Un ballo «colle Nacchere». Tracce nella pratica coreutica italiana, spagnola e francese di corte e di teatro tra Sei e Settecento

Gloria Giordano; Gabriele Miracle

doi:10.60923/issn.2036-1599/23609

Authors

Gloria Giordano National Dance Academy of Rome

Dancer, choreographer and scholar in Early Dance (repertoires from the 15th to the 18th century). Graduated of the National Academy of Dance (Rome), where she teaches Theory of Dance and Historical dance. PhD carried out at the University of Tours (France, 2022), and devoted to dance in Rome between the 17th and 18th centuries, soon to be published by Classiques Garnier.

She dances in Italian and European companies such as Ensemble Donaires (A. Yepes, Paris) or Doulce Mémoire (chor. H. Hazebroucq), and is the author, performer and choreographer of historical dance performances in collaboration with established soloists and instrumental ensembles specializing in Renaissance and Baroque repertoire.

She creates choreographies for operas like Opera Bhutan (Acis and Galatea, Händel) and Japan Orfeo in Tokyo and for festivals like the Innsbrucker Festwochen der Alten Musik, or the International Music Festival of Macao.

An independent researcher, she published the facsimile of the Balletti manuscript (Venice, 1726) by G. Grossatesta (2005) and, with Alessandro Pontremoli, Barbara Sparti’s book Dance, Dancers and Dance-Masters in Renaissance and Baroque Italy (2015). From 2012 she directs the dance book collection “Biblioteca di Danza” for Massimiliano Piretti Editore.
Gabriele Miracle Independent researcher

After graduating with honors in percussion instruments at the Conservatory of Perugia, he immediately devoted himself to early music, collaborating with the Ensemble Micrologus, Cappella Neapolitana di Toni Florio, Angelo Branduardi, Magdalena Kozena, La Pifarescha, I Barocchisti di Diego Fasolis, Cecilia Bartoli, I Bassifondi, Concerto Scirocco, La Cetra Barockorchestra, and the Orchestra della Scala. He has recorded for Decca, Arcana, Opus 111, and Deutsche Grammophon.

Since 2007, he has collaborated with choreographer Sidi Larbi Cherkaoui on the productions Myth (2007), “Babel” (2010), winner of the Olivier Award for Best Choreography of the Year, ‘Play’ (2010) in collaboration with Indian dancer Shantala Shivalingappa, “4D” (2013), Icon (2016), and Stoic (2018)—the latter two in collaboration with the Gothenburg Opera Dance Company—and Ihsane (2024) in collaboration with the Ballet du Grand Théâtre de Genève, participating in the world tours of each of these.

He composes the music for the choreographies “Les Meduses” and “Yama” by Belgian choreographer Damien Jalet.

Since 2019, he has been invited every year by the prestigious early music school Schola Cantorum Basiliensis in Basel (Switzerland) to teach courses on percussion in early music. As a speaker, he participated in the 2021 conference “Tanz und Musik” organized by the Schola Cantorum Basiliensis with a presentation entitled “Percussion in Early Dance. Looking for a Historical Groove,” published in volume 42 of Baisler Beiträge zur Historischen Musikpraxis.

DOI:

https://doi.org/10.60923/issn.2036-1599/23609

Abstract

Nacchere or naccare and castagnette or castagnole are terms that appear interchangeably in Italian archival and libretto documents from the 17^th and 18^th centuries, without any particular organological differences being highlighted. Despite a wealth of sources of various kinds, which testify to their use in theatrical dance and, in all likelihood, also in dance lessons, treatises, even Spanish ones, with the exception of Raoul-Auger Feuillet’s Chorégraphie, do not report rhythmic examples, much less associated with steps. The essay focuses on the interpretation of some iconographic and musical examples and proposes a focus on the Italian situation, from which the following emerges: a practice in male and female dance and the presence in dances related to Italian, Spanish, and French technique, not only of Hispanic origin, or danced “alla spagnola” or necessarily representing Spain. The study is completed by an analysis of the musical examples reported by Feuillet and the page of the Couplet de Folie d’Espagne, which summarizes the elements of notation.

Un ballo «colle Nacchere». Tracce nella pratica coreutica italiana, spagnola e francese di corte e di teatro tra Sei e Settecento

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