Raoul auger feuillet biography
- Raoul Auger (or Anger) Feuillet (c.1660–1710) was a French dance notator, publisher and choreographer most well-known today for his Chorégraphie.
- Raoul-Auger Feuillet (born c.
- Raoul Auger Feuillet (c.1660–1710) was a French dance notator, publisher and choreographer most well-known today for his Chorégraphie, ou l'art de décrire la.
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Between 1688 and 1787 more than twenty different sources provide information about how to dance the minuet. They give a variety of details and I am not going to work through all of them. My interest here is the pas de menuet, the step that defines the dance, and its musical timing. The pas de menuet has four steps to be performed over six musical beats, two bars of music in triple time. As the dance manuals make clear there were a number of different versions of the step and various solutions to the issue of timing.
For some reason, Feuillet did not include minuet steps in his first edition of Choregraphie in 1700. He added them to the second edition of 1701 in a ‘Supplément des Pas’, notating four different versions of the pas de menuet.
Feuillet, Choregraphie, 2nd ed. (Paris, 1701), Supplément de Pas (detail)
Feuillet provides no information about the timing of the step. He did address musical timing in his ‘Traité de la Cadance’ at the beginning of his 1704 collection of ‘Entrées de Ballet’ by Guillaume-Louis Pecour. He didn’t include the pas de menuet among
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I am pursuing a line of research that has led me to the entrée grave and its use in musical works on the London stage in the late 17th century, so I thought I would take a closer look at this dance type through the choreographies surviving in notation. I have, of course, written about male dancing in other posts and I list these below for anyone who might be interested.
In her 2016 book Dance and Drama in French Baroque Opera (p. 56), Rebecca Harris-Warrick describes the entrée grave as ‘a slow dance in duple meter characterized by dotted quarter note /eighth-note patterns, rather like the opening portion of an overture’, cautioning that ‘“grave” is found in the headings for choreographies … in scores such a piece is generally identified simply as an entrée or an air’. She also tells us that ‘in choreographic sources entrées graves are always danced by men’ (although she does cite an opera in which one may have been danced by women, p. 332).
Here, I am concerned only with the ‘choreographic sources’, as I want mainly to look at the vocabulary and technique associated w
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Raoul Auger Feuillet
Raoul Auger (or Anger) Feuillet (c.1660–1710) was a French dance notator, publisher and choreographer most well-known today for his Chorégraphie, ou l'art de décrire la danse (Paris, 1700)[1] which described Beauchamp–Feuillet notation, and his subsequent collections of ballroom and theatrical dances, which included his own choreographies as well as those of Pécour.
His Chorégraphie (1700) was translated into English by John Weaver (as Orchesography. Or the Art of Dancing) (1706)[2] and P. Siris (as The Art of Dancing), both published in 1706. Weaver also translated the Traité de la cadance from Feuillet's 1704 Recŭeil de dances[3] (as A Small Treatise of Time and Cadence in Dancing, 1706).[4] Feuillet's Recŭeil de contredances (1706),[5] a collection of English country dances, was translated into English by John Essex (as For the Furthur Improvement of Dancing, 1710).[6]
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