Dancing was an essential part of life in Shakespeare's England. Town and country folk danced at weddings, Maydays and other festivities. Queen Elizabeth prided herself on her skill (and danced galliards in the morning to keep fit), and dancing was the soul of the extravagant masques which so delighted King James. Puritans might furiously denounce it but it was part of the ceremonial of the Inns of Court and a necessary accomplishment for a gentleman. At the same time, as Alan Brissenden shows in this book, the dance was an accepted symbol of harmony, and it was in this way that Shakespeare used it to express one of his major themes: the attempt to achieve order in a discordant world. He included it in at least a dozen of his plays and referred to it in thirty. A valuable source for his imagery, it also illuminates character and action and in some plays helps to forward the plot. In the history plays allusions to country dance, (especially the morris, and court dances like the lavolta) support ideas of conflict and the presentation of characters, especially Henry V. While there is no dancing itself in the histories there is plenty to be found in the comedies and two chapters of the book closely examine the relation of dance to dialogue, character and plot, particularly in "Love's Labour's Lost", "A Midsummer Night's Dream" and "Much Ado About Nothing". In the tragedies dancing becomes a powerful ironic visual symbol, especially in Romeo and Juliet, Macbeth and Timon of Athens. After 1607 dance occurs in almost all of Shakespeare's plays, in such a way that it reflects and expresses the fusion of tragic and comic elements which characterize most of them. The closing chapters show how the dance relates to the cosmic ideas and imagery of these last plays from Perides to Henry VIII and suggest certain influences from the spectacular court masques of the time. In presenting his argument the author, who is a dance critic as well as an Elizabethan scholar, has drawn on manuscript sources, a wide range of contemporary writing, including dance manuals, and his own ideas in dance and theatre. This is a book for students and scholars, for editors, for theatre directors and for those interested in Renaissance dance. It is a book for everyone who delights in the riches of Shakespeare and the age in which he lived. -- Book cover.

First Published in 2005. Dances of Shakespeare gives a brief introduction to how to perform all of the dance styles featured in Shakespeare's plays. Designed for the practicing director, actor, or choreographer, it gives clear instruction on how to perform popular dances of Shakespeare's day, including masques, brawls, canaries, corantos, galliards, jigs, La Volta, pavans, morris dances, and roundels. Accompanied by clear illustrations, these instructions allow even the dance-challenged to quickly master enough technique to suit amateur, community, college, or semi-professional productions. Other useful features include a chronological listing of popular dances similar in spirit to those of Shakespeare's days, designed for those staging Shakespeare's work in periods other than as written, as well as an appendix list of the plays grouped by what is called for in the text: a "dance," a "masque," or a specific dance form. Dances of Shakespeare is a "must have" for all student directors and performers interested in staging Shakespeare's works.

This book provides a thorough analysis of terpsichorean lexis in Renaissance drama. Besides considering not only the Shakespearean canon but also the Bard’s contemporaries (e.g., dramatists as John Marston and Ben Jonson among the most refined Renaissance dance aficionados), the originality of this volume is highlighted in both its methodology and structure. As far as methods of analysis are concerned, corpora such as the VEP Early Modern Drama collection and EEBO, and corpus analysis tools such as #LancsBox are used in order to offer the widest range of examples possible from early modern plays and provide co-textual references for each dance. Examples from Renaissance playwrights are fundamental for the analysis of connotative meanings of the dances listed and their performative, poetic and metaphoric role in sixteenth- and seventeenth-century drama. This study will be of great interest to Renaissance researchers, lexicographers and dance historians.

Choreographing Shakespeare presents a hitherto unexplored history of the choreographers and performers who have created dance adaptations of Shakespeare. This book investigates forty dance works in genres such as ballet, modern dance, and hip-hop, produced between 1940 and 2016 by choreographers in Britain, America, and Europe, all of which use Shakespeare’s plays and Sonnets as their source material. By combining scholarly analysis of these productions with practice-based conversations from six contemporary choreographers, Klett offers both breadth of coverage and in-depth analysis of how Shakespeare’s poetic language is translated into the usually wordless medium of dance, and shows exactly how these dance adaptations move beyond the Shakespearean texts to engage with musical and choreographic influences. Ideal for students of Shakespeare and Dance Studies, Choreographing Shakespeare explores how dance adaptations strive to design legible and intelligible stories, while ultimately celebrating the beauty of pure movement.

Dance is part of the art of theatre, a part which connects to movement, to communication, to improvisation, and to performance. It cannot exist on its own in the context of dramatic performance, but works in conjunction with other elements to enable meanings to be created in performance. Dramatic Dance sets a programme for actors to perform dance as part of the drama, offering several approaches which can contribute to developing this understanding, to training this skill, and always ensuring that the whole active and thinking body and mind are fully engaged with the task of making dance an integral and vital part of theatre. To study dance in this way allows students to develop further their understanding of logic and structure in a dramatic text. Many books deal with one aspect of dance or another: some on dance training, some on dance history, some on Rudolf Laban's ideas, some as dance manuals, and some as academic papers. Dramatic Dance is the first book to act as a comprehensive guide for theatre practice, bringing together these different, complementary disciplines.

This novel explores one of the most astonishing stories in the whole history of twentieth century terrorism. Colonel Rejas was the policeman charged with the task of capturing the Peruvian guerrilla leader Ezequiel, but having been dismissed he finds the burden of silence and secrecy too heavy. On meeting Dyer, a foreign correspondent, he is moved to relate the tortuous progress of the manhunt for the first time. The Dancer Upstairs is a story reminiscent of Graham Greene and John le Carré - tense, intricate and heartbreaking.

Equally interested in the sensual and the serious, the erotic and the academic, this collection experiments with form, dialect, persona, and voice. Ultimately a hybrid document, Lucy Negro, Redux harnesses blues poetry, deconstructed sonnets, historical documents and lyric essays to tell the challenging, many-faceted story of the Dark Lady, her Shakespeare, and their real and imagined milieu.