Letizia DradiHistorical dance (Baroque)
Historical dancer, choreographer and tutor, took her first steps in ancient dance in 1992.
She studied besides Palaeography and Musical Philology at the University of Cremona (Italy). She combines research on dance and musical studies. She has gone on stage with the New York Dance Company of C. Turocy in The Pleasure of the Dance and in The Temple of Glory at Jarvis Theater in Napa, California.
As a specialist in 18th-century Italian dances, she has choreographed dances for the Sellitto’s Intermezzo Drusilla and Don Strabone for La Petite Bande directed by S. Kujiken.
About The Class
Beyond the notation: the practice of the theatrical dance in the Trattato Teorico Prattico di Ballo by Gennaro Magri, Naples 1779
After the invention of a dance notation at the court of Louis XIV, the French noble style traveled all around Europe. In Italy the first document about this technique is a translation of the Feuillet’s treatise, Chorégraphie ou l’art de decrir la danse (Paris 1700) made by a very eclectic writer, the astronomer, astrologer, architect and mathematician Cesare Carlo Scaletta in 1717, just a year after the first document about the theatrical technique, the Neue und curieuse theatralische Tanz-Schul by an italian dancer, Gregorio Lambranzi (Nuremberg 1716). The only book from the eighteenth century that combine the social and the theatrical style, especially italian, is the ponderous Trattato Teorico Prattico di Ballo in two volumes. The first part is totally devoted to the description of the steps, derived largely from the French tradition, but also from the Italian, full of jumps, grottesco style. Magri did not avail himself of any kind of notation, to exception of the simplest graphic description for the contraddanze, where only the figures are indicated. Only in the dance number 38 there are also the indication of the steps sequences to use in some figurations, instead the dance for couple, the Charamente or L’Amabile, that closes the volume, is equipped by the complete description. During the lessons we will approach the vocabulary of movements and steps of the fist volume, with references to their use on stage, using also the suggestion about the space and the relation with the partners taken from the Contraddanze repertoire.