Thank you for your comment. For the arms, it's a way of using gesture for theatrical dance, which i think was much more usual than what we do today in baroque dance. We do have descriptions of that time of "ronds de l'épaule" and iconographys of dancers with high arms for scene expression. That's what i wanted to show.
To have performed this theatrical dance with the standard 18th century ballroom dance arms would have been a disappointment and rather dry. After all, this is not a ballroom choreography. For me, the gesture she's using is justified and completely fits with the spirit of the music and the complexity of the notated dance (feetwise). She's evoking the character and spirit of Armide and bringing a human component to the dance with her arm gestures, her facial expressions and her spirit. Can you imagine that theatrical dancers in the 17th & 18th centuries would not have added this component?
I agree, at least my thought was, is there some iconographic or documentary resource justifying them of which I'm unaware (can you cite the images you're working from--I'd find that interesting...)? They're very expressive, but they also seem anachronistic to me; (Turocy uses some extended port de bras, but nothing so extreme, to my recollection). They also go very straight, which seems to approach the balletic to me; this period is not the same as the early 1800s, so aesthetic decisions need to be taken with that in mind. Lovely rendition overall, good footwork and elan; nicely considered accents and follow-through....but it's almost like a below-waist Baroque, upper-body Romantic ballet performance...!
Passacaglias are so melancholy and nostalgic. They never fail to touch me emotionally.
This is so emotional and impressive. Great artists. I really feel the baroque atmosphere...
Just gorgeous, so expressive
A really beautiful performance.
Magnifique Annabelle Blanc.
Excellent !
Best music and dance
Oh you beauties make me want to sing and dance,
watching and listening I feel sixteen not sixty...
wow this is brilliant!
Excellent ❤
Bravo!
Lovely!
😍👏👏👏
Very nice and clear footwork!
I am not so happy with the high arms.
Thank you for your comment. For the arms, it's a way of using gesture for theatrical dance, which i think was much more usual than what we do today in baroque dance. We do have descriptions of that time of "ronds de l'épaule" and iconographys of dancers with high arms for scene expression. That's what i wanted to show.
To have performed this theatrical dance with the standard 18th century ballroom dance arms would have been a disappointment and rather dry. After all, this is not a ballroom choreography. For me, the gesture she's using is justified and completely fits with the spirit of the music and the complexity of the notated dance (feetwise). She's evoking the character and spirit of Armide and bringing a human component to the dance with her arm gestures, her facial expressions and her spirit. Can you imagine that theatrical dancers in the 17th & 18th centuries would not have added this component?
I agree, at least my thought was, is there some iconographic or documentary resource justifying them of which I'm unaware (can you cite the images you're working from--I'd find that interesting...)? They're very expressive, but they also seem anachronistic to me; (Turocy uses some extended port de bras, but nothing so extreme, to my recollection). They also go very straight, which seems to approach the balletic to me; this period is not the same as the early 1800s, so aesthetic decisions need to be taken with that in mind.
Lovely rendition overall, good footwork and elan; nicely considered accents and follow-through....but it's almost like a below-waist Baroque, upper-body Romantic ballet performance...!
Is this in church Saint George? Разве в церкви можно танцевать? Распятие закрыли драпировкой!
Yes it's St George's Church in Kemptown. A lovely venue!
440?
I think it was 392...