30 gâteaux rigolos by Debbie Brown

30 gâteaux rigolos by Debbie Brown

By Debbie Brown

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Chascune sorte de danse donnera là des inventions de plaire, de voir, de toucher plus privement. Et se feront toutes ces choses avec cris & huees, avec visages rians & bruslans d’aise, avec tous indices de cœurs s’enyvrans à plains traits de tous plaisirs. 55 So, for that matter, had Brantôme, although in a rather different perspective. 56 Conclusion It is time to bring to a halt this brief and necessarily incomplete survey. This passage from Daneau’s treatise serves as well as any other to remind us of the obvious truth that the opposition to dance in the sixteenth century is a sure sign of its popularity.

For the image of ll. 9-11, see Davies, Orchestra, stanzas 57-58. 38. 34 Rabelais is writing at a time when the boundaries between court and popular culture are not so clearly defined as they will be later, and the same spirit of communal merrymaking is common to both. 34-35) : La premiere dance faicte les menestriers sonnerent ung bransle auquel toutes les dames se mirent à dancer, & troussèrent toutes leurs robbes & cottes par devant. Lors se mirent à faire gambades & soubresaultz, de sorte qu’elles jectoient les piedz jusques au plancher, fallotz saultoient, lanternes culbutoient cul par sus teste comme si ce fussent tumbereaulx de verbrye.

14 note 9. The treatise was translated into French by Filbert Bretin in 1582 (Paris, Abel l’Angelier). 130. 12 These controversies have in no sense dimmed by the time of the Renaissance. 13 Two distinct strands are at stake here. One is an evolution in the social status of dance, and the other is the evolution of dance forms themselves. Renaissance theorists such as Arbeau, following the example of Lucian, emphasize the divine origins of dance,14 and one oft-cited myth relates the origin of the art to the survival of the father of the gods himself.

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