This is a reproduction of a library book that was digitized by Google as part of an ongoing effort to preserve the information in books and make it universally accessible. https://books.google.com | - |BIBLIOTECA NAZIONALE || CENTRALE – FIRENZE –=: 50.000 - 10-939 – \ * - ". pH 10 E FIVE SHILLIN08. - C. -- ". - NOTES UPON DANCING || Histori Al AND PRACTICAL - \\ - ' BY || C. B L AS IS, All sign to THE ROYAL ITALIAN opera. "sing MASTER or the - all ACADEMY of DANCING AT fil. AN AUTHOR of VARIous OTHER WORKS, &c. PUBLISHED BY M. DE LA PORTE, 16, REGENT STREET, AND SOLD BY ALL BOOKSELLERS. | | - * ~ * * * * * * * * * * -- M. - - - -- • ." - - NOTES UPON DANCING, HISTORICAL AND PRACTICAL, BY C. B L A SIS, BALLET MASTER TO THE ROYAL ITALIAN OPERA, covENT GARDEN ; F IN ISHING MASTER OF THE IMPERIAL ACADEMY OF DANCING AT MILAN, AUTHOR or A TREATIse ON DANCING, AND OTHER WORKS ON THEATRICAL ART, PUBLISHED IN ITALY, FRANCE, AND ENGLAND. FOLLOWED BY A HISTORY OF THE IMPERIAL AND ROYAL ACADEMY OF DANCING, AT MILAN, T0 WHICH ARE ADDED BIOGRAPHICAL NOTICES OF THE BLASIS FAMILY, INTERSPERSED WITH WARIOUS PASSAGES ON THEATRICAL ART. ED ITED AND TRANSLATED, t 3. 22:43: FROM THE ORIGINAL FRENCH AND ITALIAN, 2° ty", a * *.* ** By R. BARTON. | WITH ENGRAVINGS. 31 out on ; PUBLISHED BY M. DELAPORTE, 1 16, REGENT STREET, AND SOLD BY ALL BOOKSELLERS. * 1847. M‘GowAN AND Co., GREAT WINLMILL STREET, HAYMARKET. 60. 3. Q 3 |§ § § o -*. * 24.4%-4. /&% 2/2/2/0% exo~/9% * * : :w .2. : * -s -* - -: :s • . f; - * f - - *-, * * * : y * - * . : - :** - * . t * - - - - - - -- - -- | - -- - * - - - - -- - -- - --- * - -- -s - * --- - - . - - - --: - -- - - - * -* -- .-- ' -- -* -- - --- -1. -- -- , -- - .. - --- * , /-- ** --- -- - - - --\ ** - - --- . - AD VERTISE MENT. (BY THE EDIToR.) IT will be seen, that the principle object of this work is to place that part of the entertainment at the Lyric Theatres or Opera, called the Ballet, on a new basis. This, the eminent artiste, who is the author of this work, has already effected in his own country, where he is patronized and supported by the government, and is there undoubtedly the first in his profession, as he is perhaps in Europe. The true object of the Ballet appears to be the Beautiful in motion, supported by expressive and well-adapted music. This may be effected in two ways, by two classes of movements; the one is quick, vehement and joyous, and is no other than Dancing—but the other class of motions is a far different thing; it is no less than a mute expression of feelings, passions, ideas, intentions, or any other sensations belonging to a reasonable being—this is properly termed Pantomime, and must also be sus tained by music, which now becomes a kind of explanatory voice; and while it greatly assists the Mime, when well adapted to the subject to be ex pressed by his gestures, it produces upon the mind and feelings of the spectator an extraordinary effect. In executing the motions required for the subject, a Mime educated according to M. Blasis system, presents the most beautiful and classical outlines of the figure, which are ever varying, and display to the sculptor and painter, a succession of studies for the human form. If the Ballet be considered in the light of a dramatic piece, containing a complete subject or plot, that is, a beginning, a middle, and an end, or ca ii tastrophe, it is totally impossible that this should be explained to the audience without the aid of able Mimes; such an explanation is the basis of the busi ness. In Italy, and in France, the Ballet is considered as a very important part of theatrical amusements, and much expense is incurred to satisfy public ex pectation. Italy, from the times of the Roman Emperors, has ever been the native country of expressive gesture, that is, of Pantomime, whereas France has ever been pre-eminent in the dance; con sequently, if the Italian Ballet is principally composed of Pantomimic action, the Ballet in France presents scarcely anything besides a succession of dances; but our author, being perfectly acquainted with this state of the case, has produced a perfect piece by a union of the two styles. If dancing represents the joy and delight of some incident belonging to a piece dramatically constructed, the spectators ought to be informed by some means what had happened to cause so much gaiety; this information is fur nished by the Mime, who, by expressive looks and speaking gestures, interprets it to the audience. But we shall not here enlarge further upon this subject, we shall merely direct the reader's attention to the first two Parts of this work, and part of the third, where the author treats of the Ballet with extensive learning, much poetical fancy, and a pro found and scientific knowledge of his profession. He seems, in fact, to be destined to give a new life and form to the Ballet in every country, and above all, to remove from it whatever was objec tionable in a moral point of view, as may be con cluded from the account of the Imperial Academy of Dancing at Milan. The memoirs of two other eminent members of the Blasis family will be found, it is presumed, to contain matter both interesting and instructive to lovers of theatrical lyric art. London, 1847. NOTES UPON DANCING, HISTORICAL AND PRACTICAL. PART I. RISE, PROGRESS, DECLINE, & REVIVAL OF DANCING, WORKS ON DANCING.–CELEBRATED DANCERS. DESCRIPTION OF ANCIENT &MODERN DANCES. Terpsichore, D'Euterpe, aimable soeur, comme Euterpe on l'encense, Et mariant sa marche au son des instrumens, Elle a le même trône, et les mêmes amans.—DoRAT. THE study of the Fine Arts is the most pleasing occupation to which the human mind can be dedicated. Such, frequently, is the delight attending it, that the clouds which the labours and cares of life often cast over our spirits are, for a while, dispersed and driven away; nor is amusement the only advantage attending this study—its utility is conspicuous. The knowledge of one branch or other of the fine arts has immortalized many men; and some nations, by that moral superiority which their cultivation has given them over others, have been rendered for ever illus trious and celebrated, B 2 NOTES UPON DANCING, The countries where a Newton calculated infinity, a Shakespeare and a Milton wrote; where a Bramante and Michel Angelo raised their structures; where Raphael painted; where Dante, Ariosto and Tasso sung; that where Corneille, Molière, Racine and Rousseau flourished; the native land of Cervantes and Calderon; the country of Leibnitz, Schiller and Mo zart; and that of the powerful and magnificent prince who governs on the banks of the Neva—these are the first countries of the world. The rest, whatever their antiquity or gifts of nature, have made but little pro gress with regard to the fine arts, or remain in total obscurity. I have, in these preliminary remarks, perhaps de parted from my subject; but let the motive plead my excuse. The arts are linked together in one and the same chain: poetry, music, painting and dancing bear a strong affinity to each other; and the enjoyments we derive from them, merit an equal gratitude and ho mage; and most enviable are they whose souls are sus ceptible of the pleasures which they inspire: Le véritable esprit sait se plier à tout; On ne vit qu' à demi quand on n'a qu'un seul goët. VoLTAIRE. Singing, no less delightful than natural to man, must in its progress have inspired him with certain ges tures, relative to the various sounds which he uttered. His breast became agitated; his arms were ex panded, or they approached each other; his feet began to form certain steps, more or less rapid; his features £ in these movements; in short, his whole ody was soon responsive to the sounds that vibrated in his ears; and thus SINGING, which was the ex pression of one pleasure, gave rise to another, which was indeed innate, but till then unknown, and to which was given the name of DANCING. Such were unques tionably the primitive causes of the origin of this art. Music and dancing have a very strong ascendancy over our intellectual faculties. “La musique,” says HISTORICAL AND PRACTICAL. 3 D'Alembert, “tantôt douce et insinuante, tantôt folâtre et gaie, tantôt simple et naive, tantôt, enfin, sublime et pathétique, tour à tour nous charme, nous élève et nous déchire.” Music, it may be further observed, when united to choice words, rythmus and time, should be made to ex press whatever can be visibly represented at a theatre; for the imitative art of music is capable of convey ing to the ear all the various movements of bodies: it is able to depict slowness and rapidity, calm and agitation, motion and repose, trouble and tranquillity, gaiety and grief Music is even often obliged to convey an idea of things to which sounds bear no resemblance; as, for instance, height and depth, proximity and dis tance, weight and extent, strength and weakness, &c. It is indispensable that, in order to complete satis factorily any composition, the assistance of the easy and the difficult mode should be employed. Musical expression may be made omnipotent, if I may be allowed such a term, in conveying to the perception, with extraordinary truth of delineation, the delightful feelings experienced at break of day; the warbling of early birds; the splendour of the rising sun; the whispering of the breeze among bushes and trees; the calm and majestic onward progress of a river; the headlong rush of the roaring torrent; the rain de scending drop by drop; the rattling of hail; even the fluttering of the noiseless flakes of snow as they de scend; the darting motion of lightning; the whisper ing, whistling or howling of the wind; the roar of thunder; the hissing rush of the thunderbolt; the gradual darkening of the sky with masses of thick clouds; the high-riding billows that seem striving to break over that ridgy circle, to which they are confined by nature; the volcanic eruption pouring over the surrounding fields, and submerging the neighbouring villages with liquid fire; and finally, the shaking and rending earth, swallowing up houses and inhabitants.