Dance is a recurring theme in the culture of the modern world and without doubt belongs to the permanent component, while its roots reach to the Middle Ages.
In today's article I would like to present part of the thesis Marty Zagórowskiej-Acerboni, Fri: 'Dance in Poland the fourteenth and fifteenth centuries against the background of a European', which appeared in 1997 in the collective work edited by Roman Crooked - 'Seminars Staropolskie. Literature in cultural contexts. "
I. Dance in Europe, fourteenth and fifteenth centuries.
Ballroom dancing.
beginning ballroom dance in the Middle Ages can be dated to the end of the tenth century, when it started to develop and establish some form of dance, the initial secular dances performed to entertain (as distinct from cultural dances) for women and men. There were the two main types: yards and dancing hand in hand. Rej lay in the fact that the chain of dancers was moving in a circle holding hands (with reju closed) or not (at reju open). Almost always accompanied by his song, which usually begin guide. With time yards broke up into pairs, add facial expressions, which led to the inclusion of new elements-diversity gestycznych steps and movements of men and women, changing places, phrases. Dancing one pair, sometimes three - the dancer and the two dancers - a pantomime of love in nature, which consisted of bows, cross-race, orbit, etc., usually with the accompaniment of songs. Song of the dance, ballad, or a roundabout with equal stanzas, the first dancer performing or dancing minstrel. At the beginning of the yards, and the dances danced in pairs at a castle in the sediments of the craft, in the villages. In the countryside, vividly dancing and jumps, the castles and the calmer and more seriously - but without significant differences. Gradually, however, occurred at a castle in the dance more stylized elements, which bind to the advent of the troubadours, troubadours, minnesingerów. Their art also had a huge impact on the development of dance. (...)
dance evolved so in a sophisticated form of social relations. Dancing in the pair turned into a complicated love pantomime, involving the game looks, bows, touch your hand partner, escapes, races and to transform partners. Rej turned into a full of elegance and seriousness of the processional march. The dances have become a favorite pastime of the knights, as required on the occasion of any events at the castle: feasts, weddings, baptisms, and in making their guests. Ended and tournaments. Led them troubadours, mostly przygrywając the lute and singing songs. In the thirteenth century there was already a big difference between folk dance - or ruota Ballata pantomimicznymi the scenes - and courtly dances - discordo (...). (...) Folk dancing was lively, vivacious, with the rhythm of almost raw, and the court - a soft, slow, suwany, gentle rocking to the rhythm. First he expressed joy, Sealed energy, while the second was the result of study, education, labels and intellectual sophistication. The dance village were present even echoes of ancient jumping, magic rituals, the court was dominated by a hierarchy of dance, ceremonial, symbolic gestures, has choreography, conventionalized during a long period of activity of the troubadours. (...) But these two environments were able to exchange experiences. Manor, spontaneous fun watching the countryside, absorbed something from the fresh and raw originality Dance Collective. However, the village could draw something of the courtly dance forms of individual and collective forms of sophisticated and distinguished, with the elements already formed a pantomime. In the twelfth and thirteenth century formed Ballata - very trendy and by the next century, especially during the 'maików'. It was a form of dance parlor game, with verses duly adjusted to the rhythm of dance and movement, or procession of dancing circles. Fun was to appropriate to the situation chanting rhymes and rhymes, and then repeated by the choir at the wheel of emergency phrases. Rhythm feet najzwinniejsi dancers did pirouettes and somersaults. (...)
In the thirteenth century began to scratch the dwuczęściowość within a dance because of the tempo, meter and character. The first phase was exceeded, a peaceful march, while the other was a lively, vibrant, cheerful, much faster. In general, the first part - whether a roundabout or carole Estampie - was performed for the serious songs. After that followed a lively and cheapen the accompaniment of instrumental viola, flute and drum. This could be espringale, Saltarello or virlei. The musicians played from memory - written tablature served them only as an aid to improvise a few bars stored - Often adapting music to the wishes of the dancers. Couples proceeded step stąpanym, dosuwanym, running, or podskokami przytupem a straight line or circular. As in the first part of the pair went on reju, so the second part was characterized by pairs of solo feats, the mutual handling, reversal and retreat. Partner partner holding the wrist or arm. Already the first examples of the dance, we find the features that differentiate and danza ballo, the people and the court, playing the ceremony in the rural towns, so alta danza - three parts, energetic, lively, dance (ballo) Traditional - from the bassa danza - bipartite, done quietly, close to the ground, or dance (danza), stylized art. The combination and bassa alta danza was born suite (suite). The first form of suites from the end of the fourteenth century, consisted of him alternately Saltarello and Piva (...) or bassa danza, then pavana. Saltarello was, as usual all the dancing, jumping, very happy, exuberant, with a considerable share of pantomime. Bassadanza, 'dancing queen' - on the contrary, was a kind of ceremonial parade, a spectacular procession of court. Danced it down, step suwanym (...). Lent itself well to dancing court, choreographic stylization, was born on the basis of this early type of suite, with the first Italian teachers of dance. It was they who turned the old art forms and danze Balli from the fourteenth century, which in the fifteenth century, joined the volta, Furla, chiarantana - folk dances, which at the end of the century birth gagliardy factor, typical of Italian Renaissance, a lively dance rhythm.
At that time, refer to the sources of dance, which in the mid-seventeenth century was the classical dance. A particularly important role in its development, particularly for the birth of ballet, played interpenetration of the typical elements of folk and courtly environment and mixing characteristics chrakterystycznych for some dances with distinct elements of pantomime: Moresca, canario, mattacino, Brando. Gradually, they transformed the dance interludes and episodes of classic comedy, creating a kind of autonomous performance, which preceded the ballet. (...)
recommend the full article: Marta Zagórowska - Acerboni, 'Dance in Poland in the fourteenth and fifteenth centuries against the European' , which is at work: ' Seminars Staropolskie. Literature in cultural contexts, p. 163-196. Editorial Collective Crooked Romana, Warsaw 1997
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