The Dancing Body in Renaissance Choreography: Kinetic Theatricality and Social Interaction

Mark Franko

Renaissance dance treatises claim that the dance is a language but do not explain how or what dancing communicates. Since the body is the instrument of this hypothetical language, The Dancing Body in Renaissance Choreography problematizes the absence of the dancing body in treatises in order to reconstruct it through a series of intertextual readings triggered by Thoinot Arbeau’s definition of dance as a mute rhetoric in Orchésographie. This book shows that the oratorical model for Arbeau’s definition of the dance is epideictic and that although one cannot equate dance and oratorical action, the ends of oratorical action are those of dance: persuasion through charm and emotion.

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The Dancing Body in Renaissance Choreography

Kinetic Theatricality and Social Interaction

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Contents

Frontmatter
pp i-iv

Dedication
pp v-vi

Contents
pp vii-viii

Preface to the Revised Edition
pp ix-xlvi

Chapter 1 - Introduction
pp 1-18

Chapter 2 - The Mythological Intertext: Language
pp 19-32

Chapter 3 - The Sociological Intertext: Courtesy
pp 33-52

Chapter 4 - The Pedagogical Intertext: Precepts
pp 53-84

Chapter 5 - The Political Intertext: Civil Conversatione (Social Intercourse)
pp 85-100

Bibliography
pp 101-110

Index
pp 111-113

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The Dancing Body in Renaissance Choreography

Kinetic Theatricality and Social Interaction

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