Following the advice of some of my colleagues, and after I recorded a little bit .... I would like to offer you the history of dance as it is ... evolved over the years ... Then we take a trip back in time ... in time of the dance!!
Dance is defined by Curt Sachs: the mother the arts. In the most ancient civilizations, it is always a factor in the life of a social group. Primitive man expressed any fundamental dancing community events: births, deaths, marriages. The dance is primitive warrior dance, dance magic, dance, sacred dance of fertility is still an activity that has always ritual character, which arises as a representative of the events of the life of the tribe. In the archaic society is essential to its value as a mode of expression of religiosity, its existence as a form of contact with the unknown, superhuman with the laws that govern the cycles of nature: it is the language used by primitive man to express the irrational , the trascendente.Nella our Western civilization, which is based on a rationalist culture, abstract, mathematicizing, once scientific and technological developments, the artist has the task of conveying to others what eludes the artificial structure of reality that man is built to dominate the environment that circonda.La Western theatrical dance, namely the spectacular manifestation of this art, conceived and structured to be represented in front of an audience in the history of European culture of four centuries is mostly identified with the classical form of ballet, a genre that has taken on a specific aspect from the point of view of motion modules adopted (the academic technique of ballet) and from the structural point of view (a certain conception of the choreographic design, the relationship dance - staged) and finally from the perspective of the issues addressed (the contents fable, the themes of evasion of reality) . It is important to note that only the early twentieth century it has been challenged by the current renewal of theatrical dance that goes by the name of "modern dance". This current is not equivalent to a single style of dance: on the contrary, it is a trend which will include a variety of techniques and styles. But the different experiences of modern dancers can be placed in a current unit, because of the sources they have in common: that to say the same determination to find the original forms of expression, beyond the artificial and static patterns imposed by the long tradition of ballet classico.Dal formal point of view, the cultural tradition of the ballet consists of a code of movement defined and structured in accordance with rules set: the technique of classical ballet is made up of steps, figures and locations, encoded in a fixed vocabulary of movement patterns. The confirmation of this traditional technique is therefore in a formal language that exists before the dancer, not the artist to create their own code, but vice versa is the code to form the artist. This issue is of fundamental importance to clarify the differences more decisive between classical ballet and modern dance: while the former always uses a single language, the second vice versa consists of a multiplicity of different languages, as each artist creates his code to comunicare.Vi is therefore a continuous trend to return to the body its actual size of free creatività .A this regard, however, requires a fundamental consideration: to speak of two distinct parts of the self, body and spirit, is equivalent to the full acceptance of the secular Christian postulate that separates the individual soul and body, without Learn to see the continuity. The dance, in its broadest sense and spontaneous, is the radical negation of this dualism, which had the crucial role of conditioning much of the thought and culture occidentali.Basta a look at the history of dance in order to understand how this form of expression has suffered the influence of a morality that for centuries have imposed the contempt and frustration from the fisico.A Fall of the Roman Empire we see a depletion of extreme forms of dance since the fourth century, during the period of the Christian emperors, all activities of theater and dance is considered immoral and are denied baptism to all those who assist or participate. In 398, the Council of Carthage, threatened with excommunication for those who attend theater and bank holidays. St. Augustine calls the dance "wanton folly, my word." In the context of evolution aesthetic spirit that marks the transition from medieval to classical culture of the fourteenth century, the dance of avoidance begins to flourish again in the "dance songs" thirteenth century, which are performed in Italian and French courts, this resurgence is just one aspect of the new cultural trends. In the sixteenth century, the dance begins to transform into a ballet, in the event that self-organized according to very specific aesthetic, choreographic schemes governed by and intended for performance in front of an audience. This form of play, which starts off in Italy, is defined in accordance with rules aiming to research. differentiation more pronounced against all forms of dance indiscriminata.Mentre instinctive and therefore the assets of folk dance will be almost unchanged over the centuries (and of course in substance not in form, which on one side inevitably suffers the influence of civilization, and the other at least partly influenced by the systematic tax to dancing by the cultural needs of the ruling classes), dance Journal, is now considered worthy of having his story and his ballets teoria.I the sixteenth and seventeenth century have a dual function: on one hand are the means of escape for the principles of the time, hobbies empty, frivolous entertainment courtiers who find their expression in carnival mask or bland satirical allegory, on the other, their fundamental purpose is to be the servile flattery Prince, the praise stesso.Nel end in 1661 Louis XIV founded the Académie Royale de Danse, this is the golden age of the academies, which also saw the birth of the Academie Francaise for the language and the Academie Francaise de Peinture for painting. This phenomenon, in the dance as well as in other fields, would eventually separate into an increasingly stressed the technical component, instead of being merely a means to reach a different result, would become an end in stessa.Nasce a new sense of movement banning all forms of dance from the roughness. Do not rely on anything impulse and improvisation: what matters is the perfect design on the basis of a theoretical pre-code. He was born so the ballet classico.Da this time the most illustrious of Western theatrical dance began to build his story: a story in which the dance is primarily an aesthetic phenomenon that tends to ignore the significant events of life in the concrete sense, taking shape as a 'art of escapism reserved for an elite of this culture.
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