Читать книгу The Art of Ballet онлайн

77 страница из 98

ssss1

In considering di Botta’s elaborate feast, and Beaujoyeux’s “ballet,” one is struck by their similarity to the English “disguisings” and masques, which, first introduced to the Court of Henry the Eighth in 1512 as a novelty from Italy, only began to assume definite literary form about a century later. That century contributed towards the development of scenic effect.

In studying Arbeau’s manual of contemporary dance and music, one is struck by another thing: he is dealing with a social amusement of the upper classes. The dances he describes were mainly the proper accomplishment of the well born, or were such of lower origin as might with adaptation become worthy of performance by more courtly dancers. It is certain he does not describe all the types of dance known to his period. The old Provençal “Rigaudon” which was later to come into such favour owing to Camargo, is not referred to by Arbeau; nor the languorous “Sarabande,” which was probably of Moorish origin derived through Spain—or possibly earlier through Augustan Rome; the lively “Chaconne” is another omission; the “Tresca” yet another. These, and perhaps others, must have existed in Arbeau’s time and long before; but would be among the traditional amusements of the people, and were not yet elected to the company of courtly dances.