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In 1922 the dance historian Cyril Beaumont contributed to the
Dancing Times an article on the history of Harlequin, which as a
result of continuous research since that period grew into the
present volume. It covers the history of Harlequin, and of the
Commedia dell'Arte, from their beginnings in the 16th century
through their heydays in the 17th and 18th century and their
gradual decline thereafter. The book includes more than 40
illustrations and the complete text of a Harlequinade from 1806,
together with a dance for a Harlequin in Feuillet notation.
This classic book is the definitive work on one of ballet's
greatest and most popular works, Swan Lake. The book is in two
parts. The first describes the evolution of Swan Lake from its
initial conception to its first realisation by the Austrian
choreographer Julius Wenzel Reisinger, which was a comparative
failure, followed by the story of the ballet's resuscitation and
eventual triumph by Marius Petipa and Lev Ivanov. Included are the
original synopses of both the original Reisinger production and the
Petipa-Ivanov version. There is an account of Tchaikovsky and his
score, together with details of the original settings and costumes,
and many of those designed for later productions. The second part
of the book is concerned with the actual presentation of the
ballet. The choreography of all four acts of the Petipa-Ivanov
version is set out in full, with explanations of not only the stage
action, but also of how the dancers move, the kind of steps they
do, the gestures they make and what they are intended to express.
The various roles are also analysed from the dancers' points of
view, and some of the problems that may confront both dancer and
producer are considered and resolved. Finally, there is a survey of
some of the great dancers who over the years have achieved
distinction in the roles of Odette-Odile and Prince Siegfried.
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Marie Taglioni (Paperback)
Andre Levinson; Translated by Cyril W. Beaumont
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R550
Discovery Miles 5 500
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Ships in 10 - 15 working days
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This is the first English translation of Andre Levinson's classic
biography of the celebrated ballerina Marie Taglioni, one of the
greatest representatives of the art of classical ballet. The book
affords a complete account of the dancer's career from her first
appearance at Vienna in 1822 to her triumphs in La Sylphide, La
Gitane, and La Fille du Danube; it tells the story of her immensely
successful tours all over continental Europe, and ends with the
sadness of her last years, when straightened circumstances forced
her to eke out a bare living by giving lessons in deportment to
young ladies of the aristocracy.
Tiberio Fiorilli, also known as Scaramouche, (November 9, 1608 -
December 7, 1694) was an Italian actor of commedia dell'arte,
popular in France for his role of Scaramouche. He was the director
of the troop of the Comediens Italiens, which shared with the troop
of his friend Moliere the Theatre of the Petit-Bourbon, and the
Theatre of the Palais-Royal. This biography of Fiorilli by his
fellow-actor Angelo Constantini was published in Paris in 1695,
shortly after the actor's death. The English translation by the
dance scholar and historian Cyril W Beaumont, presented here,
includes detailed explanatory notes and background information.
First published in 1944, this classic book remains the definitive
work on the masterpiece of the Romantic Ballet, Giselle. The book
is in two parts, the first dealing with the original 1841
production, the second with technical and critical aspects of the
ballet. Part I charts the evolution of the Romantic Ballet, and
then gives a detailed description of the original production of
Giselle, including a synopsis and accounts of the settings,
costumes and creators of the original roles. Part II describes the
stage action - the steps, gestures and the meanings they express -
and analyses the interpretation of the roles. The book concludes
with a survey of dancers who won fame for their performances as
Giselle and as Albrecht.
Gregorio Lambranzi was an Italian dancing master, working in Venice
in the late 17th and early 18th centuries. His New and Curious
School of Theatrical Dancing, originally published in two parts in
Nuremberg in 1716, gives details of more than one hundred
theatrical dances of the time, with the emphasis on the comic and
grotesque, many drawn from Commedia dell'arte characters. Also
included are dances suggested by various professions and trades,
and dances representing sports and pastimes. Each dance is
illustrated by a full page engraving by Johann Georg Puschner and
accompanied by a melody line of the music used and suggestions for
steps. Lambranzi's work thus provides a unique record of theatrical
dancing of his period. Unlike the Dover paperback edition this is a
laminated hardback edition, reproducing the original cover design
and with the plates printed one to a page.
Pierre Rameau's Le Maitre a Danser is the standard work on the
technique of eighteenth century dancing. It was first published in
Paris in 1725, and bore the printed recommendation of the
celebrated dancer and maitre de ballet Louis Pecour. As a guide to
contemporary social etiquette in the ballroom, the dances that were
in vogue, the various steps and arm movements that were in use and
how they were executed, Rameau's book is an invaluable source of
information. For although the eighteenth century saw the
publication of a number of books on dancing which record the steps
and arm movements used in contemporary dances, they do not explain
how the steps were to be carried out, and this information was
first made available in Le Maitre a Danser. This edition is a
facsimile of the translation made by the great dance scholar and
historian Cyril Beaumont, and first published by him in book form
in 1931.
Enrico Cecchetti (1850-1928) performed and taught in Russia and with Diaghilev's troupe. He provided dance with a hitherto unknown unity by balancing the adagio and allegro, strengthening the arabesque, and developing exercises of pliés. Assisted by of one of Cecchetti's star pupils, Stanislas Idzikowski, Cyril Beaumont codified Cecchetti's program for this book, which includes a numbered series of instructions for each exercise in addition to numerous illustrations. Unabridged republication of A Manual of the Theory & Practice of Classical Theatrical Dancing, originally published by C. W. Beaumont, London, 1922. 109 black-and-white illustrations.
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