dancing in the serious stile, or the minuet, with grace and
ease, is essential. The possessing this branch of dancing is of
great service on the theatre, even to an actor. The effect of it
steals into his manner, and gait, and gives him an air of
presenting himself, that is sure to prepossess in his favor.
Persons of every size or shape are susceptible of grace and
improvement from it. The shoulders so drawn back as not to
protuberate before, but as it were, to retreat from sight, or as
the French express it _bien effacées_, the knees well turning
outwards, with a free play; the air of the shape noble and
disengaged; the turns and movements easy; in short, all the
graces that characterise a good execution of the minuet, will,
insensibly on all other occasions, distribute through every limb
and part of the body, a certain liberty and agreeableness of
motion easier to be conceived than defined. To the actor, in all
characters, it gives, as I have just before observed, a graceful
mien and presence; but, in serious characters, it especially
suggests that striking portliness, that majestic tread of the
stage, for which some actors from the very first of their
appearance so happily dispose the public to a favorable
reception of their merit in the rest of their part. An influence
of the first impression, which a good actor will hardly despise,
especially with due precaution against his contracting any thing
forced or affected in his air or steps, from his attention to
his improvement by dancing, as the very best things may be even
pernicious by a misuse. Whatever is not natural, free, and easy,
will undoubtedly, on the stage, as every where else, have a bad
effect. A very little matter of excess will, from his aim at a
grace, produce a ridiculous caricature. Too stiff a regulation
of his motions or gestures, by measure and cadence, would even
be worse than abandoning every thing to chance; which might,
like the Eolian harp, sometimes suffer lucky hits to escape him;
whereas affectation is as sure forever to displease, as it is
not to escape the being seen where it exists.
Among the many reasons for this dance of the minuet having
become general, is the possibility of dancing it to so many
different airs, though the steps are invariable. If one tune
does not please a performer, he may call for another; the minuet
still remaining unalterable.
There is no occasion however for a learner to be confined to
this dance. He should rather be encouraged, or have a curiosity
be excited in him, to learn especially those dances, which are
of the more tender or serious character, contributing, as they
greatly do, to perfect one in the minuet; independently of the
pleasure they besides give both in the performance and to the
sight. The dances the most in request are, the _Saraband_, the
_Bretagne_ the _Furlana_, the _Passepied_, the _Folie
d'Espagne_, the _Rigaudon_, the _Minuet du Dauphin_ the
_Louvre_, _La Mariée_, which is always danced at the Opera of
Roland at Paris. Some of these are performed solo, others are
duet-dances. The _Louvre_ is held by many the most pleasing of
them all, especially when well executed by both performers, in a
just concert of motions; no dance affording the arms more
occasion for a graceful display of them, or a more delicate
regularity of the steps; being composed of the most select ones
from theatrical dances, and formed upon the truest principles of
the art. This dance is executed in most countries of Europe
without any variation. It is generally followed or terminated by
a minuet; and these two dances, the Louvre and the minuet, are
at present the most universally in fashion, and will, in all
probability, continue so, from their being both pleasing beyond
all others, to the performers, as well as to the spectators, and
from their not being difficult to learn, if the scholar has but
common docility.
Youth being for learning this art undoubtedly the best season,
for reasons as I have before observed, too obvious to need
insisting on, the master cannot pay too much attention to the
availing himself of the pliancy of that age, to give his
scholars the necessary instructions for preparing and
well-disposing their limbs. This holds good, particularly with
regard to that propensity innate to most persons of turning in
their toes. I have already mentioned the expediency of curing
this defect, by the directing them to acquire a habit of turning
the knees outward, to which I have to add, that on the proper
turn of the knee, chiefly depend the graces of the under part of
the figure, that is to say, from the foot to the hip.
Frequent practice also of dancing, or of any salutary exercise,
is also highly recommendable for obtaining a firmness of body;
for a tottering dancer can never plant his steps so as to afford
a pleasing execution. It may sound a little odd, but, the truth
is, that in dancing, sprightliness and agility are principally
produced by bodily strength; while on the contrary, weakness, or
infirmity, must give every step and spring, not only a
tottering, but a heavy air. The legs that bear with the most
ease the weight of the body, will naturally make it seem the
lightest.
A
SUMMARY ACCOUNT
Of various kinds of
DANCES
In different Parts of the WORLD.
_Cantatur et saltatur apud omnes gentes,
aliquo saltem modo_,
QUINT.
In EUROPE.
As almost every country has dances particular to it, or, at
least, so naturalized by adoption from others, that in length of
time they pass for originals; a slight sketch of the most
remarkable of them may serve to throw a light upon this subject,
entertaining to some, and both entertaining and useful to
others.
In BRITAIN, you have the hornpipe, a dance which is held an
original of this country. Some of the steps of it are used in
the country-dances here, which are themselves a kind of dance
executed with more variety and agreeableness than in any part of
Europe, where they are also imitatively performed, as in Italy,
Germany and in several other countries. Nor is it without reason
they obtain, here the preference over the like in other places.
They are no where so well executed. The music is extremely well
adapted, and the steps in general are very pleasing. Some
foreign comic dancers, on their coming here, apply themselves
with great attention to the true study of the hornpipe, and by
constant practice acquire the ability of performing it with
success in foreign countries, where it always meets with the
highest applause, when masterly executed. There was an instance
of this, sometime ago at Venice, at an opera there, when the
theatre was as well provided with good singers and dancers, as
any other. But they had not the good fortune to please the
public. A dancer luckily for the manager, presented himself, who
danced the hornpipe in its due perfection. This novelty took so,
and made such full houses, that the manager, who had begun with
great loss, soon saw himself repaired, and was a gainer when he
little expected it.
It is to the HIGHLANDERS in North-Britain, that I am told we are
indebted for a dance in the comic vein, called the _Scotch
Reel_, executed generally, and I believe always in _trio_, or by
three. When well danced, it has a very pleasing effect: and
indeed nothing can be imagined more agreeable, or more lively
and brilliant, than the steps in many of the Scotch dances.
There is a great variety of very natural and very pleasing ones.
And a composer of comic dances, might, with great advantage to
himself, upon a judicious assemblage of such steps as he might
pick out of their dances, form a dance that, with well adapted
dresses, correspondent music, and figures capable of a just
performance, could hardly fail of a great success upon the
theatre.
I do not know whether I shall not stand in need of an apology
for mentioning here a dance once popular in England, but to
which the idea of low is now currently annexed. It was
originally adapted from the Moors, and is still known by the
name of Morris-dancing, or Moresc-dance. It is danced with
swords, by persons odly disguised, with a great deal of antic
rural merriment: it is true that this diversion is now almost
exploded, being entirely confined to the lower classes of life,
and only kept up in some counties. What the reason may be of its
going out of use, I cannot say; but am very sure, there was not
only a great deal of natural mirth in it, but that it is
susceptible enough of improvement, to rescue it from the
contempt it may have incurred, through its being chiefly in use
among the vulgar; though most probably it may have descended
among them from the higher ranks. For certainly of them it was
not quite unworthy, for the Pirrhic or military air it carries
with it, and which probably was the cause of its introduction
among so martial a people. Rude, as it was, it might require
refinement, but it did not, perhaps, deserve to become quite
obsolete.
In SPAIN, they have a dance, called, _Les Folies d'Espagne_,
which is performed either by one or by two, with castanets.
There is a dress peculiarly adapted to it, which has a very
pleasing effect, as well as the dance itself.
In FRANCE, their _Contre-dances_, are drawn from the true
principles of the art, and the figures and steps are generally
very agreeable. No nation cultivates this art with more taste
and delicacy. Their _Provençale_ dance, is most delightfully
sprightly, and well imagined. The steps seem to correspond with
the natural vivacity and gaiety of the Provençals. This dance is
commonly performed to the pipe and tabor.
The FLEMISH dances run in the most droll vein of true rural
humor. The performers seem to be made for the dances, and the
dances for the performers; so well assorted are the figures to
the representation. Several eminent painters in the grotesque
stile, Teniers especially, have formed many diverting pictures
taken from life, upon this subject.
At NAPLES, they have various grotesque dances, which are
originals in their kind, being extremely difficult to execute,
not only for the variety of the steps, but for the intricacy and
uncommonness, or rather singularity of them.
But while I am mentioning Naples, I ought not to omit that
effect of dancing, which is attributed to it, upon those who are
bitten with the _Tarantula_. The original of this opinion, was
probably owing to some sensible physician, prescribing such a
violent motion, more likely to be kept up in the patient, by the
power of music, than by any thing else, as might enable him to
expel the poison, by being thereby thrown into a copious sweat,
and by other benefits from such a vehement agitation. This, it
is supposed, was afterwards abused and turned into a mere trick,
to assemble a croud and get money, either by sham bites, or by
making a kind of show of this method of practice in real ones.
However, that may be, the various grimaces or contortions, leaps
and irregular steps, commonly used on this occasion, to be
executed to that sort of music, or airs adapted to it, might
afford a good subject for a grotesque dance, to be formed upon
the plan of a burlesque or mock-imitation: and I am not quite
sure that the idea of such a dance, has not been already carried
into execution.
The castanets the NEAPOLITANS most frequently use, are of the
largest size. It is also from Naples that we have taken the
Punchinello dance.
At FLORENCE, they have a dance, called, _il Treschone_. The
country-women, in the villages, are very fond of it. They are
generally speaking, very robust, and capable of holding out the
fatigue of this dance, for a long time. To make themselves more
light for it, they often pull off their shoes. The dance is
opened by a couple, one of each sex. The woman holds in her hand
a handkerchief, which she flings to him whom she chuses for her
next partner, who, in his turn has an equal right to dispose of
it in the same manner, to any woman of the company he chuses.
Thus is the dance carried on without any interruption till the
assembly breaks up.
The favorite dance of the VENETIANS, is what they call the
_Furlana_, which is performed by two persons dancing a-round
with the greatest rapidity. Those who have a good ear, keep time
with the crossing their feet behind; and some add a motion of
their hands, as if they were rowing or tugging at an oar. This
dance is practiced in several other parts of Italy.
The Peasants of TIROL, have one of the most pleasant and
grotesque dances that can be imagined. They perform it in a sort
of holy-day dress, made of skins, and adorned with ribbons. They
wear wooden shoes, not uncuriously painted; and the women
especially express a kind of rural simplicity and frolic mirth,
which has a very agreeable effect.
The GRISONS are in possession of an old dance, which is not
without its merit, and which they would not exchange for the
politest in Europe; they being as invariably attached to it, as
to their dress.
The HUNGARIANS are very noisy in their dances, with their iron
heels, but when they are of an equal size, and dressed in their
uniforms, the agility of their steps, and the regularity of
dress in the performers, render them not a disagreeable sight.
The GERMANS have a dance called the _Allemande_, in which the
men and women form a ring. Each man holding his partner round
the waist, makes her whirl round with almost inconceivable
rapidity: they dance in a grand circle, seeming to pursue one
another: in the course of which they execute several leaps, and
some particularly pleasing steps, when they turn, but so very
difficult as to appear such even to professed dancers
themselves. When this dance is performed by a numerous company,
it furnishes one of the most pleasing sights that can be
imagined.
The POLISH nobility have a dance, to which the magnificence of
their dress, and the elegance of the steps, the gracefulness of
the attitudes, the fitness of the music, all contribute to
produce a great effect. Were it performed here on the theatre,
it would hardly fail of a general applause.
The COSSACS, have, amidst all their uncouth barbarism, a sort of
dancing, which they execute to the sound of an instrument,
somewhat resembling a Mandoline, but considerably larger, and
which is highly diverting, from the extreme vivacity of the
steps, and the oddity of the contortions and grimaces, with
which they exhibit it. For a grotesque dance there can hardly be
imagined any thing more entertaining.
The RUSSIANS, afford nothing remarkable in their dances, which
they now chiefly take from other countries. The dance of dwarfs
with which the Czar Peter the Great, solemnized the nuptials of
his niece to the Duke of Courland, was, probably rather a
particular whim of his own, than a national usage.
In ASIA.
In TURKY, dances have been, as of old in Greece, and elsewhere
instituted in form of a religious ceremony. The _Dervishes_ who
are a kind of devotionists execute a dance, called the _Semaat_
in a circle, to a strange wild-simphony, when holding one
another by the hand, they turn round with such rapidity, that,
with pure giddiness, they often fall down in heaps upon one
another.
They have also in Turky, as well as India and Persia, professed
dancers, especially of the female sex, under the name of
dancing-girls, who are bred up, from their childhood, to the
profession; and are always sent for to any great entertainment,
public or private, as at feasts, weddings, ceremonies of
circumcision, and, in short, on all occasions of festivity and
joy. They execute their dances to a simphony of various
instruments, extremely resembling the antient ones, the
_tympanum_, the _crotala_, the _cimbals_, and the like, as well
as to songs, being a kind of small dramatic compositions, or
what may properly be called _ballads_, which is a true word for
a song at once sung and danced: _ballare_ signifying to dance;
and _ballata_, a song, composed to be danced. It is probable
that from these eastern kind of dances, which are undoubtedly
very antient, came the name, among the Romans, of _balatrones_.
Nothing can be imagined more graceful, nor more expressive, than
the gestures and attitudes of those dancing-girls, which may
properly be called the eloquence of the body, in which indeed
most of the Asiatics and inhabitants of the southren climates
constitutionally excel, from a sensibility more exquisite than
is the attribute of the more northern people; but a sensibility
ballanced by too many disadvantages to be envied them. The
Siamese, we are told, have three dances, called the _Cone_, the
_Lacone_, and the _Raban_. The _Cone_ is a figure-dance, in
which they use particularly a string-instrument in the nature of
a violin, with some others of the Asiatic make. Those who dance
are armed and masked, and seem to be a fighting rather than
dancing. It is a kind of Indian Pirrhic. Their masks represent
the most frightful hideous countenances of wild-beasts, or
demons, that fancy can invent. In the _Lacone_ the performers
sing commutually stanzes of verses containing the history of
their country. The Raban is a mixed dance, of men and women, not
martial, nor historical, but purely gallant; in which the
dancers have all long false nails of copper. They sing in this
dance, which is only a slow march without any high motions, but
with a great many contortions of body and arms. Those who dance
in the Raban and Cone have high gilt caps like sugar-loaves. The
dance of the _Lacone_ is appropriated to the dedication of their
temples, when a new statue of their _Sommona-codom_ is set up.
In many parts of the East, at their weddings, in conducting the
bride from her house to the bridegroom's, as in Persia
especially, they make use of processional music and dancing.
But, in the religious ceremonies of the Gentoos, when, at stated
times, they draw the triumphal car, in which the image of the
deity of the festival is carried, the procession is intermixed
with troops of dancers of both sexes, who, proceed, in chorus,
leaping, dancing, and falling into strange antics, as the
procession moves along, of which they compose a part; these
adapt their gestures and steps to the sounds of various
instruments of music.
Considering withal that the Romans, in their most solemn
processions, as in that called the _Pompa_, which I have before
mentioned, in which not only the Pirrhic dance was
processionally executed, but other dances, in masquerade, by men
who, in their habits, by leaping and by feats of agility,
represented satirs, the _Sileni_, and _Fauni_, and were attended
by minstrels playing on the flute and guitar; besides which,
there were _Salian_ priests, and _Salian_ virgins, who followed,
in their order, and executed their respective religious dances;
it may bear a question whether not an unpleasing use might not
be made, on the theatres, of processional dances properly
introduced, and connected, especially in the burlesque way. In
every country, and particularly in this, processions are
esteemed an agreeable amusement to the eye; and certainly they
must receive more life and animation from a proper intermixture
of dances, than what a mere solemn march can represent, where
there is nothing to amuse but a long train of personages in
various habits, walking in parade. I only mention this however
as a hint not impossible to be improved, and reduced into
practice.
But even, where it might be improper or ridiculous to think of
mixing dances with a procession, though it were but in
burlesque, which must, if at all, be the preferable way of
mixing them, the pleasure of those who delight in seeing
processions and pageantry exhibited on the theatre, might be
gratified, without any violence to propriety, by making them
introductory to the dances of the grandest kind. For example;
where a dance in Chinese characters is intended, a procession
might be previously brought in, of personages, of whom the
habits, charactures, and manners might be faithfully copied from
nature, and from the truth of things, and convey to the
spectator a juster notion, of the people from which the
representation was taken, of their dress and public processions,
than any verbal description, or even prints or pictures. After
which, the dance might naturally take place, in celebration of
the festival, of which, the procession might be supposed the
occasion.
In order to give a more distinct idea of this hint, I have
hereto annexed the print of a Chinese procession taken from the
description of a traveller into that country; by which a good
composer would well know how to make a proper choice of what
might be exhibited, and what was fit to be left out; especially
according as the dance should be, serious or burlesque. In the
last case; even the horses might be represented by a theatrical
imitation. And certainly, bringing the personages on in such a
regular procession at first, would give a better opportunity of
observing their dresses, than in the huddled, confused manner of
grouping them, that has been sometimes practised: to say nothing
of the pleasure afforded to the eye by the procession itself.
The print annexed represents the procession of a Chinese
Mandarin of the first order. First appear two men who strike
each upon a copper instrument called a gongh, resembling a
hollow dish without a border, which has pretty much the effect
of a kettle-drum.
Follow the ensign-bearers, on whose flags are written in large
characters the Mandarin's titles of honour. Next fourteen
standards, upon which appear the proper simbols of his office,
such as the dragon, tiger, phoenix, flying tortoise, and other
winged creatures of fancy, emblematically exhibited.
Six officers, bearing a staff headed by an oblong square board,
raised high, whereon are written in large golden characters the
particular qualities of this Mandarin.
Two others bear, the one a large umbrella of yellow silk (the
imperial color) of three folds, one above the other; the other
officer carries the case in which the umbrella is kept.
Two archers on horseback, at the head of the chief guard: then
the guards, armed with large hooks, adorned with silk fringe, in
four rows one above another; two other files of men in armor,
some bearing maces with long handles; others, maces in the form
of a hand, or of a serpent: others, equipped with large hammers
and long hatchets like a crescent. Other guards bearing sharp
axes: some, weapons like scythes, only strait. Soldiers carrying
three-edged halberds.
Two porters, carrying a splendid coffer, containing the seal of
his office.
Two other men, beating each a _gongh_, which gives notice of the
Mandarin's approach.
Two officers, armed with staves, to keep off the croud.
Two mace-bearers with gilt maces in the shape of dragons, and a
number of officers of justice, some equiped with bamboes, a kind
of flat cudgels, to give the bastinado: others with chains,
whips, cutlasses, and hangers.
Two standard-bearers, and the captain of the guard.
All this equipage precedes the Mandarin or Viceroy, who is
carried in his chair, surrounded with pages and footmen, having
near his person an officer who carries a large fan in the shape
of a hand-fire-screen.
He is followed by guards, some armed with maces, and others with
long-handled sabres; after whom come several ensigns and
cornets, with a great number of domestics on horseback, every
one bearing some necessary belonging to the Mandarin: as for
example, a particular Tartarian cap, if the weather should
oblige him to change the one he has on.
From the above, it may appear, what scope or range a composer
may have for the exhibition of processions and pageantry of
other nations, as well as of the Chinese; in all which, nothing
is more recommendable than adhering, in the representation, as
much as the limitations of the theatre will admit, to the truth
of things, as they actually pass in the countries where the
scene is laid: which is but, in saying other words, in this, as
in every other imitative branch, strike to nature as close as
possible.
In AFRICA.
The spirit of dancing prevails, almost beyond imagination, among
both men and women, in most parts of Africa. It is even more
than instinct, it is a rage, in some countries of that part of
the globe.
Upon the Gold-coast especially, the inhabitants are so
passionately fond of it, that in the midst of their hardest
labor, if they hear a person sing, or any musical instrument
plaid, they cannot refrain from dancing.
There are even well attested stories of some Negroes flinging
themselves at the feet of an European playing on a fiddle,
entreating him to desist, unless he had a mind to tire them to
death; it being impossible for them to cease dancing, while he
continued playing. Such is the irresistible passion for dancing
among them.
With such an innate fondness for this art, one would imagine
that children taken from this country, so strong-made and so
well-limbed as they generally are, and so finely disposed by
nature, might, if duly instructed, go great lengths towards
perfection in the art. But I do not remember to have heard that
the experiment was ever made upon any of them, by some master
capable of giving them such an improvement, as one would suppose
them susceptible of.