THE PROBLEM IN ITALY NOTATION RENAISSANCE CHOREOGRAPHIC WORKS FOR THEIR CONSERVATION AND RESTORATION (first half of XV – XVI century end.)

Abstract

Important in this notation becomes (Latin notatio – entry) choreographic works, that procedure for recording information data on the dance movements by means of a system. The term "reprimand" dance artists understand the exclusive use of written means of maintaining records on paper or electronically. By the notation does not include records made audiovisual equipment. A large number of theaters in the world to record and play dance pieces using the services of so-called. "Notatora" ("horeoloha") – a full-time or a guest.

The author is a perspective in understanding the art of ballet as a defining phenomenon of the Renaissance and the scientific substantiation of the existence of the specified period in Italy tries notation works of classical dance and their importance for the further development of choreographic art.

The purpose of the study is to identify the specific meaning and notation of choreographic works of classical dance in Italy of the Renaissance era to maintain and further their playing.

At all times, mankind has sought means of fixing the existing media (clay tablets, papyrus, paper, photo paper, etc.) the nature of the dance, its manner of dance movements. Library and Archives of Old and New World store numerous written documents (handwritten and printed) that indicate attempts to write down a description of dance movements and patterns of popular dances. These sources are in great popularity among connoisseurs of dance, researchers and admirers of historical dancing. They are quite often quoted.

Of greatest interest to study up sights that come from Italy, France and Burgundy. It is in these countries is the root of the social and cultural phenomenon that we call modern European choreography.

Renaissance, especially the first half of the XV century. Is considered the first historical period, which left a legacy of written monuments, works of dance notation. Becoming Italian dance of the time associated with the name of the great master of Domenico da Piacenza Dance (Domenico da Piacenza, 1390/1400-1464/1470 years), also known as Domenico da Ferrari (Domenico da Ferrara). D. Piacenza published several papers on the choreography, the most famous of which is "The Art of Dance and ability to lead the dance" ("De Arte saltandi et choreas ducendi").

The most famous disciples D. Piacenza, who continued quest to solve the problem of notation dances were Guglielmo Ebreo da Pesaro and Antonio Kornazano.

Guglielmo Ebreo da Pesaro (Guglielmo Ebreo da Pesaro, about 1420 – about 1484), possibly baptized under the name of Giovanni Ambrosio (Giovann Ambrosio). Guglielmo issued a handbook entitled "On the practice or art of dance" ("De pratica seu arte tripudii", 1455). The paper first defined the requirements for dancers, according to the author, have to have the right build, rhythm, musical ear. Had to memorize the order of the first couples dance and balls to show another example in performing dance moves, to dancing along.

Another follower AD Piacenza, which was concerned with the problem of notation, was a poet and choreographer Antonio Kornazano (Antonio Cornazzano, about 1430 – about 1483/ 1484 ). In 1455 he published "The Book of the Art of Dance" ("Libro dell'arte del danzare"). Original work is considered lost, but preserved in the archives of the Vatican lifetime copy, established in 1465. Certain men dance notation dance party kept the manuscript "Notes Lantsiolotto Richchiarelli" (between 1468 /1505). "Records " include a detailed comparison with other similar , describing the complicated dance steps, jumps, turns and virtuoso even complicated distribution steps (eg, description kontrpaso while a doppio three tunes for two cycles instead of the usual two doppio). Dancing with the manuscript title, "Flowers joy", "Dance of jealousy," "The Lion, the flowers and the cello".

It should give another manuscript – "Venetian manuscript" (about 1473), which consists of only one sheet and contains eighty-four lines of amateur dance records and personal notes of a young man, perhaps a student or student churchman ( this assumption arose from that each record ends with the word "amen" instead of the conventional "fine").

Next worthwhile attraction – "Parchment Strybaldi" (1517). It is a parchment scroll, which contained records of order and twenty basdansiv dance steps.

It is interesting manuscript turned up to Guglielmo copies stored in the Public Library of New York, entitled "The priest who teaches his students to dance baletto" (around 1520/ 1530). It contained descriptions of court dance performed by several pairs, but no music tunes.

Thus, the analysis carried out by medieval monuments indicates that during the first half of XV – end of the sixteenth century. In Italy there was a problem writing works of choreography for the purpose of conservation and restoration in the future. In the country there was no generally accepted rules of notation that would provide an opportunity to preserve and recreate the dance in its original form. For recordings of dance used verbal formulas that contain a general description of gait and movements of the dancers, but did not allow clear set features dance movements and their composition.