Reconstruction based mostly on looking at the original, but partly on the one in The Renaissance Dance Book, by Bernard Thomas and Jane Gingell, and partly on the one I learned from Cindy Campbell of Il Pomo Verde.
In the original version of the dance the format is Introduction, then three different Variations (the man doing them, then the woman repeating exactly), the section to change places, then three more Variations, and the Finale. The music I usually use is only enough for 2 Variations, with the Intro, Changing Sides and the Finale.
Steps for this dance are described below.
The variations in the original are specified. I prefer each dancer to invent their own. Some of his variations are described below.
Start: One couple side by side, man on left, holding usual
hands, at the bottom of the hall.
Intro 8 bars.
Riverenza L, Continenza L, Continenza R
4 Seg. Spez. Sch. going together forward, to center of dance space
1st Coda/Chorus 5 bars.
4 Seg. Spez. Sch., dropping hands, turning to the left, and ending one
at each end of the hall, facing each other
Passo L, Passo R, Cadenza
The interpretation of how the two arrive at their respective ends of
the hall is open to debate. Caroso does not indicate who ends
at the top or bottom of the hall. The method I prefer is to have
them travel as close as possible as they do in the later choruses. So
the man turns over his L shoulder, travelling back in a C shape to
where they started, while the woman actually does not turn to the
left, but instead heads to the right, curving to the left in a
c-shape to end at the top of the hall.
Variation 1 8 bars.
Man does an incredibly complex variation which impresses the woman no end.
There's enough music for 16 Seg. Battuti, which will do if he can't
think of anything better. She should try to look impressed, anyhow.
Retreat 1 8 bars
Man does a Retreat, again improvised.
Coda/Chorus 5 bars
Both do 4 Seg. Spez. Sch., curving back to own Left, in a C-shape,
Original has them do 2 turning to the left, and 2 in perspective
Passo L, Passo R, Cadenza
Repeat Variation and Retreat 1, except the woman alone doing them, both again doing the coda.
Change Sides 8 bars.
Both do 4 Seg. Spez. Sch., curving back to own Left, in a C-shape,
I call this "As if coda" in class, as the dancers start as if
they're doing the coda.
Both do 4 Seg. Spez. Sch., passing right shoulders into each other's
place. Keep eye contact here, and end facing. Caroso
doesn't give a side to pass, + just says they are done forward.
Coda/Chorus 5 bars
Both do 4 Seg. Spez. Sch., curving back to own Left, in a C-shape,
Original has them do 4 turning to the left, this time.
Passo L, Passo R, Cadenza
Variation 2 8 bars.
Man does an even more incredibly complex variation. Again, there's enough
music for 16 Seg. Battuti.
Retreat 2 4 bars
Man does a Retreat, again improvised. It's half the size of the last one.
Coda/Chorus 5 bars
Both do 4 Seg. Spez. Sch., curving back to own Left, in a C-shape,
Passo L, Passo R, Cadenza
Repeat Variation and Retreat 2, except the woman alone doing them, both again doing the coda.
Finale 13 bars.
Both do 4 Seg. Spez. Sch., curving back to own Left, in a C-shape,
I call this "As if coda" in class, as the dancers start as if
they're doing the coda.
Both do 4 Scorsi, taking R hands, and circling half way, so that the man
is now facing the top of the hall, the woman the bottom.
Both drop hands and do 4 Scorsi, woman circling a half turn to the left,
the man going straight, so that they end side-by-side, facing the
top of the hall, man on the left.
It merely says that the man does his incontro.
Riverenza
These are Caroso's version - not necessarily the same as Negri's, or his
own from his later book. Reconstructions by Rosina.
Keep all steps small. These are all given for the left foot - reverse
everything for the right.
Riverenza (Riverenza minima, in this dance) = 2 bars
Move Left foot forward to mid-point of right foot
(if already started this way, like it says in the source, do nothing)
Slide Left foot straight back, till end of toe even with right heel,
inclining head and body a little
Bend both knees,
Bring feet even as straighten up.
Continenza = 1 bar
Left foot to side, then join right to it
Seguito Spezzatto Schisciato = 1 bar
Slide Left foot forward until heel is a little past the right toes,
Slide the ball of Right foot until it is even with the left instep,
Slide Left foot forward again, until heel is a little past the right toes,
Slide Right foot forward until heel is a little past the left toes.
The next SSS will start on the right foot which is forward. It feels
rather strange, but does work.
Passo = 1/6 or 2/6 of a bar (May be 2 or 3 to a half bar)
Step on left
Cadenza = 1/2 bar
Starting with right foot forward, weight on it.
Leap off of right, left foot moving forward, as if going to land on it,
but instead move it back, landing on both feet, the left slightly
behind the right.
Passo Gravo Schisciato = 1/2 bar
Slide left foot rather than stepping on it.
Seguito Battuto al Canario = 1/2 bar
Move left foot forward, hitting the floor with the heel,
Move left food back, slapping the floor with ball of foot,
Stamp left foot forward a little, so it is even with the middle of the
right foot.
Ripresa = 1/2 bar
Left foot to side, raising both heels,
Bring right foot beside left, and lower both feet.
Trabuchetto = 1/2 bar
Hop sideways to Left the distance of one hand, landing up on toes, the
right foot being held off the ground a couple of inches away,
with toes extended.
Scorso
Up on toes, do fast little steps.
Some of the variations from the original source.
Some of the retreats from the original source.
Dances by the Marian Ensemble - Short introduction. Use this recording in class.
Page last nodified Feb 19, 2008
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