Nuove fonti manoscritte coreografiche e musicali per lo studio del ballo sociale in Italia tra la fine del Settecento e i primi dell’Ottocento

Ornella Di Tondo

doi:10.6092/issn.2036-1599/11799

Authors

Ornella Di Tondo Independent research

Graduated in Ethnomusicology at the University of Rome “La Sapienza” (1986) and successively in Paleographical Archive and Modern History Auxiliary Sciences from the Scuola Superiore Archivisti e Bibliotecari, at the same University (1998). She has been playing the role of interpreter, teacher and choreographer in historical and ethnic dances. Researcher in Dance History (from the Middle Age through the 19th century) and in Italian folk dances. Vice-president of the Italian Association of Research in Dance (AIRDanza) (2004-2010). She collaborates with many Universities and research institutions and she took part in many national and international conferences, and many books and articles of hers appeared on specialized periodicals. To be mentioned, among the books: La censura sui balli teatrali nella Roma dell’Ottocento (Utet, 2008) and Storia della danza in Occidente. Dall'Antichità al Seicento (Gremese, 2015, new edition 2019).

DOI:

https://doi.org/10.6092/issn.2036-1599/11799

Abstract

The study presents two unknown manuscript sources (the Contraddanze per la lezzione delle LL. AA. RR. l'Arciduchi and Per Le loro Eccellenze Corsini N.° 12 Contradanze by Pietro Nieri, c. 1775-90), which offers the opportunity to reconsider, also on the basis of known sources, the diffusion and the practice in Italy of the contraddanza and the taice, characterized by French, but also Austrian and German influences. The contraddanza is found in Italy in the two types, anglaise (countrydance longways) and française (en carré); the taice is a new dance introducing a new closer contact between dancers, until then typically popular. Both are signs of the development of “natural” and playful sensibilities, and of the new forms of sociality and relations between sexes.