Court dance
The history of dance is directly connected with the history of customs, although each period obviously conceived its own dance forms and dance styles.
Already in the 13th century a division into two clearly distinct currents can be observed in dance: the calm one (in double time) and the lively one (in triple time), and the 15th century sees a division into gliding and lively dances. The former (basses danses) became the groundwork for the stately court dances, while the lively dances (hautes danses) were characterized by a clearly folk provenance.
With time court dance became a refined
entertainment, a valued skill which on social occasions
presented a good opportunity to converse and make acquaintances.
The agility with which one could manipulate the sword, the hat, the
cape, or the abundant folds of a dress enabled one to present the
splendour of the costume. Dance didn’t merely fulfill the
role of physical exercise, but was mainly to teach
grace and elegance of movement, and constituted an
indispensable element in the teaching of courtly
refinement.
Gradually, with its development, court dance moved away
from the saltare (from Italian ‘to jump, to
frolic’) towards dancing in accordance with the rules of
ballare or sophisticated movement subordinate to
specified norms. The procession in couples became a formal parade
aimed at promulgating splendor, and the dance of a single couple
was now a stylized love pantomime. The rich ceremonial of the
knight expressing his love and respect for his sweetheart brought
about not only a whole gamut of bows and kneels but also
the principal rules of social etiquette.
Some more spectacular forms which brought together
elements of music, dance, pantomime, juggling and recitation also
appeared at the knight courts of 14th century Italy.
Masquerades (momeris or mommons) became popular,
too.
The decline of the Middle Ages (15th century)
brought, among others, the term ‘ballet’ (from
Italian balletto – a dance spectacle) into dance history
and choreographers known by name. First
theoretical works were also written on the subject of dance, such
as the treatise De arte saltandi et choreas
ducendi (‘On the Art of Dancing and Directing Choruses’)
by Domenico da Piacenza, working at the turn of the 14th
and 15th centuries.
In court dances of the Renaissance two styles dominated:
the French and the Italian.
Thoinot Arbeau described the French style in his
treatise of 1588. Thanks to him we know today of the repertory of
ballets of that time, and can precisely recreate the steps and
figures present in dances performed at the French court.
According to Arbeau the most representative dances were the pavane
and the basses danses. During a ball the processional pavane danced
in slow tempo was usually followed by the lively and technically
complex galliards and gavottes. Here the dancers could present
their skills (solo or in a duo), by improvising as well. Branles,
which had an exceedingly folk-entertainment character, were danced
together in a semi-circle. The ball repertoire did not lack the
lively and frivolous volta and the exotic moresque, either.
During the reign of Catherine de Medici, Italian-style
dances permeated into France. In this period the first
dance-theatre performances could also be observed - there both
courtiers and sovereigns themselves took part. The Italian dance
style with all its wealth and variety of step sequences can be
recreated today thanks to the extant treatises by two dance
masters: Cesare Negri and Fabritio Caroso. The repertory of an
Italian ball resembled the French one, but the mode of dancing
differed materially here. Often, the number of dancers in
individual choreographies changed, the sophisticated and precise
figures ruled out improvisation, and the lightweight costume made
it possible to perform the dances with accuracy and finesse.
Dance flourished dramatically at the French court during
the reign of Louis XIV. The newly emerged style of the
time, the so-called belle dance (or noble dance), radiated onto all
European courts, exerting its influence over them. At balls and
theatrical performances new dance forms appeared. The minuet
prevailed, pushing out the old courante. The chaconne, the
saraband, the gigue, the passacagle and the rigaudon came into
fashion.
The founding of the Royal Academy of Dance in 1661
considerably raised the level and rank of the dance art. Centred
around the Academy were masters who, apart from training
professional dancers, were also occupied with the codification of
the principles of dance movement. They very precisely described
specific positions, steps and figures used in dance. The work of
the Academy made it possible for professional dance, so admired by
audiences during ballet spectacles and theatre performances, to
flourish.
At the French court a specific variety of a theatrical
spectacle grew out of the basis provided by the
Renaissance concept of the fusion of the arts. The spectacle was
presented during festive occasions wherein dance played a
prevailing role. The court ballet (or ballet de cour) met
the aspirations of the court as a centre for sumptuous
entertainment and presented a chance for splendid homages to be
paid. Also the king, the addressee or initiator of the marvelous
processions, masquerades, music and dance intermedia, could use
this opportunity to present himself to his subjects from his most
becoming side.
At the beginning of the 18th century new dance treatises
were compiled by esteemed masters of this art: Pierre Rameau and
Raul Auger Feuillet. The innovative and precise system of
step notation (and also figures) used by both allows us to
accurately recreate choreographies of Baroque dances today. The
composition of these arrangements was based on the rules of
symmetry: dancers moved within the space according to complex
geometrical drawings. The style of noble dance was characterized by
graceful and charming movements of the arms and the hands. The high
level of dance technique made it possible to perform a richer and
richer step ornamentation, leading to ever-higher levels of
virtuosity. Towards the end of the 18th century court
dance entered the bourgeois salon, encompassing a wider and wider
social strata within its scope.