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tried, in his passeggi (dance steps in short, rapid phrases), to develop a similar repertoire of variant examples so that the dancer, having learned and memorised this body of material, can then â conï¬dently â improvise at will. She demonstrates how the mutanze (complex series of intricate dance steps or combinations of steps) are usually performed solo on the spot, and are developed by Santucci from relatively simple variations into truly virtuosic examples â especially for the man. Summing up Santucciâs distinctive contribution to the practice of dancing, Sparti highlights his conservatism as compared to the work of Caroso, for example. His choice of choreographies is strangely old-fashioned, showing that Santucci was working within a continuing, unbroken Italian tradition. But, as Sparti argues, this choice was deliberate, since it enabled Santucci to show his reader/student (who would have known these âoldâ dances) how to appreciate his inventiveness, his own additions and modiï¬cations to them, for the dancing master made clear on a number of occasions that he was âmodernisingâ his text. This approach allows Sparti to demonstrate that Santucci (although still evidently immersed in the style of Caroso and Negri) in some of the innovative steps he adopted,
Dance Research – Edinburgh University Press
Published: Apr 1, 2005
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