Hostname: page-component-cd9895bd7-gbm5v Total loading time: 0 Render date: 2024-12-21T11:34:41.207Z Has data issue: false hasContentIssue false

Decorum and Desire: Dance in Renaissance Europe and the Maturation of a Discipline*

Published online by Cambridge University Press:  20 November 2018

Jennifer Nevile*
Affiliation:
University of New South Wales

Abstract

Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Review Essay
Copyright
Copyright © Renaissance Society of America 2015

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

Footnotes

This essay is dedicated to the memory of Barbara Sparti (1932–2013), who contributed so much to the development of early dance, and who never stopped questioning the boundaries of the discipline.

References

Anglo, Sydney. “The Barriers: From Combat to Dance (Almost).” Dance Research 25.2 (2007): 91106.10.3366/drs.2007.25.2.91CrossRefGoogle Scholar
Anglo, Sydney. L’escrime, la danse et l’art de la guerre: Le livre et la représentation du mouvement. Paris, 2011.Google Scholar
Arcangeli, Alessandro. “La danza nell’antiquaria rinascimentale.” In Danza, cultura e società (2007), 6674.Google Scholar
Baudière, Marie. “The Carrousel of 1612 and the Festival Book.” In Dynastic Marriages, ed. McGowan (2013a), 8393.Google Scholar
Bridgeman, Jane, ed. and trans. A Renaissance Wedding: The Celebrations at Pesaro for the Marriage of Costanzo Sforza and Camilla Marzano d’Aragona 26–30 May 1475. Turnhout, 2013.Google Scholar
Brooks, Lynn Matluck. The Dances of the Processions of Seville in Spain’s Golden Age. Kassel, 1988.Google Scholar
Brooks, Lynn Matluck. The Art of Dancing in Seventeenth-Century Spain. Juan de Esquivel Navarro and His World. Lewisburg, 2003.Google Scholar
Burden, Michael, and Thorp, Jennifer, eds. Ballet de la Nuit. Hillsdale, 2009.Google Scholar
Chatenet, Monique. “The Carrousel on the Place Royale: Production, Costumes and Décor.” In Dynastic Marriages, ed. McGowan (2013a), 95113.Google Scholar
Choné, Paulette. “The Dazzle of Chivalric Devices: Carrousel on the Place Royale.” In Dynastic Marriages, ed. McGowan (2013a), 155–63.Google Scholar
Danza, cultura e società nel Rinascimento italiano. Ed. Eugenia Casini Ropa and Francesca Bortoletti. Macerata, 2007.Google Scholar
Daye, Anne. “‘The power of his commanding trident’: Tethys Festival as Royal Policy.” Historical Dance 4.2 (2012): 1928.Google Scholar
d’Espèrey, Patrice Franchet. “The Ballet d’Antoine de Pluvinel and the Maneige Royal.” In Dynastic Marriages, ed. McGowan (2013a), 115–36.Google Scholar
Fenlon, Iain. “Competition and Emulation: Music and Dance for the Celebrations in Paris, 1612–1615.” In Dynastic Marriages, ed. McGowan (2013a), 137–53.Google Scholar
Forging European Identities, 1400–1700. Ed. Herman Roodenburg. Cambridge, 2007.Google Scholar
Forrest, John. The History of Morris Dancing, 1458–1750. Toronto, 1999.10.3138/9781442681453CrossRefGoogle Scholar
Franko, Mark. The Dancing Body in Renaissance Choreography (c. 1416–1589). Birmingham, AL, 1986.Google Scholar
Franko, Mark. Dance as Text: Ideologies of the Baroque Body. Cambridge, 1993.Google Scholar
Franko, Mark. “The King Crossed-Dressed: Power and Force in Royal Ballets.” In From the Royal to the Republican Body: Incorporating the Political in Seventeenth- and Eighteenth-Century France. ed. Sara E. Melzer and Kathryn Norberg, 6484. Berkeley, 1998.Google Scholar
Franko, Mark. “Fragment of the Sovereign as Hermaphrodite: Time, History, and the Exception in Le Ballet de Madame .” Dance Research 25.2 (2007): 119–33.10.3366/drs.2007.25.2.119CrossRefGoogle Scholar
Garden, Greer, ed. La Délivrance de Renaud: Ballet dansé par Louis XIII en 1617 / Ballet Danced by Louis XIII in 1617. Turnhout, 2010.Google Scholar
Kant, Marion. “German Dance and Modernity: Don’t Mention the Nazis.” In Rethinking Dance History: A Reader. ed. Alexandra Carter, 107–18. New York, 2004.Google Scholar
Knecht, R. J. “Water Festivals of the Reign of Charles IX of France.” In Waterborne Pageants and Festivities in the Renaissance: Essays in Honour of J. R. Mulryne. ed. Margaret Shewring, 6777. Farnham, 2013.Google Scholar
Knox, Dilwyn. “Gesture and Comportment: Diversity and Uniformity.” In Forging European Identities (2007), 289307.Google Scholar
Kociszewska, Ewa. “War and Seduction in Cybele’s Garden: Contextualizing the Ballet des Polonais .” Renaissance Quarterly 65.3 (2012): 809–63.10.1086/668302CrossRefGoogle Scholar
Le Roux, Nicolas. “Henri III and the Rites of Monarchy.” In Europa Triumphans, ed. Mulryne, et al. (2004), 1:116–21.Google Scholar
McCleave, Sarah, ed. Dance and Music in French Baroque Theatre: Sources and Interpretations. London, 1998.Google Scholar
McGinnis, Katherine Tucker. “At Home in the ‘casa del Trombone’: A Social-Historical View of Sixteenth-Century Milanese Dancing Masters.” In Proceedings of the 20th Annual Conference of the Society of Dance History Scholars, 19–22 June 1997. compiled by Linda J. Tomko, 203–16. Riverside, 1997.Google Scholar
McGinnis, Katherine Tucker. “Your Most Humble Subject, Cesare Negri Milanese.” In Dance, Spectacle, and the Body Politick, 1250–1750. ed. Jennifer Nevile, 211–28. Bloomington, 2008.Google Scholar
McGowan, Margaret M.Festivals and the Arts in Henri III’s Journey from Poland to France (1574).” In Europa Triumphans, ed. Mulryne et al. (2004), 1:122–29.Google Scholar
McGowan, Margaret M. Dance in the Renaissance: European Fashion, French Obsession. New Haven, 2008.Google Scholar
McGowan, Margaret M. La danse à la Renaissance: Sources livresques et albums d’images. Paris, 2012.Google Scholar
McGowan, Margaret M., ed. Dynastic Marriages 1612/1615: A Celebration of the Habsburg and Bourbon Unions. Farnham, 2013a.Google Scholar
McGowan, Margaret M. “Literary Traditions and Their Afterlife.” In Dynastic Marriages, ed. McGowan (2013b), 165–77.Google Scholar
Mulryne, J. R., and Elizabeth Goldring, eds. Court Festivals of the European Renaissance: Art, Politics and Performance. Aldershot, 2002.Google Scholar
Mulryne, J. R., Helen Watanabe-O’Kelly, and Margaret Shewring, eds. Europa Triumphans: Court and Civic Festivals in Early Modern Europe. 2 vols. Aldershot, 2004.Google Scholar
Nevile, Jennifer. “Cavalieri’s Theatrical Ballo ‘O che nuovo miracolo’: A Reconstruction.” Dance Chronicle 21.3 (1998): 353–88.10.1080/01472529808569323CrossRefGoogle Scholar
Nevile, Jennifer. The Eloquent Body: Dance and Humanist Culture in Fifteenth-Century Italy. Bloomington, 2004.Google Scholar
Nevile, Jennifer. “‘Rules for Design’: Beauty and Grace in Caroso’s Choreographies.” Dance Research 25.2 (2007): 107–18.Google Scholar
Nevile, Jennifer. “Dance and Identity in Fifteenth-Century Europe.” In Music, Dance, and Society: Medieval and Renaissance Studies in Memory of Ingrid G. Brainard. ed. Ann Buckley and Cynthia J. Cyrus, 231–48. Kalamazoo, 2011.Google Scholar
Nocilli, Cecilia. Coreografare l’identità: La danza alla corte aragonese di Napoli (1442–1502). Turin, 2011.Google Scholar
Nordera, Marina. “The Exchange of Dance Cultures in Renaissance Europe: Italy, France and Abroad.” In Forging European Identities (2007), 308–28.Google Scholar
Nordera, Marina. “Sulle tracce del Peri Orcheseos di Luciano a Napoli negli anni Settana del secolo xv.” In Passi, tracce, percorsi (2012), 3343.Google Scholar
Padovan, Maurizio, ed. Guglielmo Ebreo da Pesaro e la danza nelle corti italiane del xv secolo. Pisa, 1990.Google Scholar
Passi, tracce, percorsi: Scritti sulla danza italiana in omaggio a José Sasportes. Ed. Alessandro Pontremoli and Patrizia Veroli. Rome, 2012.Google Scholar
Pontremoli, Alessandro. “La sapienza dei piedi: Pensiero teorico e sperimentazione nei trattati italiani di danza del xv secolo.” In Danza, cultura e società (2007), 3447.Google Scholar
Pontremoli, Alessandro. “Fra mito e storia: Le origini della danza nei trattati coreici del quattro e cinquecento.” In Nascità della storiografia e organizzazione dei saperi. ed. E. Mattioda, 233–58. Florence, 2010.Google Scholar
Pontremoli, Alessandro, and Patrizia La Rocca. Il ballare Lombardo: Teoria e prassi coreutica nella festa di corte del xv secolo. Milan, 1987.Google Scholar
Ralph, Richard, ed. Dance Research 15.2 (1997).10.2307/1290950CrossRefGoogle Scholar
Ravelhofer, Barbara, ed. Terpsichore 1450–1900: Proceedings of the International Dance Conference, Ghent, Belgium, 11–18 April 2000. Ghent, 2000a.Google Scholar
Ravelhofer, Barbara. “Introduction.” In Louange de la Danse/In Praise of Dance by B. de Montagut, ed. Barbara Ravelhofer, 181. Cambridge, 2000b.Google Scholar
Ravelhofer, Barbara. The Early Stuart Masque: Dance, Costume, and Music. Oxford, 2006.Google Scholar
Ravelhofer, Barbara. “Ancient Greece, Dance, and the English Masque.” In The Ancient Dancer in the Modern World: Responses to Greek and Roman Dance. ed. Fiona Macintosh, 211–23. Oxford, 2010.Google Scholar
Roodenburg, Herman. “Dancing in the Dutch Republic: The Uses of Bodily Memory.” In Forging European Identities (2007), 329–60.Google Scholar
Sánchez Cano, David. “Festivities during Elizabeth of Bourbon’s Journey to Madrid.” In Dynastic Marriages, ed. McGowan (2013a), 3955.Google Scholar
Savage, Roger. “Checklists for Philostrate.” In Court Festivals of the European Renaissance: Art, Politics and Performance. ed. J. R. Mulryne and Elizabeth Goldring, 294307. Aldershot, 2002.Google Scholar
Savage, Roger. “The Staging of Courtly Theatre: 1560s to 1640s.” In Europa Triumphans, ed. Mulryne et al. (2004), 1:5774.Google Scholar
Smart, Sara. “The Württemberg Court and the Introduction of Ballet into the Empire.” In Europa Triumphans, ed. Mulryne et al. (2004), 2:3545.Google Scholar
Sparti, Barbara. “Introduction.” In, De practica seu arte tripudii / On the Practice or Art of Dancing by Guglielmo Ebreo da Pesaro. ed. and trans. Barbara Sparti, 372. Oxford, 1993.Google Scholar
Sparti, Barbara. “Introduction.” In Ballo della gagliarda by Lutio Compasso. 527. Facsimile, Freiburg, 1995.Google Scholar
Sparti, Barbara. “Historical Introduction and Commentary.” In Mastro da ballo, 1614 by Ercole Santucci. 197. Facsimile, Hildesheim, 2004.Google Scholar
Sparti, Barbara. “Irregular and Asymmetric Galliards: The Case of Salamone Rossi.” In The Sights and Sounds of Performance in Early Music: Essays in Honour of Timothy J. McGee. ed. Maureen Epp and Brian E. Power, 211–28. Farnham, 2009.Google Scholar
Sparti, Barbara. “‘Oh, East Is East, and West Is West, and Never the Twain Shall Meet’: La ricerca teorica e la pratica della danza storica: Strade divergenti?” In La disciplina coreologica in Europa: Problemi e prospettive. ed. Cecilia Nocilli and Alessandro Pontremoli, 153–67. Rome, 2010.Google Scholar
Sparti, Barbara. “The Danced Moresca (and mattaccino): Multiformity of a Genre: From the Palaces of Cardinals and Popes to Enactments by Artisans in the Streets of 17th-Century Rome.” In Early Modern Rome 1341–1667. ed. Portia Prebys, 324–30. Ferrara, 2011.Google Scholar
Sparti, Barbara. “Moresca and Mattaccino: Where are the Spanish Antecedents? Where are the Moors?” In Passi, tracce, percorsi (2012), 1731.Google Scholar
Thorp, Jennifer. “Dances and Dancers in the Ballet de la Nuit.” In Ballet de la Nuit, ed. Michael Burden and Jennifer Thorp (2009), 1934.Google Scholar
Treadwell, Nina. Music and Wonder at the Medici Court: The 1589 Interludes for La pellegrina. Bloomington, 2008.Google Scholar
Turocy, Catherine. “La cosmografia del minor mondo: Recovering Dance Theory to Create Today’s Baroque Practice.” In Dance on Its Own Terms: Histories and Methodologies. ed. Melanie Bales and Karen Eliot, 157–74. New York, 2013.Google Scholar
van Orden, Kate. Music, Discipline and Arms in Early Modern France. Chicago, 2005.Google Scholar
Wilson, David R. The Basse Dance Handbook: Text and Context. Hillsdale, 2012.Google Scholar
Zerner, Henri. “Looking for the Unknowable: The Visual Experience of Renaissance Festivals.” In Europa Triumphans, ed. Mulryne, et al. (2004), 1:7598.Google Scholar