Get 20M+ Full-Text Papers For Less Than $1.50/day. Start a 14-Day Trial for You or Your Team.

Learn More →

Kenneth King, Writing in Motion, Body – Language – Technology

Kenneth King, Writing in Motion, Body – Language – Technology 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 – confidently – 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 – especially for the man. Summing up Santucci’s 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 ‘old’ dances) how to appreciate his inventiveness, his own additions and modifications to them, for the dancing master made clear on a number of occasions that he was ‘modernising’ 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, http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Dance Research Edinburgh University Press

Kenneth King, Writing in Motion, Body – Language – Technology

Dance Research , Volume 23 (1): 80 – Apr 1, 2005

Loading next page...
 
/lp/edinburgh-university-press/kenneth-king-writing-in-motion-body-language-technology-OGks0kiDzW

References

References for this paper are not available at this time. We will be adding them shortly, thank you for your patience.

Publisher
Edinburgh University Press
Copyright
© Edinburgh University Press
ISSN
0264-2875
eISSN
1750-0095
DOI
10.3366/drs.2005.23.1.80
Publisher site
See Article on Publisher Site

Abstract

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 – confidently – 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 – especially for the man. Summing up Santucci’s 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 ‘old’ dances) how to appreciate his inventiveness, his own additions and modifications to them, for the dancing master made clear on a number of occasions that he was ‘modernising’ 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,

Journal

Dance ResearchEdinburgh University Press

Published: Apr 1, 2005

There are no references for this article.