The dancing body in Renaissance choreography: kinetic theatricality and social interaction
Renaissance dance treatises claim that the dance is a language but do not explain how or what dancing communicates. Since the body is the instrument of this hypothetical language, The Dancing Body in Renaissance Choreography problematizes the absence of the dancing body in treatises in order to reco...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
London, UK ; New York, NY, USA
Anthem Press
2022
|
| Ausgabe: | Revised edition |
| Schriftenreihe: | Anthem studies in theatre and performance
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Zusammenfassung: | Renaissance dance treatises claim that the dance is a language but do not explain how or what dancing communicates. Since the body is the instrument of this hypothetical language, The Dancing Body in Renaissance Choreography problematizes the absence of the dancing body in treatises in order to reconstruct it through a series of intertextual readings triggered by Thoinot Arbeau's definition of dance as a mute rhetoric in Orchesographie. This book shows that the oratorical model for Arbeau?s definition of the dance is epideictic and that although one cannot equate dance and oratorical action, the ends of oratorical action are those of dance: persuasion through charm and emotion. The analysis of the rhetorical intertext opens the way to a sociological one. Through a reading of courtesy books as well as a chapter of Tuccaro's L'Art de Sauter et Voltiger en l'air it is shown that dance and social behavior were not discontinuous in the Renaissance. Instructions for the body can be divided into the categories of the pose and movement. They are examined as a model for the most important and widely practiced dance of the Renaissance: the basse danse. The characteristic motion resides in an opposition as well as an interpenetration of stillness and mobility. This is developed through a reading of fifteenth-century dance theorists' concept of misura and fantasmata. Stefano Guazzo's La Civil Conversazione is used as a textual interpretant to ascertain the strategy of movement and the pose in the interaction between dancer and spectator |
| Beschreibung: | xlv, 113 Seiten Illustrationen |
| ISBN: | 9781785278013 |
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| 520 | 3 | |a Renaissance dance treatises claim that the dance is a language but do not explain how or what dancing communicates. Since the body is the instrument of this hypothetical language, The Dancing Body in Renaissance Choreography problematizes the absence of the dancing body in treatises in order to reconstruct it through a series of intertextual readings triggered by Thoinot Arbeau's definition of dance as a mute rhetoric in Orchesographie. This book shows that the oratorical model for Arbeau?s definition of the dance is epideictic and that although one cannot equate dance and oratorical action, the ends of oratorical action are those of dance: persuasion through charm and emotion. The analysis of the rhetorical intertext opens the way to a sociological one. Through a reading of courtesy books as well as a chapter of Tuccaro's L'Art de Sauter et Voltiger en l'air it is shown that dance and social behavior were not discontinuous in the Renaissance. Instructions for the body can be divided into the categories of the pose and movement. They are examined as a model for the most important and widely practiced dance of the Renaissance: the basse danse. The characteristic motion resides in an opposition as well as an interpenetration of stillness and mobility. This is developed through a reading of fifteenth-century dance theorists' concept of misura and fantasmata. Stefano Guazzo's La Civil Conversazione is used as a textual interpretant to ascertain the strategy of movement and the pose in the interaction between dancer and spectator | |
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Datensatz im Suchindex
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CONTENTS Preface to the Revised Edition 1. Introduction 2. The Mythological Intertext: Language A. The Rhetorical Gode B. Rhetorical Charm and Emotion as Urbanity ix 1 19 19 23 3. The A. B. C. Sociological Intertext: Courtesy Dance as a “Theoretical” Practice of Propriety: Tuccaro The Reverence as an Aleatory Intertext The Courtesy Book as a Genre 33 33 40 47 4. The A. B. C. Pedagogical Intertext: Precepts The Pose as Intertext for the Basse Danse The Gestural Code as Intertext for the Gaillard Measure as a Practical Dancing Term: “fantasmata” 53 53 59 72 5. The A. В. G. Political Intertext: Civil Conversatione (Social Intercourse) The Interpretant The Strategy of Civil Conversatione Conclusion(s) 85 85 90 98 Bibliography 101 Index 111 |
| adam_txt |
CONTENTS Preface to the Revised Edition 1. Introduction 2. The Mythological Intertext: Language A. The Rhetorical Gode B. Rhetorical Charm and Emotion as Urbanity ix 1 19 19 23 3. The A. B. C. Sociological Intertext: Courtesy Dance as a “Theoretical” Practice of Propriety: Tuccaro The Reverence as an Aleatory Intertext The Courtesy Book as a Genre 33 33 40 47 4. The A. B. C. Pedagogical Intertext: Precepts The Pose as Intertext for the Basse Danse The Gestural Code as Intertext for the Gaillard Measure as a Practical Dancing Term: “fantasmata” 53 53 59 72 5. The A. В. G. Political Intertext: Civil Conversatione (Social Intercourse) The Interpretant The Strategy of Civil Conversatione Conclusion(s) 85 85 90 98 Bibliography 101 Index 111 |
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| isbn | 9781785278013 |
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| spelling | Franko, Mark 1946- Verfasser (DE-588)188561889 aut The dancing body in Renaissance choreography kinetic theatricality and social interaction Mark Franko Revised edition London, UK ; New York, NY, USA Anthem Press 2022 xlv, 113 Seiten Illustrationen txt rdacontent n rdamedia nc rdacarrier Anthem studies in theatre and performance Renaissance dance treatises claim that the dance is a language but do not explain how or what dancing communicates. Since the body is the instrument of this hypothetical language, The Dancing Body in Renaissance Choreography problematizes the absence of the dancing body in treatises in order to reconstruct it through a series of intertextual readings triggered by Thoinot Arbeau's definition of dance as a mute rhetoric in Orchesographie. This book shows that the oratorical model for Arbeau?s definition of the dance is epideictic and that although one cannot equate dance and oratorical action, the ends of oratorical action are those of dance: persuasion through charm and emotion. The analysis of the rhetorical intertext opens the way to a sociological one. Through a reading of courtesy books as well as a chapter of Tuccaro's L'Art de Sauter et Voltiger en l'air it is shown that dance and social behavior were not discontinuous in the Renaissance. Instructions for the body can be divided into the categories of the pose and movement. They are examined as a model for the most important and widely practiced dance of the Renaissance: the basse danse. The characteristic motion resides in an opposition as well as an interpenetration of stillness and mobility. This is developed through a reading of fifteenth-century dance theorists' concept of misura and fantasmata. Stefano Guazzo's La Civil Conversazione is used as a textual interpretant to ascertain the strategy of movement and the pose in the interaction between dancer and spectator Geschichte 1416-1589 gnd rswk-swf Renaissance (DE-588)4049450-0 gnd rswk-swf Choreografie (DE-588)4069977-8 gnd rswk-swf Dance / Europe, Western / Sociological aspects Dance / Europe, Western / History Dance / Philosophy Renaissance Danse / Europe de l'Ouest / Aspect sociologique Danse / Europe de l'Ouest / Histoire Danse / Philosophie Dance Dance / Sociological aspects Western Europe History Choreografie (DE-588)4069977-8 s Geschichte 1416-1589 z DE-604 Renaissance (DE-588)4049450-0 s Erscheint auch als Online-Ausgabe 978-1-78527-803-7 Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=033964235&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
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| title | The dancing body in Renaissance choreography kinetic theatricality and social interaction |
| title_auth | The dancing body in Renaissance choreography kinetic theatricality and social interaction |
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| title_exact_search_txtP | The dancing body in Renaissance choreography kinetic theatricality and social interaction |
| title_full | The dancing body in Renaissance choreography kinetic theatricality and social interaction Mark Franko |
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| title_full_unstemmed | The dancing body in Renaissance choreography kinetic theatricality and social interaction Mark Franko |
| title_short | The dancing body in Renaissance choreography |
| title_sort | the dancing body in renaissance choreography kinetic theatricality and social interaction |
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