Esther M. Zimmer Lederberg
Stepanov's Choreographic System
1
This page provides an example of Stepanov's system of
choreography. It exemplifies some of the
kinds of things that comprise a system of choreography.
Stepanov's system of choreography was used in
modern times, not the Renaissance. Thus, after a brief
examination of Stepanov's system of choreography, an
examination will be made of Renaissance
choreography. After understanding Renaissance
choreography, then an examination can be made of
Renaissance dance itself, the music that accompanied
Renaissance dance, as well as the environment of
Renaissance dance: dance costumes (clothes, lighting,
shoes, etc.), dances in courts, what the staging areas
looked like, what did "dance" actually mean? For example,
Renaissance architecture was a linguistic code used to
support the state hierarchy. How did dance support the
state hierarchy? For those that might find dance used to
support the state hierarchy questionable, Queen Elizabeth
dancing before the state's powerful nobility and aristocrats
looking on, might want to question their facile assumptions.
Stepanov devised a sytem of "notes" to populate
the staffs that supported foot positioning,
including the plié and relevé:
click to see foot positioning motions
.
Stepanov devised a sytem of "notes" to populate
the staffs that supported turning:
click to see Turning
.
Stepanov devised a sytem of "notes" to populate
the staffs that supported pirouettes:
click to see Pirouettes
Examining Stepanov's system of choreography, we get
an idea of the kinds of dance motions that are deemed
important, and how these motions might be supported.
However, intricate foot motions (caprioles) and
intricate hand movements (constituting a gestural
language in some Asian countries) might require a
choreography that is far more complex. This discussion
is limited to the Renaissance, thus Western Europe at
a specific time period.
1
"Choreo-graphics: A Comparison of Dance Notation
Systems From Fifteenth Century to the Present",
by Ann Hutchinson Guest, Gordon Breach, 1959, Chapter Two