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Literary movements are a way to divide literature into categories of similar philosophical, topical, or aesthetic features, as opposed to divisions by genre or period. Like other categorizations, literary movements provide language for comparing and discussing literary works. These terms are helpful for curricula or anthologies. [1]
She emphasizes the importance of movement and nonverbal communication throughout the choreopoem so that it is able to function as a theatrical piece rather than being limited to poetry or dance. [5] The "XX Chromosome Genome Project" by S. Ann Johnson is a contemporary example of a choreopoem.
The Précieuses (French: la préciosité, French pronunciation: [la pʁesjɔzite], i.e. "preciousness") was a 17th-century French literary style and movement.The main features of this style are the refined language of aristocratic salons, periphrases, hyperbole, and puns on the theme of gallant love.
However, there is no early dance notation and it is difficult to assess the early interaction of the folk dance and the courtly dance. Musically, the bourrée took on the common binary form of classical dance movements, sometimes extended by a second bourrée, the two to be played in a grand ternary form A–(A)–B–A.
Allemande – Folk German dance in quadruple meter, often the first movement of a Baroque suite. Bourrée – French dance in double meter with a characteristic upbeat. Canary – Fast, lively dance originating from the Canary Islands, known for its quick, jumping steps. Courante – Elegant French dance in triple meter, often included in ...
The Three Graces: embodiment of the Romantic ballet, ca. 1840.This lithograph by A. E. Chalon depicts three of the greatest ballerinas in three of the era's defining roles: (left to right) Marie Taglioni as the Sylph in Filippo Taglioni's 1832 ballet La Sylphide; Fanny Elssler as Florinda in the dance La Cachucha from Jean Coralli's 1836 ballet Le Diable boiteux; and Carlotta Grisi as Béatrix ...
Dance with musicians, Tacuinum sanitatis casanatense (Lombardy, Italy, late 14th century) Sources for an understanding of dance in Europe in the Middle Ages are limited and fragmentary, being composed of some interesting depictions in paintings and illuminations, a few musical examples of what may be dances, and scattered allusions in literary texts.
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