Grotesque dance (French: danse grotesque; Italian: ballo grottesco or danza grottesca) is a category of theatrical dance that became more clearly differentiated in the 18th century and was incorporated into ballet, although it had its roots in earlier centuries. As opposed to the danse noble or "noble dance" performed in royal courts which emphasized beauty of movement and noble themes, grotesque dances were comic or lighthearted and created for buffoons and commedia dell'arte characters to amuse and entertain spectators or patrons. In 16th and 17th centuries grotesque dances were often presented as an anti-masque, performed between the acts of more serious courtly entertainments. Likewise, the 17th century entrée de ballet (a series of loosely connected tableaux rather than a continuous d
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| - Grotesque dance (en)
- Danza grottesca (it)
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| - Grotesque dance (French: danse grotesque; Italian: ballo grottesco or danza grottesca) is a category of theatrical dance that became more clearly differentiated in the 18th century and was incorporated into ballet, although it had its roots in earlier centuries. As opposed to the danse noble or "noble dance" performed in royal courts which emphasized beauty of movement and noble themes, grotesque dances were comic or lighthearted and created for buffoons and commedia dell'arte characters to amuse and entertain spectators or patrons. In 16th and 17th centuries grotesque dances were often presented as an anti-masque, performed between the acts of more serious courtly entertainments. Likewise, the 17th century entrée de ballet (a series of loosely connected tableaux rather than a continuous d (en)
- La danza grottesca (francese: danse grotesque; inglese: grotesque dance) è una categoria di danza teatrale che si è differenziata più chiaramente nel XVIII secolo e fu incorporata nel balletto, sebbene avesse le sue radici nei secoli precedenti. Al contrario della danse noble o "danza nobile" eseguita nelle corti reali che enfatizzava la bellezza del movimento e temi nobili, le danze grottesche erano comiche o spensierate e create per buffoni e personaggi della commedia dell'arte per divertire e intrattenere spettatori o mecenati. Nei secoli XVI e XVII le danze grottesche venivano spesso presentate come anti masque, eseguite in mezzo agli atti di spettacoli di corte più seri. Allo stesso modo, il ballet a entrées del XVII secolo (una serie di tableaux liberamente collegati piuttosto che un (it)
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| - Grotesque dance (French: danse grotesque; Italian: ballo grottesco or danza grottesca) is a category of theatrical dance that became more clearly differentiated in the 18th century and was incorporated into ballet, although it had its roots in earlier centuries. As opposed to the danse noble or "noble dance" performed in royal courts which emphasized beauty of movement and noble themes, grotesque dances were comic or lighthearted and created for buffoons and commedia dell'arte characters to amuse and entertain spectators or patrons. In 16th and 17th centuries grotesque dances were often presented as an anti-masque, performed between the acts of more serious courtly entertainments. Likewise, the 17th century entrée de ballet (a series of loosely connected tableaux rather than a continuous dramatic narrative) sometimes contained grotesque sequences, most notably those devised by the Duke of Nemours for the court of Louis XIII. Some of the grotesque performers were physically deformed, but the Italian tradition of ballo grottesco, typified by the dancer and choreographer, Gennaro Magri whose career was at its apex in the 1760s, involved a high degree of virtuosity and athleticism. Ballets which contain grotesque dances or consist solely of grotesque dance include Campra's Le jaloux trompé and Ravel's Daphnis et Chloé (Dorcon's dance in Part 1). Dancers who excelled in the grotesque genre besides Magri included Margrethe Schall and John D'Auban. (en)
- La danza grottesca (francese: danse grotesque; inglese: grotesque dance) è una categoria di danza teatrale che si è differenziata più chiaramente nel XVIII secolo e fu incorporata nel balletto, sebbene avesse le sue radici nei secoli precedenti. Al contrario della danse noble o "danza nobile" eseguita nelle corti reali che enfatizzava la bellezza del movimento e temi nobili, le danze grottesche erano comiche o spensierate e create per buffoni e personaggi della commedia dell'arte per divertire e intrattenere spettatori o mecenati. Nei secoli XVI e XVII le danze grottesche venivano spesso presentate come anti masque, eseguite in mezzo agli atti di spettacoli di corte più seri. Allo stesso modo, il ballet a entrées del XVII secolo (una serie di tableaux liberamente collegati piuttosto che una narrazione drammatica continua) a volte conteneva sequenze grottesche, in particolare quelle ideate dal Duca di Nemours per la corte di Luigi XIII. Alcuni degli artisti grotteschi erano fisicamente deformi, ma la tradizione italiana del ballo grottesco, rappresentata dal ballerino e coreografo Gennaro Magri, la cui carriera era al culmine negli anni '60 dell'Ottocento, comportava un alto grado di virtuosismo e atletismo. I balletti che contengono danze grottesche o che consistono unicamente in danze grottesche comprendono Le jaloux trompé di Campra e Daphnis et Chloé di Ravel (la danza di Dorcon nella prima parte). Danzatori che eccellevano nel genere grottesco oltre a Magri erano Margrethe Schall e John D'Auban. (it)
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