in his essay "Parallels between fencing and dancing in late sixteenth century treatises "to the question of the similarities between the fencing and dancing in the late 16th Century exist.
He distinguishes his essay for three areas in which Overlap between the fencing and dancing seem possible. For the first, these are shared technical terms, the second general movement styles or other styles that appear in both arts and are characteristic of a particular culture or nation, and third generally accepted rules and methods for describing movements.
Some of the results of the article will be presented briefly below.
seem
First fencing and dancing in principle to have much in common. Both are very demanding, and motor demand from practitioners especially at the beginning unusual and sometimes unnatural movements, the first with the progress Mastery of the relevant art to be understood and perfected. Properties as the feeling of the correct distance and timing, body balance and skill required of both arts equally.
There are also examples of this was a fencing also a dance teacher. Giovanni Ambrosio Valcheria, a Milanese, briefed the son of the Count of Savoy in both disciplines, and Giovanni Battista Varade also led Milan to a school for fencing and dancing in Milan and Rome. Of the two, but there are no written records.
If one looks at the sources this time, there are explicit similarities rather rare, but some clues arise yet. Similarities in the terminology found in the footfall of the double-step ("zwifache trit", the fencing master Joachim Meyer), who also dancers of that time was familiar, and in the principle of contra tempo (the fencing teacher Fabris and others and the dance teacher Negri). A common teaching aspect is the description of figures and movements and resulting sequences at Di Grassi, the Negri and Caroso in similar form for dance use. The fencing master Henry de Sainct Didier uses numbered footfall in his books to describe processes. This form is, however, there shall in no dance book of this period (until the 19th century) and very sparsely in only a few English sources. A total contrast is the case with the illustrated many books, fencing and dance floors of fencing and dance halls. This shows in both cases, an area of floor tiles in perspective (sometimes plain, sometimes embellished way of ornament). This type of representation was likely to orientation and classification of movements.
In conclusion: A very important training for dance teachers Caroso is in his work when he points to the different shapes, like the sword dancing is to be worn properly.
the full article "Parallel between fencing and dancing in the late sixteenth century treatises "(pdf) read
He distinguishes his essay for three areas in which Overlap between the fencing and dancing seem possible. For the first, these are shared technical terms, the second general movement styles or other styles that appear in both arts and are characteristic of a particular culture or nation, and third generally accepted rules and methods for describing movements.
Some of the results of the article will be presented briefly below.
seem
First fencing and dancing in principle to have much in common. Both are very demanding, and motor demand from practitioners especially at the beginning unusual and sometimes unnatural movements, the first with the progress Mastery of the relevant art to be understood and perfected. Properties as the feeling of the correct distance and timing, body balance and skill required of both arts equally.
There are also examples of this was a fencing also a dance teacher. Giovanni Ambrosio Valcheria, a Milanese, briefed the son of the Count of Savoy in both disciplines, and Giovanni Battista Varade also led Milan to a school for fencing and dancing in Milan and Rome. Of the two, but there are no written records.
If one looks at the sources this time, there are explicit similarities rather rare, but some clues arise yet. Similarities in the terminology found in the footfall of the double-step ("zwifache trit", the fencing master Joachim Meyer), who also dancers of that time was familiar, and in the principle of contra tempo (the fencing teacher Fabris and others and the dance teacher Negri). A common teaching aspect is the description of figures and movements and resulting sequences at Di Grassi, the Negri and Caroso in similar form for dance use. The fencing master Henry de Sainct Didier uses numbered footfall in his books to describe processes. This form is, however, there shall in no dance book of this period (until the 19th century) and very sparsely in only a few English sources. A total contrast is the case with the illustrated many books, fencing and dance floors of fencing and dance halls. This shows in both cases, an area of floor tiles in perspective (sometimes plain, sometimes embellished way of ornament). This type of representation was likely to orientation and classification of movements.
In conclusion: A very important training for dance teachers Caroso is in his work when he points to the different shapes, like the sword dancing is to be worn properly.
the full article "Parallel between fencing and dancing in the late sixteenth century treatises "(pdf) read
0 comments:
Post a Comment