germany, the contra dances learned by John Playford special attention through the work of Georg Götsch in the music 's home in Frankfurt an der Oder (1927 - 1942) and at Castle Fuersteneck (1952 - 1956). Georg Goetsch has provided 64 dances from Playford with a dance notation easy to understand and with a German name in the booklet " Old Contra Dances" published ( Möseler -Verlag, 1950, Rolf Gardiner ). A second volume, " New contra dances " contained dances from various English sources ( Möseler -Verlag, 1956 with Rudolf Christl ). Initiated by Georg Götsch in arts society and others maintain this tradition, among others at Castle Fuersteneck on.
Courtly Dance and Folk Dance
Listed were composed primarily courtly dances. These are often based on folk dances that have been compositionally refined. Therefore, one can draw conclusions about the dances of the common people. Folk dances were systematically collected only at the behest of Johann Gottfried Herder (1744-1803) and recorded, who coined the term " folk dance".
Stage dance
On the opulent baroque stages of the first dance played a decorative role, while the content richness and diversity of expression rather by stage machinery, music and singing were in law scene. Dancing formed a garland around the various acts at the beginning and at the end of a piece, without referring directly to its content.
However, since theater and music can just put together in dance to a unit ( ballet ), which the other events framed increasingly content on the stage developed at the court of the Sun King Louis XIV of stage dance. The dancers embody this collective types, such as shepherds, gods, nymphs, etc.
Although the dance stage was based on the designed for the ballroom dance forms and step sequences, but was enriched by virtuoso ornaments and was able to reach a gestural and facial expression that was similar to the more functional ballroom dancing in the ballroom any more.
The dance training stood beside other arts and martial skills have always been on the aristocratic education plan. Therefore, initially stood beside professional dancers usually also talented noblemen on stage.
Ballet masters such as Pierre Beauchamp, Jean Favier Elder. and Jean -Baptiste Lully, 1653 appointed compositeur de la musique instrumental de Roi, obtained with their choreographies that were performed increasingly by professional dancers, great fame.
Countries of origin
Like the music, the dances of the various courts differed stylistically significant. However, the dances were also internationally distributed and varies and adapted to the local style. Thus the English Country Dances find as Contre Dance or counterpoint dance ( quadrille ) in France and Germany.
Dance forms
Historical dances are often based on circle shapes ( round dance ), the alley ( Longway ) or follow very own choreographies. Many dances are group dances, whether as a couple or in a group with a permanent change of partners, there are solo dances, couple dances and mixed forms.
Balls
Balls took place regularly at the courts and served the representation of entertainment and also the communication between the dancers.
Reconstruction
Most of the historical dances had been forgotten and are reconstructed by dance researchers in the 20th century and has been "revived ".
Dances of different eras
Dances of the Renaissance
- Pavane, Gaillarde ( usually follow as Vortanz and after-dance each other)
- Branle
- Canario
- Passamezzo, saltarello Moresca, Volta ( dance)
Dances of the Baroque and the Rococo
- Chaconne, Passacaglia ( dances of the early Baroque )
- Marche, Branle ( dances in the orchestral suites of Lully and Rameau )
- Allemande, Courante, Sarabande, Gigue (the order of the dances in the German piano suite eg Froberger and Bach)
( Dances in the orchestral suites of Bach and Handel are often inserted between sarabande and gigue in the Piano Suite)
- Ecossaise ( rococo and classical)
English Country Dances ( quadrille, contra dance, Contredanse ) ( 17-18. Century)
- Jenny Pluck Pears, The Indian Queen, Jamaica, Hunt the Squirrel, The Morning Route, Nonesuch
Dances of the 19th century
- Waltz, Anglaise, Française, Landler or Landler, Mazurka, Polonaise, Scottish, Quadrille, Rhinelander, Gallop, Polka