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B027990 - HISTORY OF DANCE AND PANTOMIME
Main information
Teaching Language
Course Content
Suggested readings
Learning Objectives
Prerequisites
Teaching Methods
Further information
Type of Assessment
Course program
Academic Year 2020-21
Course year
Third year - Second Semester
Belonging Department
Humanities (DILEF)
Course Type
Single education field course
Scientific Area
L-ART/05 - PERFORMING ARTS
Credits
6
Teaching Hours
36
Teaching Term
22/02/2021 ⇒ 28/05/2021
Attendance required
Yes
Type of Evaluation
Final Grade
Course Content
show
Course program
show
Lectureship
Mutuality
Course teached as:
B003529 - STORIA DELLA DANZA E DEL MIMO
3-years First Cycle Degree (DM 270/04) in STUDIES IN ARTS, MUSIC AND THEATER
B003529 - STORIA DELLA DANZA E DEL MIMO
3-years First Cycle Degree (DM 270/04) in STUDIES IN ARTS, MUSIC AND THEATER
Teaching Language
Italian
Course Content
The course analyzes the basis of the history of dance, deepening the theatrical and the representative features, through a chronological view which examines the decisive circumstances, from the Greek society to the XXth century.
Suggested readings (Search our library's catalogue)
Di Tondo-Pappacena-Pomtremoli, Storia della danza in Occidente, Roma, Gremese, 2015, voll. I-II-III (testo di riferimento).
M. PADOVAN, Il Quattrocento e il Cinquecento. Il Ballo: spettacolo di corte e spettacolo della corte, in Storia della danza italiana dalle origini ai nostri giorni, a cura di José Sasportes, Torino, EDT, 2011, pp. 1-68.
C. PAGNINI, Costantino de’ Servi: architetto-scenografo fiorentino alla corte d'Inghilterra (1611-1615), Firenze, Società Editrice Fiorentina, 2006 → cap. III.2 La sfida al sistema: la spettacolarità di corte nell’Inghilterra del ‘600 (pp. 168-198).
C. PAGNINI, Gasparo Angiolini, voce in AMAtI. Archivio Multimediale Attori Italiani, ideato e diretto da S. Ferrone (online)
[questo materiale è scaricabile nella classe virtuale di Moodle].
F. PAPPACENA, La danza classica. Le origini, Roma-Bari, Laterza, 2009, capp. I, II e III.
M. PADOVAN, Il Quattrocento e il Cinquecento. Il Ballo: spettacolo di corte e spettacolo della corte, in Storia della danza italiana dalle origini ai nostri giorni, a cura di José Sasportes, Torino, EDT, 2011, pp. 1-68.
C. PAGNINI, Costantino de’ Servi: architetto-scenografo fiorentino alla corte d'Inghilterra (1611-1615), Firenze, Società Editrice Fiorentina, 2006 → cap. III.2 La sfida al sistema: la spettacolarità di corte nell’Inghilterra del ‘600 (pp. 168-198).
C. PAGNINI, Gasparo Angiolini, voce in AMAtI. Archivio Multimediale Attori Italiani, ideato e diretto da S. Ferrone (online)
[questo materiale è scaricabile nella classe virtuale di Moodle].
F. PAPPACENA, La danza classica. Le origini, Roma-Bari, Laterza, 2009, capp. I, II e III.
Learning Objectives
The course aims to provide students with general criteria for the historiographical classification of dance art, from its origins to the twentieth century.
Knowledge and understanding: acquisition of an adequate conceptual framework relative to the importance of the dance phenomenon in all the political and civil activities of the time, in relation to the history of the social and cultural changes of the centuries analyzed, in the light of a specific research methodology and study of the sources.
Applying knowledge and understanding: advanced knowledge of scientific sources and methodology related to the history of dance and its specific language.
Making judgements: acquisition of basic critical-analytical skills in the history of dance.
Communication skills: use of the specific terminology of the history of dance in relation to the formal and ideological codification investigated centuries ago.
Learning skills: development of the interpretative and critical capacity, both with regard to the sources for the history of dance and the neighboring disciplines, and with regard to the contents and phenomena studied, always investigated in relation to the historical, social and cultural context of the chronology faced.
Knowledge and understanding: acquisition of an adequate conceptual framework relative to the importance of the dance phenomenon in all the political and civil activities of the time, in relation to the history of the social and cultural changes of the centuries analyzed, in the light of a specific research methodology and study of the sources.
Applying knowledge and understanding: advanced knowledge of scientific sources and methodology related to the history of dance and its specific language.
Making judgements: acquisition of basic critical-analytical skills in the history of dance.
Communication skills: use of the specific terminology of the history of dance in relation to the formal and ideological codification investigated centuries ago.
Learning skills: development of the interpretative and critical capacity, both with regard to the sources for the history of dance and the neighboring disciplines, and with regard to the contents and phenomena studied, always investigated in relation to the historical, social and cultural context of the chronology faced.
Prerequisites
The students must have attended the courses of the first year, especially the courses of History of theatre and performing arts (first year) and Modern history.
Teaching Methods
The lessons are supported by multimedial instruments, like iconographical slides and videos.
Further information
The course directly refers on Moodle for the integration of the multimedia contents, of the research materials and programmes and of any sort of communications from the professor.
Type of Assessment
Oral examination. Students must demonstrate they assimilated the foundations of the discipline, the critical and interdisciplinary guidelines proposed by the teacher during the lectures; it is also required the ability to comment on the multimedia materials showed to the students during the course, in addition to the institutional and monographic parts. The oral examination usually presents various questions about the main arguments proposed during the course and the acquired competence on the bibliography, which is complementary to the frontal lessons.
If the exam presents a large number of candidates, the professor may decide to propose a preliminary written examination, with 4 open questions, based on the general topics of the course, followed, if necessary, by an oral integration.
If the exam presents a large number of candidates, the professor may decide to propose a preliminary written examination, with 4 open questions, based on the general topics of the course, followed, if necessary, by an oral integration.
Course program
1) Dance as the first form of communication: the primitive populations.
2) Dance in the ancient world: the greek society and the idea of theatre. Dance in the roman society: places and occasions. Histryo and actor. The Pantomime.
3) Dance in the Middle Age: the passage from the ancient world to the medieval society. Profane and sacred representations. Dance in the courtly society: the repertoire. The macabre dance.
4) Dance in the Fiftheenth Century: dance in the court and dance of the court. The dancing master and the manuscript treatises by Domenico da Piacenza, Guglielo Ebreo da Pesaro and Antonio Cornazzano. The choreutic repertoire. The court ball. The reppresentative ball (Moresca, Sobria, Gelosia).
5) Dance in the Sixteenth Century: the dance manuals. The repertoire from Caroso’s and Negri’s treatises. The theatrical dance, the florentine intermedio and its influence toward the hybrid spectacle in the European courts: the French ballet de cour and the English masque. The influence of the spectacular model of the Medici: the English court of James I and his wife Anna of Denmark. The codification of the Queen’s Masques.
6) The codification of dance in the Seventeenth Century: the political ideology of Louis XIV. The foundation of the Académie Royale de Danse and the institution of the academic dance by Pierre Baeuchamp. Jean-Baptiste Lully and his collaboration with Molière e Beauchamp in the creation of the comédie-ballet.
7) The reform of dance in the Eighteenth Century. The state of dance in the end of the Seventeenth Century. The criticism of the intellectuals of the Enlightment. The father of the reform of the ballet d’action: Franz Anton Hilverding. The pioneers of the reform of dance and musical opera in Wien: Gasparo Angiolini, C.W. Gluck, R. de' Calzabigi. The reformed pantomime ballet: Angiolini’s “Don Juan” (1761). Angiolini’s poetic. The querelle between Angiolini and Noverre. The consequences of the reform: virtuoso dance and pantomime dance.
8) The pre-romantic ballet: “La Fille Mal Gardée” (J. Dauberval, 1789). Toward the expressive ballet: the virtuosity and the new technic of the dance on pointe. The forerunners: Marie Camargo and Maria Taglioni. The “Ballet des Nonnes” in Mayerbeer’s “Robert le Diable” : the debut of the new technique of stage. Filippo Taglioni, choreographer and manager. Maria Taglioni, the first romantic étoile and the improvement of the expressive virtuosity. “La Sylphide” and “Giselle” : resemblances and differences.
9) The romantic ballet outside Paris: Marius Petipa and the “refrom” of the romantic ballet in Russia. Biography and main productions. His collaboration with Ciaikovskij: The Sleeping Beauty, The Nutcraker, Swan Lake.
10) The rift of the Twentieth Century: Delsarte’s “Applied Aestethics” and the revolution of the free dance (Loie Fuller, Isadora Duncan, Ruth St. Denis). The continuity with the academic tradition: the neo-classicism of the Ballets Russes.
2) Dance in the ancient world: the greek society and the idea of theatre. Dance in the roman society: places and occasions. Histryo and actor. The Pantomime.
3) Dance in the Middle Age: the passage from the ancient world to the medieval society. Profane and sacred representations. Dance in the courtly society: the repertoire. The macabre dance.
4) Dance in the Fiftheenth Century: dance in the court and dance of the court. The dancing master and the manuscript treatises by Domenico da Piacenza, Guglielo Ebreo da Pesaro and Antonio Cornazzano. The choreutic repertoire. The court ball. The reppresentative ball (Moresca, Sobria, Gelosia).
5) Dance in the Sixteenth Century: the dance manuals. The repertoire from Caroso’s and Negri’s treatises. The theatrical dance, the florentine intermedio and its influence toward the hybrid spectacle in the European courts: the French ballet de cour and the English masque. The influence of the spectacular model of the Medici: the English court of James I and his wife Anna of Denmark. The codification of the Queen’s Masques.
6) The codification of dance in the Seventeenth Century: the political ideology of Louis XIV. The foundation of the Académie Royale de Danse and the institution of the academic dance by Pierre Baeuchamp. Jean-Baptiste Lully and his collaboration with Molière e Beauchamp in the creation of the comédie-ballet.
7) The reform of dance in the Eighteenth Century. The state of dance in the end of the Seventeenth Century. The criticism of the intellectuals of the Enlightment. The father of the reform of the ballet d’action: Franz Anton Hilverding. The pioneers of the reform of dance and musical opera in Wien: Gasparo Angiolini, C.W. Gluck, R. de' Calzabigi. The reformed pantomime ballet: Angiolini’s “Don Juan” (1761). Angiolini’s poetic. The querelle between Angiolini and Noverre. The consequences of the reform: virtuoso dance and pantomime dance.
8) The pre-romantic ballet: “La Fille Mal Gardée” (J. Dauberval, 1789). Toward the expressive ballet: the virtuosity and the new technic of the dance on pointe. The forerunners: Marie Camargo and Maria Taglioni. The “Ballet des Nonnes” in Mayerbeer’s “Robert le Diable” : the debut of the new technique of stage. Filippo Taglioni, choreographer and manager. Maria Taglioni, the first romantic étoile and the improvement of the expressive virtuosity. “La Sylphide” and “Giselle” : resemblances and differences.
9) The romantic ballet outside Paris: Marius Petipa and the “refrom” of the romantic ballet in Russia. Biography and main productions. His collaboration with Ciaikovskij: The Sleeping Beauty, The Nutcraker, Swan Lake.
10) The rift of the Twentieth Century: Delsarte’s “Applied Aestethics” and the revolution of the free dance (Loie Fuller, Isadora Duncan, Ruth St. Denis). The continuity with the academic tradition: the neo-classicism of the Ballets Russes.