Thank you for the discussion of how one normally finishes the basic steps. Although my original Baroque teacher (and yours too!), Shirley Wynne, did not pay much attention to this question in the 1960's and 1970's because there were so many questions to solve in those early days; I did study the original sources on my own and began teaching in the 1980's that the end of a step is when one arrives with the heel on the floor and the knee extended. As Rameau clearly states, the knee is not bent at the end of every measure (which gives a very heavy look to the style). Also, the step does not end with the supporting heel off the floor (which gives the style a stilted look). In my discussions with Wendy Hilton in the late 1980's we also talked about this and she came to the same conclusion.
I know I have been very clear on this detail in my workshops and I hope that the dancers of my company continue to stress this detail which very much affects the flow of the movement.
Also, each of us needs to refer back to the original sources on a regular basis to re-examine interpretations and assumptions made by ourselves, colleagues, teachers, dancers, etc.
Thank you Ana, for taking the time to pose this question. Too often we are working in our own worlds and do not take the time to exchange thoughts which could further the field and bring us closer together.
Dear Ana, Thank you for the
Dear Ana,
Thank you for the discussion of how one normally finishes the basic steps. Although my original Baroque teacher (and yours too!), Shirley Wynne, did not pay much attention to this question in the 1960's and 1970's because there were so many questions to solve in those early days; I did study the original sources on my own and began teaching in the 1980's that the end of a step is when one arrives with the heel on the floor and the knee extended. As Rameau clearly states, the knee is not bent at the end of every measure (which gives a very heavy look to the style). Also, the step does not end with the supporting heel off the floor (which gives the style a stilted look). In my discussions with Wendy Hilton in the late 1980's we also talked about this and she came to the same conclusion.
I know I have been very clear on this detail in my workshops and I hope that the dancers of my company continue to stress this detail which very much affects the flow of the movement.
Also, each of us needs to refer back to the original sources on a regular basis to re-examine interpretations and assumptions made by ourselves, colleagues, teachers, dancers, etc.
Thank you Ana, for taking the time to pose this question. Too often we are working in our own worlds and do not take the time to exchange thoughts which could further the field and bring us closer together.
Catherine Turocy