The libretto makes no clear or implied reference to a soloist, but simply notes the dancers in Act IV as four male Ethiopians, four male and four female sailors led by Mademoiselle Subligny, who is a plausible candidate for solo as well as group dances. The libretto names Mademoiselle Guyot as a female sailor, along with four male and four female sailors, which strongly suggests that she danced solo at some point in that scene.
The and librettos each list four male dancers as Sacrificers, so it seems that dance of some sort took place. It is tempting to imagine that choreographed pursuit and combat occurred during these instrumental interludes, and perhaps throughout the entire scene, but the scores give no instructions.
They continue in this way through another four poses, at which point the dance ends. There were certainly plenty of people on stage at the time: The dance has the dotted rhythms and other musical characteristics of the first section of a French overture. Or perhaps the men danced the Air and the women joined in the dancing during the final choral reprise, bringing the opera to a close with both dance and song contributing to the general celebration.
Rebecca Harris-Warrick has noted that while in each case the notation indicates that duos were danced, the scores and librettos indicate the presence on stage of a group of dancers. So how might each notated duo have related to the larger group of dancers? Yet another possibility is that the group danced at the same time as the duo, but behind them or in a semi-circular or square formation around them, sometimes static, sometimes dancing simpler steps or different patterns. Both are notated as solos and both, as it happens, represent dances performed by Mademoiselle Subligny.
There is nothing in the notation to suggest that these dances were for larger numbers of dancers—no evidence of abridgement or rearrangement, no obvious spatial impossibilities. But we must allow the possibility that these dances, as well as other notated theatrical dances, represent group dances that were reduced to solos or duos, whether for legibility or for enhanced marketability.
- Journal of Seventeenth-Century Music.
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Perhaps their star status helped sell notations. The Passacaille Video 2 undoubtedly functions choreographically as a duet, and gives every appearance of having been built that way; for example, the dancers move in axial symmetry—that is, around one another—for roughly half the dance, and only occasionally do they direct their attention toward the public.
Would this sense of privacy in the Passacaille, this lack of focus toward the public, work as well in a group dance? What about the evidence, suggested by the librettos of other works, that passacailles were usually performed by groups of dancers? Perhaps Balon and Subligny did dance the Passacaille as notated, but with others on stage also dancing during parts of it.
The other dancers might have performed the same steps at the same time as the leading couple, or they might have joined in with similar or simpler steps at appropriate moments in the music, or at moments in the choreography in which the duo opens its focus toward the public, facing forward and moving in mirror symmetry.
Table 2 shows a hypothetical distribution between duo and group dance in the Passacaille, with group dancers moving mainly during tutti sections in the music, during which mirror-symmetrical sections of the choreography always occur.mlsit.ru/includes
Journal of Seventeenth-Century Music
For the various productions from onwards, the librettos and the later record published by Parfaict identify some of the dancers concerned, but not consistently. The score indicates meter and musical form of dances, but gives no information about the number or arrangement of dancers; and the later scores give little if any new information about the later productions. Many of his choreographies, whether for ballroom or for theater, were set to music by Lully. He has taught early dance at workshops in Europe, Canada, and the United States, and his choreographies and dance reconstructions have been shown at festivals from Copenhagen to Vancouver.
Her research interests include the work of French and English dancers for the London stage, and she is currently preparing an edition of dances and dance notations made during the s by F. Librairie des Bibliophiles, ; reprint, Hildesheim: Olms, , 1: Ballard, ; reprint, Broude International Editions, Ballard, , is described in Carl B.
A critical edition has been based on LLC Lambert, ; reprint of ed.
Slatkine, , 4: Ballard ; reprint, Geneva: Slatkine, Schmidt, CLE 7 , preface, 1: Laaber, , — Guignard, ; reprint, Geneva: Houry, ; reprint, Bologna: Forni, , Schwartz and Christena L. SDHS, , — Le Mariage de la Grosse Cathos Cambridge: Brunet, , 67—84, cited in Meredith E. Little and Carol G. Marsh, La Danse Noble: Broude Bros, , LMC Selma Jeanne Cohen [Oxford: Oxford University Press, ], s. Bonnet, 67, gives the same passage with minor variants of wording.
Mariette, , available online at http: Elles les marquent dans leur danse aussi-bien que les hommes. Brunet, , —65 passim. The scene was Act I, scene 4, in the production at Saint-Germain-en-Laye, , and the cast listed for this scene in the libretto includes Beauchamp as soloist, with eight other male dancers: Cadmus et Hermione Paris: Baudry, ; Schmidt, LLC Fayard, , Ballard, Schmidt, LLC The Amsterdam librettos of and and the Paris libretto of LLC, , were also consulted.
A score published by Ballard in is available at https: References to named dancers in the and librettos are confirmed by entries in Parfaict, 4: Sources and Interpretations , ed. Institute of Advanced Musical Studies, , 55— On the repetition of the music the dancers move into symmetrical patterns as the oboe band shifts upstage and into other formations Harris-Warrick and Marsh, Musical Theatre , — SDHS, , 96— The Work of F. The march in Le Mariage de la grosse Cathos is played twice through as an entrance for the entire cast, and then one more time as a dance for the dancers alone Harris-Warrick and Marsh, Musical Theatre , —7.
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John Hadju Heyer Cambridge: Cambridge University Press, , Wolrab, , 2: Both libretto and full score were published in the year of the premiere Paris: Baudry, , 56 Act IV, scene 3 ; it is available at http: Fiancailles d'un soir, Barbara McMahon En proposant a Nick Bailey de se faire passer pour son fiance le temps d'une soiree, Molly a seulement l'intention de faire taire de deplaisantes rumeurs qui circulent a son sujet.
Elle est loin d'imaginer que ces fiancailles d'un soir vont prendre une toute autre tournure et qu'elle va se retrouver irremediablement liee a l'arrogant homme d'affaires.
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She returned there when she married, and her sons were both born on Anglesey, an island off the coast. Though not isolated, Anglesey is a little off the beaten track, but lively Dublin, which Kim loves, is only a short ferry ride away. Today they live on the farm her Though lacking much authentic Welsh blood, Kim Lawrence comes from English-Irish stock. Today they live on the farm her husband was brought up on. Welsh is the first language of many people in this area and Kim's husband and sons are all bilingual she is having a lot of fun, not to mention a few headaches, trying to learn the language!
She is a keen gardener and cook and enjoys running often on the beach, as living on an island the sea is never very far away.
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