Annotated Bibliography of Renaissance Dance - Shadow Island ...

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26 Annotated Bibliography of Renaissance DanceLizbeth Langston: According to Negri, two step-units are considered thebasis of all cinque-passi variations, the cinque-passi in gagliarda and thecinque-battute di campanella. Though several other dancing mastersdescribe the cinque-passi, Negri is the only master to describe thecampanella as a separate and important step-unit. Examination ofvariations whithin choreographic descriptions reveals that most aremixtures of the two basic types, the cinque- passi and the campanella,rather than elaborations of one or the other. Three of the four dancesanalyzed ("Bassa Gioiosa," "La Fedelta' d'Amore" and "La Galleria d'Amore")contain cinque-passi step-units and variations on the basic cinque-passi,while in the fourth ("Laura Gentile,") seguiti ordinarii replace the cinquepassistep-units. The cinq-pas documented in Orchesographie, by ThoinotArbeau, is the most similar step-unit to Negri's cinque- passi. The basiccinque-passi step-unit from the two manuals of Fabritio Caroso, IlBallarino and Nobiltà di Dame, is different from that of Negri and Arbeau,for his description specifies a more complex set of movements with feweraerial steps. Descriptions of cinque-passi step-units in the works of theless well-known masters, Prosper Luti di Sulmona and Lodovico Iacobilli,are similar to those of Caroso.Lizbeth Langston: For a dance reconstructor, this thesis is most useful forthe interpretations of step-units given in Labanotation and word-notes. Ihave notated all Negri's basic gagliarda step-units and most of the otherstep-units given in his Rules, but not the various gagliarda variations heenumerates in the second treatise. The dance reconstructions are lessuseful. I have corrected errors and changed my thinking on all the dancesI reconstructed. I have changed the figures radically. I have alsoreinterpreted the proper performance of the gagliarda variations. I stillstand by the translations, but the dance scores contain some errors, andthe figures are all incorrect. Therefore, since my interpretations of thesedances "sono mal fatto," I do not recommend these reconstructions!Lauze, Francois de Lauze, Francois de. Apologie De La Danse. Geneva: Minkoff, 1977.Matt Larsen: This manual describes in great detail a number of the dancespopular in the early seventeenth century, including the courante, severaldifferent bransles, the galliard, as well as a few words on the gavotte. Oneinteresting feature is that the work is composed of two separate manuals,one for gentlemen, and the other for ladies. To the best of my knowledge,this is the first dance manual which indicates that the man is doing steps(other than the bow) which are significantly different from those which thewoman is doing. The manual is dedicated to George Villiers, then Marquisof Buckingham. The descriptions are probably meant to discuss the samemovements which Arbeau and others describe (de Lauze actually refers thereader to Arbeau in one instance), but de Lauze's descriptions are sodetailed and involved that it is difficult to understand what he is trying toget across. Thus, while this is a valuable work, it is very difficult to makedefinitive interpretations of the descriptions. One cannot help but feel,however, that careful reading of the manual and much work would yieldsome very valuable insights. In short, this manual offers a lot of promise,but ought not to be tackled unless one is willing to exert a great deal ofeffort.auto: There is a previous edition from 1623 but it is not in thisbibliography.
Annotated Bibliography of Renaissance Dance 27Lauze, Francois deLauze, Francois de, and Wildeblood, Joan. Apologie De La Danse. London:Frederick Muller Ltd., 1952.See entry of original for comments.Lehner, MarcusLehner, Marcus. A Manual of Sixteenth-Century Italian Dance Steps.Freiburg: fa-gisis, 1997.Leitner, Quirin vonLeitner, Quirin von (editor). Freydal des Kaisers Maximilian I. Turniere undMummereien Herausgegeben... Vienna: 1800- 1882.John Forrest: A species of reproduction of the FREYDAL CODEX, a seriesof engravings of masqueraders, musicians and dancers commissioned byMaximillian I HRE. There are about 120 images in all, half of which are ofdance and masquerade.Little, MeredithLittle, Meredith, and Marsh, Carol G. La Danse Noble : An Inventory ofDances and Sources. Williamstown, MA: Broude Brothers, 1992.Lupi da Carravagio,LivioLupi da Carravagio, Livio. Mutanze Di Gagliarda, Tordiglione, Passo emezzo, Canari e Passeggi. Palermo: gli Heredi di Gio. Francesco Carrara,1600.Lupi da Carravagio,LivioLupi da Carravagio, Livio. Libro Di Gagliarda, Tordiglione, Passo E Mezzo,Canari E Passeggi. Palermo: Gio. Battista Maringo, 1607.Reprint of Mutanze Di Gagliarda, Tordiglione, Passo e mezzo, Canari ePasseggi, 1600.Matt Larsen: This is a lengthy volume (about 300 pages) discussing, as thetitle suggests, galliards, tordions, passo e mezzo and canaries. It openswith a short disscussion of steps and choreographies for two dances. Themajority of the volume, however, is devoted to describing hundreds ofshort sequences of galliards, tordions, etc. These are apparently intendedfor use when one needed to "invent" a galliard or other variation. Thereader would memorize and practice several passages from each section,so as to have them ready at need. It is difficult to imagine anyonememorizing all of the literally hundreds of variations offered here, but it isclear that no one would have been considered an accomplished dancerwithout knowing a few (or better yet, being able to invent them as needed).All in all, an interesting volume, but not as generally useful as either ofCaroso's works or Negri's book.Lutii de Sulmona,ProsperoLutii de Sulmona, Prospero. Opera Bellissima Nella Quale Si ContegonoMulte Partite, Et Passeggidi Gagliarda .... Perugia: 1589.Matt Larsen: This work is similar to that of Lupi, but much shorter. Thediscussion of steps is a single page, speaking mostly about caprioles, andonly some thirty-two variations are presented. Only galliard variations arediscussed.
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