. Unlike contemporary ballet technique, the toes were not pointed, the ankles were flexed, and the degree of bend in the knees (plié) and outward rotation of the legs were slight. Arms flowed smoothly, but were rarely raised above the head. In fact, actions of the upper arm were minimal. Hands were often used for holding parts of clothing or accoutrements such as a hat, hilt of a sword, or cape. The spine was held erect, but was not stiff and the torso was allowed to gently shift and sway, thus accomodating changes of weight and direction. (Foster,p.117, Sutton,p.25)
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Rules of conduct and comportment were gender and societal based, and were perfectly integrated with the garb and social graces of the dancers. For example, in explaining the steps of the gaillard to his pupil, Arbeau states,
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<BLOCKQUOTE>At the commencement of the galliard you must pre-suppose that the dancer, holding the damsel by the hand, makes the <I>révérence</I> as the musicians begin to play. The <I>révérence</I> made, he assumes a seemly modest attitude. To perform the <I>révérence</I>, you will keep the left foot firmly upon the ground and bending the right knee take the point of the toe behind the left foot, removing your bonnet or hat the while and bowing to your damsel and the company, as you see in the picture.(Evan,p.79)</BLOCKQUOTE>
Gueglielmo Ebreo instructs women to conduct themselves with )
have the proper measure and an airy modesty, and her manner should be sweet, discreet and pleasant. The movement of her body should be humble and meek, and her carriage dignified and stately; her step should be light and her gestures shapely. Nor should her gaze be haughty or roaming (peering here and there as so many do), but she should for the most part keep her eyes modestly on the ground; not however, as some do who sink their head on their breast .
She must also be alert, "with her mind constantly intent on the music and the measures, so that her actions and gentle gestures will be well formed and in keeping with them." (Sparti,p.109)
Rules of dance practice also took into consideration musical accompaniment and instrumentation. Steps were aligned to fit the measure, meter, timbre and harmonic mode of the music. For example, four-count step patterns were executed to four-count musical measures,while a ten-measure phrase of steps was synchronized to finish with a musical phrase of the same length. In addition, dancers would never perform a lively, vigorous dance to music in a minor key, nor would men dance to the delicate accompaniment of a flute. The social dances in vogue at that time such as the branle, galliard, allemande, gavotte and courante, each elicited an atmosphere based on their distinct rhythm, key, and steps (Foster,pp.118-119). The rules dictating the symbiotic relationship between music and dance are evident in the following passage from Sir John Davies's poem, Orchestra, in which he depicts the galliard,
But for more divers and more pleasing show,
A swift and wandring daunce he did invent,
With passages uncertaine to and fro,
Yet with a certaine aunswere and consent
To the quick musick of the Instrument.
A gallant daunce, that lively doth bewray
A spirit and a vertue Masculine,
Impatient that her house on earth should stay
(Since she her selfe is fierie and divine)
Of doth she make her body upward flyne.
(Click here to return to main text, Le Balet Comique de la Reine : An Analysis, Part II)