Orchesography, Or, The Art Of Dancing - free ebook by Raoul-Auger Feuillet

An Exact and Just Translation from the French of Monsieur Feuillet.

Pars pedibus plaudant Choreas ,----Virg. Aenid. 6. LONDON : Printed by H. Meere , at the Black Fryars , for the Author, and are to be sold by P.Valliant, French Bookseller near Catherine-Street , in the Strand . 1706....

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To Mr. Isaac.

Tho’ Dancing and Musick seem to be of near an equal Antiquity, and even of an equal Extent, yet has long receiv’d an Advantage, which wanted. has employ’d the Pens of many of the Learned, both Ancient and Modern, and has had the Benefit of an universal Character, which convey’d the harmonious Compositions to all Lovers of the Art in all Nations. , on the contrary, tho’ celebrated by Ancient Authors in an extraordinary manner, and with uncommon Praises, (as I shall shew in a Treatise, which I sha

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PREFACE.

I Perswade my self, that before so useful a Curiosity as the following Treatise, it would not be disagreeable to the Reader, to give him an Account of the Origin and Progress of the Art of Orchesography. Furetier, in his Historical Dictionary, tells us of a curious Treatise of this Art by one Thoinet Arbeau, printed 1588, at Langres, from whom Monsieur Feuillet, in his Preface, supposes this Art to date its first Rise and Birth, tho’ he could never procure a Sight of it, as not to be found in Pa

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A List of the Dancing-Masters,

B Mr . Bosely of Norwich. C Mr . Tho. Caverly. Mr . Ant. Caverly. Monsieur Camille. Monsieur Cherrier. Mr . Claxton. Mr . Coucb. Monsieur Cottin. Mr . Counley of Barbadoes. Mr . Cragg. Mr . Christian. D Monsieur Debargues. Mr . Delamain of Dublin. Monsieur Le Duc. Mr . Douson. E Monsieur D’Elisle. Mr . Essex. G Mr . Groscourt. Mr . Gery. I Mr. Isaac. L Mr. Lally. Mr. Char. Lewis. N Mr. Nicholson. O Mr. Orlabeer. P Mr. Pawlet. Mr. Pemberton. Mr. Porter of Darby. Mr. Pritton. R Monsieur Du Rue

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Characters and Demonstrative Figures.

By which any Person, who understands Dancing, may of himself easily learn all manner of Dances. The Explanation of the Terms belonging to DANCING , seem to be altogether needless, since they are so plain and intelligible of themselves: But lest the Reader should put wrong Constructions on those Terms of Art which the Dancing-Masters make use of, I shall give the following Explanation of them. Dancing is composed of Positions, Steps, Sinkings, Risings, Springings, Capers, Fallings, Slidings, Turn

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Of the Stage, Room, or School.

The Stage or Dancing-Room , I shall represent by an Oblong , as in the Figure A B C D, of which the upper end is A B, the lower end C D; the right side B D, and the left side A C....

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The Presence of the Body.

Posture or Presence of the Body, is to have respect to that part of the Room , to which the Face or Fore-part of the Body is directed, which I describe by the Figure F G H I, of which F G shews the two Sides of the Body, H the Face or Fore-part, and I the Back or Hinder-part....

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Of the Tract.

The Line on which the Dances are described, I call the Tract . Which Tract serves for two Ends, the first to direct the Steps and Positions , and the other to represent the Figure of the Dance . All Steps and Positions may be described upon two Lines, viz .upon a Right Line, and a Diametrical Line; but because the Tract must also be made use of for the Explanation of the Figure of Dances , I shall add to these Lines, the Circular and i&gt;Oblique. A Right Line , I call that which extends it

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Of the Positions.

There are ten Sorts of Positions generally us’d in Dancing, which are divided into True and False. The True , are when the Feet are plac’d uniform, and have the Toes turn’d out equally. The False , are some of them uniform, others not, and differ from the True , in that, the Toes are turn’d inward, or one in, and the other out. In all Positions whatsoever, the Form of the Foot is known by these Marks, viz. That which resembles an O, represents the Heel; the Line join’d to it, the Ankle; and the

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Of true Positions.

There are five true Positions . The first is when the two Feet are join’d together, the Heels being one against the other. First Position. The second is when the Feet are open, or separate, on a Line, one distant from the other the length of the Foot. Second Position. The third is when the Heel of one Foot is join’d to the Ankle of the other, which I shall hereafter term inclos’d. Third Position. The fourth is when the two Feet are plac’d one before the other, the distance of a Foot in length. F

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Of false Positions.

There are also five of these. The first is when the Toes are turn’d inwards, and touch each other, the Heels being open on the Line. First Position. The second is when the Toes are turn’d inwards, there being the distance of a Foot’s Length between the Toes; the Heels as before. Second Position. The third is when the Toe of one Foot is outwards, and the other inwards, the one parallel towards the other. Third Position. The fourth is when the Toes are turn’d inwards, so that the Toe of one Foot p

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Of Steps.

Altho’ Steps made use of in Dancing, are almost innumerable, I shall nevertheless reduce them to five, which serve to express the different Figures the Leg makes in moving: These I shall call, a straight plain Step , an open Step , a circular or round Step , a waving Step , and a beaten Step . A straight Step , is when the Foot moves in a right Line; which is to be made two ways, forwards, and backwards. The open Step , is when the Leg opens; which is to be done three ways, one outwards, another

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A Demonstration of all the Steps which have been before explain’d.

To a Step may be added these following Marks, viz. Sinking, Rising, Springing or Bounds, Capers, Falling, Sliding, holding the Foot up, Pointing the Toes, placing the Heel, turning a quarter Turn, a half Turn , a three quarter Turn , and a whole Turn. The Mark for a Sink , is a little Stroke inclining towards the little black Head. A Sink. The Mark for a Rise from a Sink , is when there is a little straight Stroke upon the Step . A Rise. The Mark of a Spring or Rise from the Ground, is when ther

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How to place the Marks in their proper Order.

It is necessary first to know, that a Step has three Divisions, viz . a Beginning, Middle , and End: You must also consider the Foot, as well in Steps as Positions, has two Sides, an Inside and an Outside. The Beginning of the Step , is the Beginning of the Line, joining the little black Spot, as is shewn by the Letter A. The Middle, is the middle of the Line, as at Letter B. And the End, is the Extremity of the Line, joining that which represents the Foot, as at Letter C. The Outside of the Foo

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Observations upon Springings.

Springings may be perform’d two ways, viz . with both Feet at once, or with one Foot only. The Springings which are made on both Feet, are mark’d upon the Positions , as hereafter will appear; whereas the Springings that are made in moving, are mark’d upon the Steps , as has been already shewn, and will again appear by the Sequel....

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Of Springing Steps.

A Springing Step , is perform’d two ways, either by springing and falling on the same Foot which moves forward, which I shall, for the future, call a Bound; or and falling on the Foot that does not move forward, which I shall call a Hop . When there is a Mark of a Spring upon the Step , and no Mark for the holding up of the Foot after it, it shews, that the Spring is to be made with the Foot that moves, which is call’d a Bound A Bound. But when there is a Mark for a Spring , and afterwards a Mar

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Of marking the Positions.

All the Marks which have been hitherto demonstrated, may be plac’d as well upon the half Positions or Positions , as upon the Steps , the sliding Marks only excepted. If there were, for Example, a sinking Mark upon a half Position , it would shew, that the Knee of that Leg only was to be bent; but if sinking Marks should be on the whole Position , then both Knees are to be bent at the same time. The same is to be observ’d for Rising, Springing , &amp;c. The Marks on the Positions , have no a

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Of Positions and half Positions having several Marks at once.

Positions and half Positions may have several Marks together, as Steps have; and it must be observ’d of the for Sinking, Rising, Springing , and Capers , that the Mark plac’d nearest to the O, is what must be first made; but when there is the for the Foot up, that must certainly be the last perform’d. All the Marks of sinking and rising , which have been already demonstrated upon the Step , have Relation to the Bendings and Risings of both the Knees: But when it shall happen, that in moving in a

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Of waving Positions, and half Positions.

A Waving Position, or half Position, is when the Foot waves or turns inwards or outwards, whether upon the Toe, the Heel, or with the Foot up, which is explain’d by a kind of Half-Moon proceeding from that place which represents either the Heel or Toe, and which demonstrates the Motion the Heel or Toe ought to make in Waving. If it be to wave upon the Toe, the Crescent or Half-Moon ought to be plac’d where the Heel is represented, tending towards the Toes on that side you are to wave; on the con

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Of Positions and half Positions, which are wav’d and unwav’d.

Positions and half Positions, wav’d unwav’d are when the Heel or Toe returns to the place from whence either of them mov’d, which is explain’d by the Crescent being doubled, returning to the place from whence it came. Examples of waving Positions, where the Toes or Heels wave both one way, and are distinguish’d by the Crescents being both on the same side. Examples of waving and unwaving Positions, where the Feet turn and return both on the same side....

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Of the Change of Positions.

The Change of Positions, is changing or shifting from one Position to another, whether true or false; to wit, from the first to the second, from the second to the third, and so on. The Change of Positions is made two ways, either by springing, or waving. Those which are perform’d by springing, are done when you spring from one Position, and fall in another; and those which are perform’d by waving, must be done on the Ground, by waving the two Feet, or each Foot Separately, either on the Toes or

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a TABLE of Shifting from false positions to true positions

The Position which has springing Marks on it, shews from whence the Spring is to be made, and that which has no Marks on it, only denotes in what to fall, as may be seen by the foregoing Tables....

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Of Positions that shift or change from one place to another.

Positions may also change in from one place to another, as in forwards, backwards, or sideways. This is explain’d by two Lines of Communication, that go from the on which the springing Marks are plac’d, to that where there are none: Which Lines denote the Extension of the Spring , and of which side it must fall. Positions may also change in springing , by two Steps being ty’d together at the Heads; which shews, that they must move both at the same time....

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Of the Changing of waving Positions.

The Changing of waving Positions , is the same with the Change of springing Positions , excepting, that instead of springing Marks , you must use waving Marks . I have already said, that one Position may change to another, by waving both Feet at once, or separately. Those which are to be made with both Feet at once, are to be known by a wav’d Position ; and those which are to be made by one Foot only, are known by a half Position wav’d . ...

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How to hold the Book or Paper, to decipher written Dances

You must understand, the each page, on which the Dance is described, represents the Dancing-Room ; and the four Sides of the Page, the four Sides of the Room , viz. the upper part of the Page, represents the upper end of the ; the lower part, the lower end; the right side of the Page the right side of the ; and the left side, the left, as you may see by the following Figure, of which A B C D represent the , and E F G H, the Page. E F shew the upper part of the Page, as C D do the lower end; F H

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Rules to be observ’d in Dancing by written Characters.

You must first find out the beginning of the Tract , by which means you will know towards what part of the Dancing-Room the Body is to be plac’d, before the Dance begins, as has been shewn before, in speaking of the Posture , and Presence of the Body . Then observe whether there be any Position , as you will find in the following Examples, and there you are to place your self. Then see what Step is nearest to the said , and you will find it to be that which is mark’d Number 1. Which having perfo

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How to know what Steps and half Positions are with the right Foot, and what with the left.

The Tract or Line , on which Dances are describ’d, whether forward or backward, must be consider’d in respect to its right side mark’d R, and the left side mark’d L, as may be seen by the following Example. The Steps and half Positions , which are on the right side, are made with the right Foot; and those which are on the left side, with the left Foot, as the following Movements will demonstrate, where I shall give to each Step and half Position , the same Letters r and l, the better to explain

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The manner of Steps crossing one another.

A Step which begins with the hind Foot, in order to move sideways, to end on a Line with the other Foot, ought to begin from the part under the Line, and rise obliquely sideways towards that above, as you may see by the following . A Step , which is to cross behind the foregoing Step , must begin above the Line, and descend obliquely below it; and which you will easily understand by the following Example: The first Step you may know by Number 1, and the other, which crosses, by Number 2. A Step

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To return upon a Tract you have just before mov’d on.

For Example , if you have mov’d from the lower end of the Room , to the upper end, and have a mind to return upon the same Tract , as the mark’d A, you must remove, and place the Line or , on which you would return, on one side or the other, as you shall find most convenient, as is mark’d by the Letter B, and which in effect is the same with the foregoing; which two Tracts must be join’d together by a pointed mark’d C, which only serves to conduct the Sight from one to the other. The same thing

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To know to and from what Positions, Steps move.

I might have mark’d the Positions , in which each Step ought to terminate; but since this must have created a great deal of Trouble, I shall only confine my self to mark them on join’d and inclos’d Steps , and for the rest, whether forwards, backwards, sideways, or cross’d, the may be easily known, without marking them, in observing that which follows. Steps which move forwards or backwards, shall be taken to be in the fourth Position . Steps which move streight, opening sideways, shall be taken

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How Steps terminate in Positions.

When a Step terminates in a Position , there ought to be no Foot at the end of it, because the half , to which it is join’d, serves for that. A Position at the end of a Step , may be also known by adding to the Step a half Position , because the Representation of the Foot, which is at the Extremity of the Step , is made Use of, upon this Occasion, for a half Position ; and a half Position join’d to it, is the same as a whole Position . The Same Rule must be observ’d in beaten Steps , viz. That t

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Of simple and compound Steps.

All Steps may be either simple or compound . A simple Step , is that which is alone, as all those which hitherto demonstrated; and a compound Step , is, where two or more Steps are join’d together by a Line , and which then are to be reputed as one Step only, as will appear by the following Steps . To practise more easily what has already been taught and demonstrated, you may make Use of the following Tables ; where you will find all or the greatest Part of the Steps us’d in Dancing , whether wi

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The Tables.

You must observe, that each Square contains only one Step , which I have writ down twice, to the end to shew, that what is perform’d with one Foot, may also be perform’d with the other. An Explanation of the Steps contain’d in each Square, is also writ down with them; and whereas some of the Words and Terms are abbreviated for want of Room, I have put down here a short Explanation of them. [Transcribers note: text expanded in tables] ...

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Of Time, Measure, or Cadence.

There are three sorts of Time in Dancing, viz. Common Time, Triple Time, and Quadruple Time. Common Time, is used in Gavots, Galliards, Bouree’s, Rigandons, Jiggs, and Canaries. Triple Time, is made use of in Courants, Sarabands, Chaconnes, Passacailes, Minuets, and Passe-Pieds. And Quadruple Time, is made use of in slow Tunes, as appears by the second Tune in the following Plate, and the Tunes called Loures. To Tunes of Common or Triple Time, a Step is put for each Barr or Measure; and to Tunes

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Of the Figure.

There are two Sorts of Figures in Dancing , viz. a Regular , and an Irregular . A regular Figure , is when two or more Dancers move contrarily, the one to the Right, and the other to the Left. A regular Figure. An irregular Figure , is when two Dancers move together, both in the same Figure , on the same side. An irregular Figure. By the Mark representing the Presence of the Body, you will distinguish the Tract for the Man, from that of the Woman; in that for the Man, the half Circle is single,

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Some Rules to be observed in the Figures of Dances.

I Have already shewn, that the Tract serves for two Ends, viz . first, on which to describe the Steps and Positions ; and secondly, for the Direction of the Figure of the Dance. I shall now add, that when in Dancing , several Steps are to be perform’d in the same place, the Tract is then to be respected only as the Conductor of the Step , and not in Relation to the Figure ; but where the Steps move continually from one place to another, then the Tract is to be observ’d, not only for the Descript

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For giving the Hands in Dancing.

You will know when to give the Hand, by a small Crescent or half Circle at the end of a little Barr or Stroke, which is to be plac’d on the side of the Tract , viz. when it is on the right side of the , it shews, that you must give the right Hand; and when on the left, it shews the left Hand is to be given; and when there is one on each side, both Hands must then be given. When you have thus given one Hand or both, you are not to quit Hands, till you find the same Marks cut through with another

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Of the Movement of the Arms.

Although the Carriage and Movement of the Arms depend more on the Fancy of the Performer, than on any certain Rules, I shall nevertheless lay down some Examples, which will explain, by demonstrative Characters, the different Motion in Dancing ; or at least, will inform you what Characters to make Use of in describing the of the , to the Movement of each Step . The Arm is represented by the Letters ABC, of which A represents the Shoulder, B the Elbow, and C the Wrist....

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Where to place the Motion of the Arms on the Tract.

In moving forwards or backwards in the Dance , the Arms must be mark’d on each side the Tract , the right Arm on the right side the , and the left on the left side; but when in the Figure of the Dance , the Movement is sideways, they are to be mark’d both on one side, always observing, that the right must be to the right, and the left to the left. I shall not pretend to make a long Disquisition on the Motion of the Arms , but shall only add, that as there are three Movements from the Waste downw

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Examples of the Movements of the Arms.

The Arms may either move both together, or one after the other; you will know when the Arms are to move together, by a Line or Tie drawn from the one to the other; and when there is no Tie, they are then to move one after the other. The Arms may either move alike with the same Movement, as when both Arms either open or extend themselves together, or close, or approach each other at the same time. Or they may move contrary one to the other, when the one opens, and the other closes....

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Some Rules to be observed in writing of Dances.

You must resolve in what part of the Room the Dance is to begin, and there place the beginning of the Tract ; then trace out the Figure , and mark thereon the Position ; then describe the Steps , as I have shewn in the foregoing Examples; and if you find any Difficulty in writing any of the , you must make Use of your Table of ; and in finding the Step you have Occasion for, you ought first to consider what it is, whether Courant, Coupee, Bouree, Bound, Contretemps , &amp;c. Suppose, for Exa

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