Mar 24, 2021
Diagramm zu ‘Gestentanz’, 1926 by Oskar Schlemmer
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Diagramm zu ‘Gestentanz’, 1926 by Oskar Schlemmer
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Words cannot describe how excited I am about Ratmansky's Giselle. They don't even come close!
Diagram III to illustrate chapter, “The application of mathematics to human movement.” The renaissance of the Greek ideal.1922.
Much depended on musicality, and Feuillet noted the music for each figure he traced at the top of the page, and also divided his decorative curves into distinct segments, each containing movement for a specific musical measure. Eschewing ostentatious flourishes, dancers prized subtle cadences and rhythmic tensions sustained and resolved in refined and discerning ways. Musical acuity depended on a receptive body, finely calibrated and prepared to react to even the faintest musical cues. Every limb and nerve ending had to be alive and ready to act.
“Apollo’s Angels: A History of Ballet”
- on ballet at Louis XIV’s court in the late 1600′s
(via How Do You Write Down a Dance?)
Remy Charlip and the Problems of Dance Notation
“Dance notation, the symbolic representation of human movement, has developed into systems for making graphics recognizable as living movement. Traditional dance notation marks a path through space and a relationship to music. As Edward Tufte writes in Envisioning Information (1990), “Systems of dance notation translate human movements into signs transcribed onto flatland, permanently preserving the visual instant.” It’s a question of “how to reduce the magnificent four-dimensional reality of time and three-space into little marks on paper flatlands.” Dance never looks the same twice, unless it’s on film.”
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FUCK YOU, STEPANOV! FUCK YOU AND YOUR STUPID NOTATION!
It finally happened.
I am completely, irreversibly out of touch with reality.
Watching Doug Fullington’s reconstruction of shade variations from La Bayadere while checking the whole thing with the actual record in stepanov notations and be able to see the mistakes...
There.
This is my life from now on apparently.
In this spirit, the king ordered Beauchamps to invent 'a way of making dance understood on paper.' It was a crucial step: without notation, French dance would necessarily remain a local entertainment; with it, French ballet masters could send their dance abroad and reach an international clientele (couturiers similarly sent dolls modelling the latest Parisian fashions). The idea was to notate steps, but not necessarily whole ballets or productions: even productions that were performed many times were not as fixed as they are today, and dancers routinely changed steps or took a favourite dance from one ballet and inserted it into another.
“Apollo’s Angels: A History of Ballet”