| 22 декабря 2008 |
| 02:10 - Шаги и фигуры в танцах
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Набросаю небольшой обзор, а то в самом деле, чем отличается шаг полонеза от вальсового променада или па-де-бурре в прихоти мистера Бэвериджа? Надо разобраться...
итак... какие же описания шагов нам нужны...
1. шаг полонеза
2. шаги вальса
- балансе
- променад
- круговые - вальс французский начала 19с
- круговые - вальс в три шага
3. шаги в КД (тут большой список, частично уникальный)
4. шаги мазурки
- первое па мазурки
- другие па
5. шаг польки
6. па-де-баск
7. па-де-бурре
8. глиссе
9. шассе, жете, ассембле
10. па марше
11. шаг польки-редовы
12. поклоны
Тут будет черновик, так удобнее, потому что работаю над танцами то дома, то на работе.
1. шаги (па) кадрилей и контрдансов начал 19 века:
1.1. pas jete
Начальная позиция правая нога впереди, слегка согнута в колене, вес на правой ноге. Левая нога сзади правой, колено согнуто в сторону, носочек оттянут и смотрит в пол. На затакт (счет "и") одновременно делается прыжок вверх на правой ноге и энергично выносится во 2ую позицию левая нога (обе ноги выпрямлены, носочки вытянут). На счет "раз" нужно приземлиться на левую ногу и согнуть ее в колене, а правую подвести к левой сзади вытянув носочек в пол.
Конечная позиция зеркальна начальной.
1.2. pas assamble
То же, что и предыдущее, но приземление идет на обе ноги в 5ую или 3ю позицию.
How to dance the revived ancient dances. By Ardern Holt - Bring the foot from an open to a closed position--from the second position to the fifth, for example.
1.3. pas chasse
Начальная позиция 3я, правая нога впереди. На "и" поднимаемся на полупальцы, на "раз" делается шаг правой ногой на полную стопу в 4ю позицию, она слегка сгибается в колене. На "и" подтягивается левая нога в 3ю позицию сзади, одновременно с подъемом на полупальцы. На "два" вновь делается шаг правой ногой вперед в 4ую позицию на полную стопу, слегка согнув колено. На следующее "и" левая нога подтягивается в 1ую позицию с поднятием на полупальцы. Следующий шаг делается с левой ноги.
Источник: Максин А. Изучение бальных танцев. М., 1839 г.
По конспекту Евгении Солениковой
http://midguard.borda.ru/?1-10-0-00000064-000-0-0-1223888080
2. Па де буре
(описания Яны Воиновой)
Существует в варианте и на 3, и на 4 счета.
Исходное положение: ноги в 1ой позиции; вес на одной ноге (например, левой); свободная нога на па де пье (нога слегка согнута в колене за счет того, что пятка оторвана от пола, колени выворотно!)
На три счета
Затакт: плие (вертикальное! снижение) на опорной (левой) ноге
1 счет: шаг на полупальцы правой ноги,
2 счет: шаг на полупальцы левой ноги,
3 счет: шаг на полупальцы правой ноги, плие на правой ноге и т.д.
На четыре счета
Затакт: плие (вертикальное! снижение) на опорной (левой) ноге
1 счет: шаг на полупальцы правой ноги,
2 счет: шаг на полупальцы левой ноги,
3 счет: шаг на полупальцы правой ноги,
4 счет: подвести свободную ногу к щиколотке опорной ноги не снижаясь, плие на правой ноге и т.д.
Снижаемся для того чтобы выше подняться, а не чтобы ниже провалиться.
3. pas marche – этот шаг делается также как и обычный человеческий шаг, но ступать нужно с носка и стремиться сразу же перенести вес на ступающую ногу.
Позиции ног бывают обычные и воздушные/поднятые (aerial). Aerial позиции бывают:
низкая (low): носок поднятой ноги находится на уровне ахилла опорной ноги;
нормальная (normal): поднятая нога находится на уровне середины голени опорной ноги;
высокая (high): поднятая нога находится на уровне колена опорной ноги
Счет тактов в риле: удобно такт рила рассчитывать как 2/4. Получаем или | 1 2 | 3 4 | и т.д., или | 1 & 2 & | 3 & 4 & | etc.
Steps for the ladies
Balancing
И.п.: правая нога выводится в 4-ую высокую позицию.
Такт 1: перепрыгиваем на правую ногу, ставя ее в 5-ую позицию спереди, при этом левая нога уходит в 4-ую высокую позицию сзади (счет '1'), перепрыгиваем на левую ногу (в 5-ую сзади),
при этом выводы левую ногу в 4-ую высокую позицию (счет '2').
Такты 2 - 7: повтор такта 1.
Примечание: в начале изучения движения имеет смысл разобрать движение без прыжков, добавив прыжки, когда движение ног хорошо усвоено.
Single Balance
И.п.: правая нога выводится в 4-ую высокую позицию.
Такт 1: перепрыгиваем на правую ногу, ставя ее в 5-ую позицию спереди, при этом левая нога уходит в 4-ую высокую позицию сзади (счет '1'), хоп на правой ноге, при этом левая нога уходит в 4-ую высокую позицию спереди (счет '2').
Такт 2: перепрыгиваем на левую ногу, ставя ее в 5-ую позицию спереди, при этом правая нога уходит в 4-ую высокую позицию сзади (счет '3'), хоп на левой ноге, при этом правая нога уходит в 4-ую высокую позицию спереди (счет '4').
Такты 3-7: повтор тактов 1 и 2 поочередно.
Примечание: для всех изучения шагов очень важно хорошее чувство равновесия. Надо учитывать распределение веса между ногами при изучении шагов. Основой все достижений в степовых танцах является просто умение хорошо стоять на одной ноге, когда вторая нога движется.
Double Balance
И.п.: правая нога выводится в 4-ую высокую
э позицию.
Такт 1: перепрыгиваем на правую ногу, ставя ее в 5-ую позицию спереди, при этом левая нога уходит в 4-ую высокую позицию сзади (счет '1'), перепрыгиваем на левую ногу, ставя ее в 5-ую позицию сзади, при этом правая нога уходит в 4-ую высокую позицию спереди (счет '2'),
Такт 2: перепрыгиваем на правую ногу, ставя ее в 5-ую позицию спереди, при этом левая нога уходит в 4-ую высокую позицию сзади (счет '3'), хоп на правой ноге, при этом левая нога уходит в 4-ую высокую позицию спереди (счет '4').
Такты 3-7: повтор тактов 1 и 2, начиная поочередно с левой и правой ног.
Pas de Basque
И.п.: ноги по 5-ой позиции, правая нога спереди.
Такт 1: перепрыгиваем на правую ногу, ставя ее во 2-ую позицию (счет '1'), приставляем левую ногу в 5-ую позицию спереди и приподнимаемся на ней (счет '&'), ударяем правой ногой, ставя ее в 5-ую позицию сзади (счет '2')
Такт 2: перепрыгиваем на левую ногу, ставя ее во 2-ую позицию (счет '3'), приставляем правую ногу в 5-ую позицию спереди и приподнимаемся на ней (счет '&'), ударяем левой ногой, ставя ее в 5-ую позицию сзади (счет '4').
Такты 3-7: повтор тактов 1 и 2, поочередно с правой и левой ноги.
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| Комментарии |
| _gonZ |
22 декабря 2008 11:38
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Модератор
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QUOTE чем отличается шаг полонеза от вальсового променада или па-де-бурре в прихоти мистера Бэвериджа
У меня сложилось такое представление:
вальс. променад - 1 шаг - на полную стопу, 2,3 - на полупальцах;
па-де-бурре - 1,2 шаги - на полупальцах, 3 - на полную стопу;
шаг полонеза - 1 шаг - на полную стопу, 2,3 - на полупальцах, при этом 3 в деми-плие (слегка присесть на опорной ноге).
Как-то так.
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| Jennifer |
22 декабря 2008 12:07
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Приключенец
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_gonZ
Относительно полонеза мне всегда казалось, что на полную стопу 3 шаг.
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| _gonZ |
22 декабря 2008 12:51
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Модератор
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Да, про полонез наврал. Собственно, есть же вполне понятное описание. Взять, да посмотреть.
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| Arthur de Gorn |
22 декабря 2008 13:33
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Приключенец
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Ага.. там только ссылка на современную книгу в качестве источника, что само по себе "удовлетворительно", но не "отлично". В рунете полная каша на тему этого шага, что ни сайт - то свое описание. В попытке понять - почему так, надо копать первоисточники.
Например, есть вот такая "подсказка" отсюда http://www.irisclub.ru/articles_5_16-%E2%E...EB%EEi%E5c.html
Кстати, мы танцуем по версии на первую половину 19с.
Источники: Клемм, Бернгард. Новейший самоучитель к изучению общественных и художественных танцев. СПб, 1884 г.; Ивановский И. П. Бальный танец XVI-XIX вв. Л.-М., 1948 г.
Реконструирован Евгенией Солениковой.
(взято с villanella.ru)
Шаг полонеза первой половины 19 века.
Глиссе правой ногой, переходящее в плие (небольшое приседание на ноге). Шаг на полупальцы левой ногой, шаг на полупальцы правой ногой. Все повторяется с левой ноги.
Шаг полонеза эпохи модерна.
Шаг правой ногой на полупальцы, шаг левой ногой на полупальцы, шаг правой ногой на полную стопу. Все повторяется с левой ноги.
Стоит отметить, что полонез должен танцеваться плавно, без задержки между шагами.
Положение танцующих.
Развернуты лицом по направлению движения, корпуса чуть откинуты в стороны друг от друга, кавалер предлагает даме правую руку, дама лишь слегка касается ее пальцами левой руки. Кавалер не должен тащить даму или сжимать ее руку.
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| Arthur de Gorn |
03 февраля 2009 12:08
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Приключенец
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Па де бас - Pas de basque
Танцевальный шаг басков.
Посмотрим, как его описывают в 19 веке
Тут Coulon's hand-book; containing all the last new and fashionable dances ... By Coulon .. мы узнаем, что он бывает вперед, с поворотом 180 градусов.
Тут How to dance the revived ancient dances. By Ardern Holt.. он бывает вперед и назад.
Гилберт в своем мануале Round dancing пишет
Pas de Basque (pard bask). A step of Basque. It had its origin among the people of the province of Basque, in the south of France.
Описание:
Музыка: 2\4 (это полька) или 6\8 (это джига)
Шаг вперед.
Stand upon the left foot, with the right in 3d or 5th, slightly raised. Describe an arc of a circle with the right foot, by passing it out to 2d and around to 3d or 5th behind (demirond
de jumbebe), and leap from the left to the right foot (jeté), and almost simultaneously slide (glissé) left forward (4th), & 1, draw right to left,3d or 5th behind, placing weight on right foot, slightly raising left (coupe dessous), 2; one measure.
Repeat, commencing with left foot. It will be seen that demi-rond de jambé and jeté, which precede glissé, like a grace note in music, receives no count. Demi-rond de jambé may be made with the foot raised or on the floor. The knees should bend freely, in accordance with the natural inclination of the body. One should become familiar with the above movements, before attempting their use in other directions.
Шаг назад.
Stand upon the left foot, with the right in 3d or 5th behind, slightly raised. Describe an arc of a circle with right foot, and when it reaches 3d or 5th in front, leap from left to right, and almost simultaneously slide left backward (4th behind), & 1; draw right to left 3d or 5th, placing weight on right, and slightly raising left, 2; one measure. Repeat, beginning with the left foot.
Шаг в сторону
Stand upon the left foot, with the right in 2d, slightly raised. Draw right foot to left, and when it reaches 1st, leap from the left to the right, and almost simultaneously slide left to side, (2d), & 1; draw right to left, (1st), placing weight on right, at the same time passing left to side (2d), slightly raised 2; one measure, Repeat commencing with the left foot.
Note. The modifications mentioned in connection with the forward movement of pas de basque, are applicable to the backward and side movements.
Шаг в ритме 3\4 (вальс)
Accentuation in 3-4 time. The position at starting, and the movements, are analogous to its accentuation in 2-4 time. In adapting the movements to 3-4 time, each movement may receive a count. To wit: demi-rond de jambé and jeté, I; glissé, 2; coupé dessous, 3; or glissé may be made first, receiving I; coupé dessous, 2; jeté 3. It may also be applied in the following manner; jeté, immediately followed by glissé & I; pause, 2; coupé dessous, 3.
Вальс в стиле па-де-баск
Stand in 1st with weight upon right foot. Leap (jeté) backward (4th), from the right to the left foot, 1; slide (glissé) right to side (2d), 2; drawing left to right (3d behind),* placing weight on left, and slightly raising right (coupé dessous), 3; leap forward from the left to the right foot, (4th), 1; slide left to side, (2d), 2; draw right to left (3d), placing weight on right, 3. Repeat, beginning as at first.
The 1st position may be used.
The order may be reversed, by leaping backward from the left tothe right foot, and sliding left to the side etc.
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| Arthur de Gorn |
03 февраля 2009 14:28
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Приключенец
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How to dance the revived ancient dances. By Ardern Holt.
First of all it is absolutely necessary to realise the different positions--the five positions which are the foundation of all dancing. In describing them we start with the right foot, but the movements would be exactly the same if you chose to begin with the left foot, only, of course, reversed.
1st Position.--Place the heels against each other, the knees and toes turned well out, the legs firm and straight, the body erect and well balanced, standing equally on both feet.
2nd Position.--Pass the right foot to the side to the length of the foot, the weight of the body resting on both feet, the right heel turned forward.
3rd Position.--Bring the heel of the extended foot close to the hollow of the other instep, in the middle.
4th Position.--Move the right toe to the front, the toe pointed, the heel forward.
5th Position.--Let the feet be completely crossed, the heel of one brought to the toe of the other foot.
Now we come to the ordinary steps which occur alike in modern and ancient dancing.
First we have the Pas Marché, the walking step, in which, however, the toe is pointed, and is accompanied by a spring gait, for it is often combined with a jetté and a demi coupé.
Jetté.--1st. Spring forward on the pointed toe of the front foot so that the weight is thrown on it--to do this
bend the knee, and then jump on the foot. 2nd. Bring the toe of the right foot into the third position. 3rd. Advance the right foot, all in very small steps. 4th. Bring the left foot behind into the fifth position and raise the right.
Pas Coupé.--Raise one foot to the second position, then bring it quickly to the other foot, which you would at once raise, hence its name--meaning a step which has been cut away. This to the side is the coupé lateral, the coupé dessous is the same movement executed in the front, but the dessous can be executed behind also. In the demi coupé the step is half made.
Chassé (the skating step).--In this, the feet appear to be chasing each other, close to the ground. Advance front foot, bring the other close up to it behind, then advance the hind foot to the front, with an assemblé round the other foot. First movement, step forward with right foot, bring toe of left to heel of front foot. 3rd. Another step forward, bring back foot to third position with an assemblé, the other foot takes the fifth position in front.
Battements.--Balanced on one foot, the other is extended to the side front or back, and returns to the fifth position, in front, or at the back. In the petit battements the movements are made with the toe on the ground. For theatrical dancing the leg is raised in the battements as high as possible.
Arabesque.--Place the foot in the third position. First movement slide left foot to the second position, turning the face and body in the same direction, the left hand curved above the head. Second movement, right foot well extended behind, the right hand stretched out behind also.
Capriole, or Cabriole.--Is striking the feet or calves of the legs together in the course of a leap. A demi-capriole is a leap from one foot to the other, striking the feet while aloft; another and more detailed description of a capriole is, feet in third position, slide right foot to the side, pass left foot to the back, spring on right foot, turning and leaving the left foot still behind; the fourth movement brings the left foot forward with the right knee to the third position.
Pas Bourrée.--Survives from the old Auvergne dance, which Catharine de Medici loved and introduced into the French Court in 1565. Stand on front foot, the back foot raised. First movement, bring the back foot into the third position on the toes. Second movement, beat the front foot. Third movement, beat back and front feet. In the old books a pas de bourrée is described as a pas marché and a jetté. Another variety is a demi-coupé, two pas marchés, and a fleuret, a fleuret being a demi-coupé, and two walking steps on the tips of the toes. For the pas de bourrée emboité. First movement, advance the right foot to the fourth position, the toe pointed, the knee straight, bring up the left foot to the fourth position, the toe pointed behind the right, advance the right foot with toe pointed to the fourth position, without any rising or sinking of the body, all performed on the toes. Campan and other authorities describe the bourrée step as a coupé and a balancement in two-time, we realise it better as a demicoupé, but it is akin to Fleuret.
Changement de pied.--First movement, spring upwards from the third position with the right foot forward; second movement, throw this back and the left foot forward, dropping down into the third position, the situation of the feet being changed; this can be done in the same manner starting from the fifth position.
Entre-chat.--This occurs in many old dances, during the spring there is a changement de pied, while in the air, the feet cross and recross, and assume various positions; this was so called from the Italian verb intreciata, namely, to interweave.
Pas Sauté.--Is the jumping step either a hop or leap. Bending the knee, hop on one foot, the other being raised.
Pas de Basque.--We own this step to the French province of that name, and it plays an important part in the old dances we are now reviving. From the fifth position bring the right foot forward, with the toe pointed, pass it in a semicircle to the second position, with the weight on the right foot; glissade through the third position into the fourth.
Glissade.--This is, as its name implies, a slide. Slide the front foot from the third position, toe pointed and
slightly raised to the right, bringing the left toe to the right heel, and vice versâ; (1) slide the foot from the third to the second position; (2) draw the left foot into the third position forward and repeat.
Balancé.--Rising and falling on the side of one foot, while the other is brought up close.
The Fleuret.--A movement composed of a demi-coupé and two pas on the point of the toes. Start in fourth position, place right foot in first position without touching the ground, bend both knees equally and pass right foot in front in fourth position, and so rise on the point of the toes and walk two steps on the toes letting the heel be firm as you finish. This can be done also at the back and sides. See Pas Bourrée.
Ballotté.--The feet crossed alternately, before and behind, as in Scotch reels and hornpipes.
Pirouettes.--Turn on one foot or both. Bring one foot to the fifth position behind, the toe touching the heel, raise both heels and turn on the toe, reversing the position of the feet, then revolve on the toe. For a double pirouette do this twice. Another pirouette which occurs in the old dances is a pivot as follows: Revolve on one foot and raise the heel of the other and step with the toe of this foot four times, and so get round the other one. In some of the slow pirouettes the movement seems to consist in raising the foot and jumping round as in some of the country dances.
Echappé.--For this the feet are close together, and jumping lightly they become apart.
Pivot.--Is to revolve on one foot while the other beats time in turning round. See Pirouette.
Assemblé.--Bring the foot from an open to a closed position--from the second position to the fifth, for example.
The mode in which all these steps are carried out in the several measures is shown in the description of the various dances
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| Arthur de Gorn |
03 февраля 2009 15:07
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Приключенец
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The Regency-Era Pas de Basque
In his 1818 dance manual, The Quadrille and Cotillion Panorama, Thomas Wilson provides a list of the ten essential steps for quadrilles (image at left from the second edition, 1822). The last of these is the "PAS DE BASQUÉ." Almack's orchestra leader James Paine (or his ghostwriter), in Paine of Almack's Quadrilles, Set I (n.d., probably late 1810s), agrees that:
"Every Lady and Gentleman desirous of Dancing Quadrilles should be Acquainted with the following Steps, which are but few in Quantity and Extremely facile in their performance."
Last on the list given is "Pas des Basques et Emboité en àrriere."
The anonymous manuscript Contre danses à Paris 1818 likewise lists the pas de basque performed twice (right and left) as a quadrille step.
The utility of the step is obvious: while setting sequences for quadrilles, such as those reviewed in a previous post, are typically a full four bars long (two bars in each direction, right and left), there are a number of quadrille figures which call for only two bars of setting. For such figures, the one-bar pas de basque performed twice (to the right and the left), is a useful option. This is made explicit in the fifth figure of The Lancer's Quadrilles, or Duval of Dublin's Second Set (n.d., but advertised in the Dublin Evening Post on May 1, 1817, according to Philip J. S. Richardson in his 1960 survey, Social Dances of the 19th Century). At one point in the figure the dancers have formed a column of couples (the distinguishing feature of the various Lancers sets) and perform a collective chassé-croisé, with all the ladies moving left and the gentlemen moving right to begin. The instructions for this move are given in French as "chassez partout pas de basque. dechassez pas de basque" and in English as "chassez all across twice, and pas de basque twice." This is not the only sequence given in period sources for a chassé-croisé, but it is particularly friendly in that it permits the dancers to use an easy or well-remembered step sequence (such as one of the ones given in my discussion of chassez-dechassez) for the actual traveling and just "plug in" the pas de basque on each end.
Although not specified in any source I have located, other figures in which a one-bar setting step are useful include setting in transverse lines (four bars, but typically done moving right and left twice, as moving in one direction for a full two bars is impractical in cross formation), as in the third figure of the First Set ("La Poule"); and the fourth figure of the Caledonians, in which the ladies and gentlemen take turns traveling for two bars and setting for two bars. It is also legitimate and easy, though not particularly exciting, to use the pas de basque to fill in a full four bars of setting, as Contre danses à Paris includes in its long list of possible four-bar setting sequences the pas de basque performed four times in sequence (right, left, right, left).
Use in country dances
There is some evidence that the pas de basque was also used in country dances, which have many figures requiring only two bars of setting, including:
Set and change sides with second couple, set and back again.
Set and hands across half round, and back again.
Set and change places with second couple; set and back again.
Set and half right and left with second couple; set and back again.
Thomas Wilson, in his Complete System of English Country Dancing (c1815), notes that in such figures the traveling part of the figure, "employs but half the time allowed in the music, and the setting the other half." Each of the above figures requires eight bars of music total and is split into two halves, with each half consisting of two bars of setting and two bars of travel. There are also figures such as "set three across; set three in your places" in which the traveling comes first and the setting follows, but the same division of two bars for each applies.
Wilson gives steps for only a few of the figures in that manual, and where setting occurs he uses not the pas de basque but the "back step" or "back, or Scotch setting step." Examples include "Retreat and advance" (p. 12) and "Foot corners, or set corners" (p.15). In "Set and change sides," Wilson further explains: "the setting should be performed with two back, or one Scotch setting Step, which requires two bars." Is "back" a misspelled reference to the pas de basque? Is "one Scotch setting step" a sequence of two pas de basque? There is no way to know, and there are certainly other steps that could be described as either "back" or "Scotch."
That dilemma aside, there is firm evidence for the use of the pas de basque in a country dance in another Wilson source. In L'Assemblée, or Forty-Eight Elegant New Dances for the Year 1819, a typical-for-the-period little book of dance tunes with "figures by Mr. Wilson," one tune, "The Bateuse," includes steps with the figures given, perhaps because the tune is an oddity, having a twelve-bar musical strain which does not lend itself to the interchangeable dance figures of the era. Notable is the following figure:
set contrary corners with chassez jette assemblé 2 pass [sic] de basque twice
While Wilson describes "set contrary corners" in Complete System, it is, alas, not one of the figures for which he gives steps, so no cross-check can be done. Given the 1819 date of L'Assemblée, it is possible that the pas de basque was adopted into country dancing from the quadrille.
One of the country dance figures given in the likewise quadrille-influenced Contre danses à Paris also includes the step. "Change sides and set; back again and set" is described as requiring
Two chasses across giving the right hand to your partner. Two Pas de Basque (having faced about). The same back again.
The figure is a rearrangement of the "set and change sides; set and back again" figure given by Wilson.
While I have not yet turned up any further mention of the pas de basque in country dances, its appearance in two different sources of the late Regency era convinces me that its use is at least acceptable, if not the only option.
Performance of the pas de basque
Three early sources (dated 1802, 1818, and 1827) describe the pas de basque. The descriptions, unfortunately, are not consistent with each other. With the significant differences between them, it is hard to know whether they represent different versions of the step (local variations?), errors on the part of one or more of the authors, or a combination of the two.
The clearest description is found in Contre danses à Paris 1818, which explains the step in two different places. In the list of quadrille steps is given:
Pas de Basque
Right in Pos. III or V before close.
Spring it off into Pos II a little back &
Next second, spring L. into Pos. IV before; and
Next second bring up R close into Pos. III or V behind.
Et e contra
The final command (et e contra) is standard language in this source for "repeat to the other side." In the list of setting sequences an even better description is given, this one actually correlating the step with the music. Each "B" below represents a quarter of a bar: "one and two and" would be B. 1-4 below.
Pas de Basque
B.1. In Pos. V Right before. Spring off right into Pos. II a little back.
Slide left into Pos. IV before
Slide up right into Pos. V behind
Rest one second.
Et E. Contra
4 times = 8b
Pos. III is often substituted for Pos. V in this step.
By comparison with other step and figure descriptions in the source, the "B.1." indicates that the sequence takes one bar (two beats); four times through would take eight beats or four bars of music. If one takes "spring off right" to mean "spring off to the right into Pos. II," matching the "spring it [right foot] off into Pos. II" the two descriptions are consistent, producing a sequence as follows:
(starting in third or fifth position, right foot in front)
1 Spring onto the right foot in second position, with the foot a little back
& Bring the left foot into fourth position forward
2 Close up the right foot in third or fifth position behind
& Pause
This is then repeated once more for a two-bar sequence or three more times for a four-bar sequence. The "ONE-and-TWO" rhythm matches that of the chassé step that is the standard traveling step given in sources for both country dances and quadrilles of the era. The angling backward on the spring into second position prevents the dancer from drifting forward when performing two or more pas de basque, though it is still easy enough to do so when required by a figure where the setting needs to actually carry the dancer forward.
The other two descriptions are problematic relative to the above, though they may be more congruent with each other than they appear at first glance.
The earliest source I have located for the pas de basque is A Treatise on Dancing, published in Boston in 1802 and attributed to the pseudonymous Saltator. In a list of steps suitable for all sorts of dances, including country dances and cotillions, Saltator describes a step called "Le Pas et Basque" as a setting step composed of twelve movements: left foot fifth, right foot second, left foot third, right foot fifth, left foot second, right foot third; and all of that repeated. Unfortunately, no timing or correlation with music is offered, though since the movements given divide neatly into four equal parts, it seems reasonable to assume this is the same step (fifth-second-third) described four times in sequence and moving back and forth twice.
This description has the same move to second and close into third as in Contre danses à Paris, but it is preceded by the direction "left foot fifth," which would usually (in Saltator) indicate a move into fifth. This gives a sequence for the step of fifth-second-third, as opposed to second-fourth-third/fifth. It is possible that Saltator meant to indicate a left-in-fifth starting position or an upbeat move, though this is not the case in his other step descriptions and would leave the entire sequence short a step at the end. Or he may have meant to describe a genuinely different sequence of movements; his overall step vocabulary is only partially congruent with that of the later sources, and American dance after years of independence was evolving slightly differently from that in France, England, and Scotland. And, of course, it's possible that Saltator simply erred in writing the description (which I have expanded from his more cryptic original) and got his steps out of order.
The later source, also American, is Le Maitre de Danse, or the Art of Dancing Cotillons, of which I have a copy of the second edition, dated 1827. This is seven years post-Regency, and I do not know the date of publication of the first edition or whether the second edition was revised in any way. But it is close enough in time to warrant at least a look. Conway was a dancer with the Park Theatre in New York as well as a "Professor and Teacher of Dancing." He offers a list of steps including both "Pas de basque" and "Demi pas de basque." The latter, alas, is not described, and I have trouble making sense of his description of the pas de basque:
Place your feet in fifth position, the right foot in front, raise the left foot, put it down in the fifth position, at the same time raise the right, and spring the left foot over it, the same with the right foot.
Interestingly, both this source and Saltator lead with the left foot moving into fifth, though the two differ on starting foot in other steps (the forward chassé step is led left in Saltator, right in Conway). "Raise the right, and spring the left foot over it" is not a feasible sequence, however. Something has been left out of the description or some element of it is in error. A possible interpretation of the step that uses Saltator's version as a guide and interpolates a step onto the right foot after it is raised would be: step or leap into fifth position (left front) while raising the right, step or leap onto the right (sideways?), then spring onto the left foot in front ("over it"). While this is satisfying in that it reconciles the two American sources, it is speculative, and the incompatibility with Contre danses à Paris remains. Because these other sources are American, internally problematic, and dated (respectively) before and after the era (1810s) and places (England, Scotland, France) of my particular focus, I choose at present to follow the description in Contre danses à Paris, and use that version of the step in my teaching and dancing. I might well choose differently were I to be working with specifically American dances, however.
Connections with the modern RSCDS step
While the step given in Contre danses à Paris is not the same as the modern one used in the dances of the Royal Scottish Country Dance Society, today's version appears to descend from that version of the early 19th century pas de basque. The skeleton of the step is similar: step, forward, close, but the execution differs significantly in the details. The modern version replaces the sideways movement of the older step with a hop in place, has a touch of the toe in front with the heel slightly over the instep rather than the full step forward into fourth, and rather than simply closing the feet actually displaces the second foot into the air into a gently elevated fourth position forward. There is also more of "down-up-down" motion than is given in the 1818 description, but such bending and rising might simply have been left out, so it's hard to know whether that is a difference or a simple omission.
A full discussion of the evolution of the pas de basque and the relationship of the period step to its modern counterpart is beyond the scope of this post, but a thorough review of the topic by Yves Guillard, including information on early 20th-century versions of the pas de basque, may be found in the lengthy study "Early Scottish Reel Setting Steps and the Influence of the French Quadrille," which appeared in Dance Studies Vol. 13. (1990). Guillard suggests that the movement of the second foot into fourth position evolved into bringing it into a close fifth or third position, and that the final close evolved into a cut, or displacement, resulting in the characteristic extension of the foot at the end of the modern step.
Special thanks to Keira Sokolowski and Patricia Ruggiero for their explanations of modern RSCDS technique and to the late Patri J. Pugliese for providing me with copies of most of the sources mentioned above.
Posted at 11:38 PM in Country Dance, Quadrilles, Regency/Jane Austen | Permalink
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| Arthur de Gorn |
30 августа 2009 11:47
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Приключенец
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Sur le cou-de-pied (сюр ле ку-де-пье, от франц. "на щиколотке") - положение вытянутой ступни работающей ноги на щиколотке опорной ноги (спереди или сзади).
Опеределение современных балетных школ. Некоторые говорят о том, что положение спереди - условное ку-де-пье. Это положение встречается в танцах 19 века, что там имеется ввиду - сказать пока тяжело. Например шаг мазурки, которые мы танцуем в варшавянке и польке-мазурке состоит из трех частей:
Глиссе, купэ, сюр ле ку-де-пье.
От Фабио:
Па-де-баск в мазурке:
Жете-глиссе (по окружности, не прямое)-купэ.
Каждый элемент выподняется следующей ногой..
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| Arthur de Gorn |
02 сентября 2009 10:28
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Приключенец
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Найдено тут http://www.diary.ru/~trianon/
Кадрили: терминология
En Avant et en Arrière: «вперед и назад». Пары сходятся и расходятся. Если кадриль танцуется на Chassé, Jeté, Assemblé, то: Chassé, Jeté, Assemblé вперед и то же самое назад, при этом Jeté и Assemblé тоже идут спереди назад.
A Droite et à Gauche: «вправо и влево».
Chaîne: Шен по кругу, партнеры меняются местами, подавая руки по очереди.
Chaîne anglaise: Партнеры vis-à-vis подают друг другу правые руки и меняются местами, пары проходят «гребенкой». Затем кавалеры подают левые руки своим дамам и, оборачиваясь в паре, идут на место vis-à-vis (кавалер на последний такт разворачивается лицом в кадриль). Фигура повторяется до своих мест.
Chaîne des Dames: Дамы встречаются в центре правыми руками, меняясь местами; с кавалером вращаются левыми, при этом кавалеры выходят навстречу дамам, подают им левые руки и в паре вращаются до нужных мест, как в Chaîne anglaise.
Traverser: Смена мест.
Balancez: Элемент может выполняться на два такта или на четыре такта.
Balancé на два такта (с правой ноги): «и» - приподняться на левой ноге, «раз» - вывести правую во 2 позицию, опуститься на правую, «два» - привести левую в закрытую позицию, не перенося на нее вес. Второй такт - то же, на левую ногу.
Chassé Croisé: Перекрёстное шассе: кавалер начинает вправо, дама - влево и назад, до своих мест. При этом дама все время проходит спереди.
Dos-à Dos: Квадратом обход спина к спине.
Если кадриль танцуется на Chassé, Jeté, Assemblé то, например: Chassé, Jeté, Glissade Dessous вправо, Chassé назад (спиной или разворачиваясь), Dlissade Dessous влево, Assemblé.
Moulinet: Партнеры подают друг другу правые руки в центре и танцуют по кругу. Если фигура подразумевает возвращение — подают левые и идут на свои места.
Tour de Mains: Поворот за обе руки по часовой стрелке.
Promenade: Пара обходит внутри кадрили круг против часовой стрелки до своего места. Руки держатся корзиночкой, правая рука кавалера сверху.
Рirouette: Движение без продвижения: правая нога ставится взакрест левой, поворот на левой через левое плечо, опираясь на правую ногу. Аналогично с левой ноги – через правое плечо. Пируэты могут быть на 180° и 360°.
Grand: Общий, фигура исполняется всеми одновременно.
Demi: Половина фигуры.
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