tag:blogger.com,1999:blog-52002799597754088252024-03-13T06:09:02.764+01:00TerpsichoreDancing around 1800Seidenweberinhttp://www.blogger.com/profile/15240312833253279064noreply@blogger.comBlogger11125tag:blogger.com,1999:blog-5200279959775408825.post-83620150534738285592013-05-28T23:21:00.000+02:002016-11-05T23:44:09.071+01:00Dances to rehearse<br />
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<span class="Apple-style-span" style="font-family: inherit;">Christian finally managed to obtain the scan of the music score of Sophie von Erlach (maybe my asking the head of museums assistant helped a bit too), so we urgently need to practice.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">The return favour for having access to this source is us giving three Sundays of performances at <a href="https://www.ag.ch/en/bks/kultur/museen_schloesser/schloss_wildegg/wildegg.jsp" target="_blank">Château Wildegg</a>, the first one in August. His friend Esther is currently studying the scores, we have to decide what parts of a quadrille might work on the existing music, and certainly we shall have to practise the valse and the allemande. </span></div>
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<span class="Apple-style-span" style="font-family: inherit;">A wee glimpse from an impromptu dance at the very location (not to live music, but to the famous "push the button to hear some music" installation every museum appears to have). As you can see, we didn't plan to dance, otherwise I would certainly not have worn such a long trained dress with embroidery.</span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-family: inherit; font-size: xx-small;">Experimenting traverses to the music. Picture by E. Caramanna </span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDDPcHF_YdO3WE0W1ggXrYrR1W8iulp0N42MtAFYqc0fHcRPHD-x7xaZz3ceNIqUUqgzjljq8Y42iNWP4ylPE8iqVj2_LB-G6GO9Q7_y3uMSZSHd8CHFH2DPccK1nkLmRDyGVz_2KGreg/s1600/Wildegg4.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDDPcHF_YdO3WE0W1ggXrYrR1W8iulp0N42MtAFYqc0fHcRPHD-x7xaZz3ceNIqUUqgzjljq8Y42iNWP4ylPE8iqVj2_LB-G6GO9Q7_y3uMSZSHd8CHFH2DPccK1nkLmRDyGVz_2KGreg/s320/Wildegg4.jpg" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-family: inherit; font-size: xx-small;">fooling around with Allemande figures. Picture by E. Caramanna</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-mJohB51uLhXitSqGv2xhwG1X7A6ZZyFi0FWWX-5BN_qZ_OXzt9hldYPlthjtooxyflHcJeXi3qaAtaDvr8OCOjJWMDjufBw6tdihluiVbPEoyBggcGP8l3K-Cg26VevYhdNjQZ95kq0/s1600/Malmaison+Dimanche+danser+une+allemande.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-mJohB51uLhXitSqGv2xhwG1X7A6ZZyFi0FWWX-5BN_qZ_OXzt9hldYPlthjtooxyflHcJeXi3qaAtaDvr8OCOjJWMDjufBw6tdihluiVbPEoyBggcGP8l3K-Cg26VevYhdNjQZ95kq0/s320/Malmaison+Dimanche+danser+une+allemande.jpg" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-family: inherit; font-size: xx-small;">In comparison, our first impromptu dance, in Rueil Malmaison. Picture Copyright Joeri de Rocker</span></td></tr>
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Seidenweberinhttp://www.blogger.com/profile/15240312833253279064noreply@blogger.com0tag:blogger.com,1999:blog-5200279959775408825.post-47478110988180226192013-04-20T17:16:00.001+02:002016-11-05T23:45:01.983+01:00Quadrille Workshop and Gravures in Le Bon GenreEarlier this month I've had the great pleasure to attend a stage de danse by Annie Vinot-Leborgne known through her groupe <a href="http://reverences.org/" target="_blank">"Les Révérences"</a> , organised by my friend Christian in Bâle.<br />
If you've ever have a chance to attend a class given by her, don't let it pass. You will discover that, despite being a more or less advanced dancer (I started figure ice-skating aged 6 1/2, and never stopped dancing since), you suddenly develop yet another pair of left feet and the pleasure to sort them out.<br />
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Evidently, I continued to practice the steps, and feel now more or less confident and less muddled when hopping about. Oddly enough, the pictures of the <a href="http://www.britishmuseum.org/system_pages/beta_collection_introduction/beta_collection_search_results.aspx?searchText=le+bon+genre&page=1" target="_blank">Bon Genre</a> started to make more sense, and after having hopped, slided, muddled through figures as diagonal chains in La Poule (In Scottish Country Dance terms: Think chain with corners, Strahtspey-step and some additional hopping...)<br />
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<a href="http://www.britishmuseum.org/collectionimages/AN00100/AN00100900_001_l.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://www.britishmuseum.org/collectionimages/AN00100/AN00100900_001_l.jpg" height="316" width="400" /></a></div>
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<span class="Apple-style-span" style="color: #999999; font-family: "times" , "times new roman" , serif; font-size: xx-small;"><a href="http://www.britishmuseum.org/system_pages/beta_collection_introduction/beta_collection_object_details.aspx?objectId=1341194&partId=1&searchText=le+bon+genre&page=1" target="_blank">by Pierre la Mésangère, published in 1812.<span class="Apple-style-span" style="line-height: 18px;">Plate 43: two couples dancing holding hands in a line. 1812 Hand-coloured etching, British Museum Accession No. </span><span class="Apple-style-span" style="line-height: 18px;">1866,0407.900</span></a></span></div>
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La Poule is one figure in a Quadrille. Early Quadrille are quite dissimilar to their Belle-Epoque counterparts, as they are danced with some complicated steps, what require training. The Term "Quadrille" is usually applied to a dance set of 8 dancers (4 couples), but the same dance can also be danced by 4 dancers, in a "Quadrette". We started of by "Le Pantalon", followed by "L'été", then "La Poule" - the one you see up there, though we've ended all the ladies facing up and the gentlemen facing down, followed by "La Trénis and La Sirie", ending with "L'Austerlitz"</div>
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We danced the Trénis to a tune with audibly took it's inspiration of <a href="http://en.wikipedia.org/wiki/Partant_pour_la_Syrie" target="_blank">"Partant pour la Syrie"</a>what is claimed to be written by Hortense de Beauharnais (or possibly one of her music teachers. Hortense was an accomplished dancer and musician, it's not without cause that the song was attributed to her)</div>
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If you'd like to hear that song, check <a href="http://vimeo.com/1737097" target="_blank">Paula Bär-Gieses's Video</a> (She's delightful).</div>
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Back to La Trénis: As you can see in the picture - the gentleman on the right does the same as we did: wiping his forehead and wondering "How many feet do I have?"</div>
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<span class="Apple-style-span" style="font-family: "times" , "times new roman" , serif; font-size: xx-small;"><a href="http://www.britishmuseum.org/system_pages/beta_collection_introduction/beta_collection_object_details.aspx?objectId=1341311&partId=1&searchText=le+bon+genre&page=1" target="_blank">Accession No:<span class="Apple-style-span" style="color: #666666; line-height: 18px;">1866,0407.880. La Trénis, Contredanse. By PIerre La Mésangère, British Museum</span></a></span></div>
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After the quadrille comes the valse: </div>
Just look at this delightful depiction of waltzing :-)<br />
Annie introduced us to the differences between the valse as depicted by <a href="http://walternelson.com/dr/sites/default/files/Waltz.pdf" target="_blank">Wilson (in 1816)</a> and the modern valse. For me the most striking difference is the lack of the <span class="Apple-style-span" style="font-size: large;">1</span>2<span class="Apple-style-span" style="font-size: x-small;">3</span><span class="Apple-style-span" style="font-size: large;">1</span>2<span class="Apple-style-span" style="font-size: x-small;">3</span><span class="Apple-style-span" style="font-size: large;">1</span>2<span class="Apple-style-span" style="font-size: x-small;">3 </span>what we find in modern dance, but an even 1-2-3-1-2-3-1-2-3. Once mastered, it makes for a rather harmonic dance. Once mastered, mind.<br />
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<a href="http://www.britishmuseum.org/collectionimages/AN00100/AN00100536_001_l.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span class="Apple-style-span" style="font-family: "times" , "times new roman" , serif;"></span></a></div>
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<span class="Apple-style-span" style="color: #666666; line-height: 29px;"><a href="http://www.britishmuseum.org/system_pages/beta_collection_introduction/beta_collection_object_details.aspx?objectId=1341280&partId=1&page=2&searchText=le+bon+genre&images=&people=&place=&from=&fromDate=&to=&toDate=&object=&subject=&matcult=&technique=&school=&material=&ethname=&ware=&escape=&museumno=&bibliography=&citation=&peoA=&plaA=&termA=&sortBy=&view=&page=2" target="_blank"><span class="Apple-style-span" style="font-family: "times" , "times new roman" , serif; font-size: xx-small;">By Pierre la Mésangère, published in 1801, reworked around 1815 to keep up with fashion. Check the site itself, there are links to the other plates. British Museum, Acc. No. 1856,0712.622</span></a></span></div>
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<span class="Apple-style-span" style="font-size: 14px; line-height: 17px;">The Valse (what Wilson calls the French Waltz) is built as followed: Marching, then followed by the Slow Waltz. The Sauteuse succeeds the Slow. Sauteuse can be translated into "hopping" - and hopping it is. The issue for my balance-sense: As the valse is danced in a very small circle with your partner, one is turning constantly and much faster than in a modern waltz - and with the sauteuse the speed improves. After the Sauteuses followes the "Quick" - what had me flattened out on the floor, my poor head was spinning so much!</span><br />
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<tr><td style="text-align: center;"><a href="http://www.britishmuseum.org/collectionimages/AN00100/AN00100643_001_l.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://www.britishmuseum.org/collectionimages/AN00100/AN00100643_001_l.jpg" height="260" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://www.britishmuseum.org/system_pages/beta_collection_introduction/beta_collection_object_details.aspx?objectId=1341252&partId=1&searchText=le+bon+genre&page=1" target="_blank">Again, Pierre La Mésangère, British Museum, Acc. No 1866,0407.882: La Sauteuse: Two couples dance energetically ca 1812</a></td></tr>
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But coming back to the difference between the dances depicted on these delightful gravures and what we are presented with as soon as we watch a TV-drama or a movie: These dances are all danced on the demi-point (not full point as in more modern ballet), but always on the balls, the dances always start from 3rd position. There is no walking about, no slouching, no parade-ground. It's very sportive, very energetic to dance, but for onlookers it the dance looks serene and relaxed (When watching accomplished dancers). If you would like to have a taste of these dances, my best tip would be: Check for a Scottish Country Dance group near you (You will be astonished how many of those are about). While the rhythm isn't quite the same, it will give you the balance, the poise and the mental exercise of dancing in a Quadrille, trains you to dance together (Eye contact. Smiles. Laughter. Fun!), the Strathspey step is similar to the base step we use in Quadrille dancing of 1er Empire.<br />
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And practicing alone in front of a mirror is period too ;-)<br />
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<a href="http://www.britishmuseum.org/system_pages/beta_collection_introduction/beta_collection_object_details.aspx?objectId=1341260&partId=1&searchText=le+bon+genre&page=1" target="_blank"><span class="Apple-style-span" style="font-family: "times" , "times new roman" , serif; font-size: xx-small;"><span class="Apple-style-span" style="color: #666666;">British museum: Accession No </span><span class="Apple-style-span" style="color: #666666; line-height: 18px;"> 1866,0407.873</span></span></a></div>
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Seidenweberinhttp://www.blogger.com/profile/15240312833253279064noreply@blogger.com0tag:blogger.com,1999:blog-5200279959775408825.post-88093692255741652682013-02-26T22:38:00.001+01:002016-11-05T23:44:51.998+01:00How fantastically modern is this?Nothing is as inspiring as having returned from a ball. A discussion there on the possibility of more improvised dancing compared to the formal quadrille and earlier country dances (Contredanses) led to a lady sending me these two images of the Dancer Annette Köbler, painted byBartholomeus Ziesenis in 1812, from the Rijksmuseum.nl<br />
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The paintings reminded me very much of a sketch I've once seen by Gottfried Schadow, of the dancers Maria and Salvatore Vigano, a bit of hunting in one of my books and a quick Wikimedia-Search, here we have Maria Vigano:<br />
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<a href="http://upload.wikimedia.org/wikipedia/commons/8/86/Schadow_-_Vigano_5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://upload.wikimedia.org/wikipedia/commons/8/86/Schadow_-_Vigano_5.jpg" height="320" width="245" /></a></div>
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How modern, compared to the social dance, it's dance meant as a performance, to look at, to admire, not necessarily to participate.Seidenweberinhttp://www.blogger.com/profile/15240312833253279064noreply@blogger.com0tag:blogger.com,1999:blog-5200279959775408825.post-45235782868413828482011-11-10T09:40:00.001+01:002016-11-05T23:45:22.144+01:00Rechts und Links und das andere Rechts - Right and Left and the other RightLetzten Sonntag wurde das erste Mal zusammen getanzt, Christian als Tanzlehrer, ich als Unterstützende Zweite Person. Und man merkt es mal wieder: Die meisten Menschen heute können nicht tanzen. Schon simple Gewichtsverlagerungen sind eine Herausforderung, das Aussortieren zwischen Links & Rechts ebenso. <br />
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Was jedoch schön zu beobachten war, nach einer Weile sah man, dass sich das Muster den Teilnehmern erschloss, logisch wurde, und auch wenn wir noch weit weg von richtigem Tanzen sind, war es schön zu sehen, wie sie mehr (Selbst) Vertrauen entwickelten, lernten auf die Musik zu hören und ohne Ansage durch den Tanz zu kommen.<br />
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Um die Neugierde zu befriedigen, getanzt wurden drei Triple Minor Longway:<br />
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The Shrewsbury Lasses (Thompson 1765)<br />
Hop Pickers' Feast (Thompson 1786)<br />
und zum Schluss noch spontan: Upon a Summer's Day (Playford 1651)Seidenweberinhttp://www.blogger.com/profile/15240312833253279064noreply@blogger.com2tag:blogger.com,1999:blog-5200279959775408825.post-83193038587971817152011-10-19T10:51:00.000+02:002016-11-05T23:45:37.568+01:00Helpful Text on the Net - Schriftliches zum Tanz Statt nur <a href="http://www.srcf.ucam.org/round/dances">"The Round"</a> mit dem sehr bekannten (und hoffnungslos altmodischen) Playford zu verwenden, bietet sich im Zuge der forschreitenden Digitalisierung von Handschriften und antiken Büchern natürlich auch die Verwendung von Anleitungen aus der Zeit an.<br />
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So zum Beispiel<br />
<a href="http://walternelson.com/dr/sites/default/files/Waltz.pdf">"A Description of the correct Method of Waltzing, the truly fashionable species of dancing"</a> von Thomas Wilson, erschienen 1816. Der Link führt zu einem PDF Dokument<br />
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Oder etwas früher:<br />
<a href="http://walternelson.com/dr/sites/default/files/wilson-2.pdf">An Analysis of Country Dancing</a>Ebenfalls von Thomas Wilson, erschienen 1808. Der Link führt zu einem PDF Dokument<br />
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Und dass mir der Name gefällt, war ja klar:<br />
<a href="http://walternelson.com/dr/sites/default/files/terpsichore.pdf">"Treasures of Terpsichore"</a><br />
Kurzbeschriebe resp. a companion for the ballroom, 2. Edition erschienen 1816. Der Link führt zu einem PDF Dokument<br />
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Of course one is free to check out <a href="http://www.srcf.ucam.org/round/dances">"The Round"</a> though Playford is even more outdated than Thompson in our time. With the advanced digitalisation of archives access to period sources became much less an issue than a couple of years ago: </div>
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e.g.: </div>
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<a href="http://walternelson.com/dr/sites/default/files/Waltz.pdf">"A Description of the correct Method of Waltzing, the truly fashionable species of dancing"</a> by Thomas Wilson, published 1816. The link gives you the PDF of his instructions</div>
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Or a tad earlier</div>
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<a href="http://walternelson.com/dr/sites/default/files/wilson-2.pdf">An Analysis of Country Dancing</a> Thomas Wilson's thoughts and recommendations on Country dancing, published in 1808 (also a PDF)</div>
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Evidently that this name had to capture my attention: </div>
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<a href="http://walternelson.com/dr/sites/default/files/terpsichore.pdf">"Treasures of Terpsichore"</a></div>
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A companion for the ballroom, 2nd Edition published in 1816. (also a PDF document)</div>
Seidenweberinhttp://www.blogger.com/profile/15240312833253279064noreply@blogger.com2tag:blogger.com,1999:blog-5200279959775408825.post-61087538359662407072011-10-17T23:45:00.001+02:002016-11-05T23:45:54.615+01:00Some Inspiration - Und etwas InspirationInspiration - and also a wee hint how to place your feet. Third position is nearly always your starting position, better get used to it.<br />
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Inspiration, und auch eine Hilfe wohin mit den Füssen. Die Dritte Position ist beinahe immer der Ausgangspunkt, es hilft wenn die Füsse diese automatisch als "Ruheposition" erlernen<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiq34GgbuTLQDxe9VVhwd08Sj5DFU7VdYNlDYx0HdqZp6eSxIGYJ88HbKJx-bgK8h_9sg8Q0XOsjkIk0YBr_1RHkI5v5e24qWRuvQ8-4GNdWtGjFt4WEL-3OBQf8hdLLFJ88Y0hPBFo5sw/s1600/The+Five+Positions+of+Dance.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5664580868745260082" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiq34GgbuTLQDxe9VVhwd08Sj5DFU7VdYNlDYx0HdqZp6eSxIGYJ88HbKJx-bgK8h_9sg8Q0XOsjkIk0YBr_1RHkI5v5e24qWRuvQ8-4GNdWtGjFt4WEL-3OBQf8hdLLFJ88Y0hPBFo5sw/s320/The+Five+Positions+of+Dance.jpg" style="cursor: hand; cursor: pointer; display: block; height: 320px; margin: 0px auto 10px; text-align: center; width: 207px;" /></a>Seidenweberinhttp://www.blogger.com/profile/15240312833253279064noreply@blogger.com0tag:blogger.com,1999:blog-5200279959775408825.post-2390849508472069982011-10-17T23:39:00.000+02:002016-11-05T23:46:25.969+01:00Endlich geht es vorwärtsDass es nicht einfach wird, einen Raum in Basel zu finden, den man sich auch leisten kann (Pardon, aber CHF 120 für einen Nachmittag - das geht wirklich nicht) - aber dass es so problematisch wird, dachte ich auch nicht. <br />
Dankbarerweise wurde die Suche von einer lieben Freundin aus Lörrach übernommen, und sie hat nun auch tatsächlich einen Raum aufgetan, der sich als genügend gross und bezahlbar herausgestellt hat.<br />
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Nun bleibt noch die Frage vom Programm des ersten Übungstages, den Donnerstag treffen wir uns um uns mal zu beratschlagen :-)Seidenweberinhttp://www.blogger.com/profile/15240312833253279064noreply@blogger.com0tag:blogger.com,1999:blog-5200279959775408825.post-4577024625211361842011-07-15T09:48:00.000+02:002016-11-05T23:47:47.419+01:00The Watson's bei Sotheby'sDies gehört zwar nicht ganz ins Ressort "Tanz", da Jane Austen jedoch eine der bekanntesten Autorinnen für "unsere" Epoche ist möchte ich die Nachricht nicht unterschlagen:<br />
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Bei Sotheby's ging das Originamanuskript der Watsons für £993,250 über den Auktionstisch - erstanden hat es die Bodleian Library in Oxford. Da können wir hoffen, dass es irgendwann deren digitalem Archiv zugeführt wird. <br />
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<a href="http://www.bbc.co.uk/news/entertainment-arts-14152092">http://www.bbc.co.uk/news/entertainment-arts-14152092</a><br />
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Und noch der Link zur Bodleian Library:<br />
<a href="http://www.bodley.ox.ac.uk/">http://www.bodley.ox.ac.uk/</a>Seidenweberinhttp://www.blogger.com/profile/15240312833253279064noreply@blogger.com0tag:blogger.com,1999:blog-5200279959775408825.post-87200650048854201502011-07-13T21:36:00.000+02:002016-11-05T23:47:26.846+01:00Soirée Dansante April 2011Für einen Ball war die Veranstaltung zu klein, entsprechend war sie auch lediglich ein Tanzabend. <br />
Im Vorfeld habe ich in Zusammenarbeit mit Andreas Rutschmann, dem Tanzmeister für den Abend, einen Tanzkurs veranstaltet der ausserordentlich gut besucht war - leider nicht mit Gästen des Tanzabends. Bei den Gästen aus Deutschland und Österreich kann ich das absolut verstehen (eine Dame kam aus dem fernen Potsdam, eine weitere aus Wien), doch war es sehr schade, dass sich nicht mehr Schweizer die Zeit nehmen konnten. <br />
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Andreas Rutschmann ist hierzulande für Arbeau und "Mittelalter" Tanzkurse bekannt, doch habe ich bei ihm meine ersten Playford-Hüpfer getanzt. Zudem verfügt er über einen unschätzbaren Vorrat an Geduld und Ruhe - so dass es während dem Abend kein "wer hat nun recht" über die Tanzaufstellung gab, sondern jede und jeder das Gefühl vermittelt bekam "Wir haben ein Fest und wir geniessen den Abend." <br />
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Doch alles in allem, so schön der Abend war (trotz der Arbeit im Vorfeld), ich wünschte wir hätten mehr Zeit zum Üben gehabt. Was für mich jedoch ein Riesenpluspunkt ist: Auf keinem der Bilder sieht man lange Gesichter bei den Tänzern. Sichtbare Begeisterung wiegt fehlende Übung vielfach auf, besonders wenn es sich um eine private Tanzveranstaltung und nicht eine eingespielte Tanzgruppe handelt. <br />
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Hier also einige Bilder und bewegte Bilder zu Ermatingen:<br />
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Film von Sabine von l'Empire (eingebettet funktioniert leider nicht)<br />
<a href="http://youtu.be/oDXMXcrctzg">http://youtu.be/oDXMXcrctzg</a><br />
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Sowie Bilder von <a href="http://www.regnum-animi.de/gallery/soireehortense">Sabine von l'Empire Basel</a>Seidenweberinhttp://www.blogger.com/profile/15240312833253279064noreply@blogger.com0tag:blogger.com,1999:blog-5200279959775408825.post-65175293058777486892011-07-12T13:05:00.000+02:002016-11-05T23:47:00.444+01:00Was fürs AugeChristian hat mir vor einigen Wochen dieses wunderbare Video zugespielt. Gute Tänzer, schöne Kleider - schlichtwegs stimmig. Da haben wir noch einen weiten Weg vor uns :-)<br />
Insbesondere der letzte Tanz "la belle veuve" gefällt mir besonders<br />
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<iframe allowfullscreen="" frameborder="0" height="349" src="http://www.youtube.com/embed/17QPpXyCql4" width="425"></iframe>Seidenweberinhttp://www.blogger.com/profile/15240312833253279064noreply@blogger.com2tag:blogger.com,1999:blog-5200279959775408825.post-25162113687847252662011-07-12T12:39:00.001+02:002016-11-05T23:46:45.579+01:00In BewegungTanz ist Bewegung - entsprechend dürfte man folgern, dass auch das Leben ein Tanz ist. Manchmal mit einige falschen Schritten, manchmal stolpert man über die eigenen Füsse, zuweilen verläuft man sich. Doch immer holt einem die Musik wieder dorthin, wo man eigentlich hingehört.<br />
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<a href="https://lh3.googleusercontent.com/-KvQfC7HcESg/Thd2uLNDNtI/AAAAAAAABFo/GvDIOwGww1A/s144/201904_1985618683599_1337230585_32309039_7952382_o.jpg"><img alt="" border="0" src="https://lh3.googleusercontent.com/-KvQfC7HcESg/Thd2uLNDNtI/AAAAAAAABFo/GvDIOwGww1A/s144/201904_1985618683599_1337230585_32309039_7952382_o.jpg" style="cursor: hand; cursor: pointer; float: left; height: 96px; margin: 0 10px 10px 0; width: 144px;" /></a><br />
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Vor einigen Monaten hatte ich ein interessantes Gespräch mit einem Tanzfreund, der zu meinem grossen Bedauern nicht an unserer Tanzsoirée im Frühling teilnehmen konnte. In dem und darauffolgenden Gesprächen kristallisierte sich immer mehr eine Idee heraus: Eine kleine "Empire-Tanzgruppe". Nicht nur die klassischen "Jane-Austen-Tänze" (welche nur bedingt und mit Vorbehalt in die Zeit gehören), sondern auch Quadrilles und Contre-danse.<br />
Dies klingt einfach, ist jedoch schwieriger als gedacht. Re-enactor sind nicht unbedingt Tänzer, und Tänzer haben meist einen anderen Blick auf Lebendige Geschichte und korrekte Kleidung. Doch ein Grüppchen von 6 bis 10 Tänzern müsste sich doch finden lassen.<br />
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Also suchen wir nun nach anderen Tanzfreudigen Empire-Leuten, oder Empirefreudigen Tänzern :-)Seidenweberinhttp://www.blogger.com/profile/15240312833253279064noreply@blogger.com0