Publication: El surgimiento del racionalismo cartesiano en la teoría de la danza barroca: de Arbeau a Feuillet pasando por la "Académie Royale de Danse" de Luis XIV
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2016-04-08
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Universidad Complutense de Madrid
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Abstract
Esta investigación estudia el surgimiento de un conjunto de conceptos asociados al llamado “racionalismo cartesiano” en un grupo de teóricos de danza barroca. Operando por medio de estudios de caso de textos de danza, busca su concordancia con las categorías filosóficas habitualmente utilizadas para abordar el contexto de las Academias de arte del siglo XVII. La Tesis Doctoral, centrada en el enfoque filosófico, avanza por medio de una estructura tripartita en la que los aspectos de danza son ordenados de forma cronológica. En la primera parte, asociada a lo que se considera “humanismo”, se analizan los estudios de caso de la Orchesographie de Thoinot Arbeau (1588), Le gratie d’Amore de Cesare Negri (1602) y los Discursos del arte del danzado de Juan de Esquivel (1640). Estos teóricos comparten una visión de la danza mimética en la que el cuerpo del bailarín es concebido como un microcosmos. En la segunda parte, que funciona como elemento conector del conjunto de la investigación, se aborda el surgimiento de la Académie royale de Danse de Luis XIV, en la que se ponen en juego nociones habitualmente asociadas al Antiguo Régimen, con otras propias de la mentalidad moderna. En la última parte se analiza la influencia del pensamiento cartesiano en la teoría de Feuillet. Su libro Choreographie (1700) responde a la petición de Luis XIV de crear un método de notación para registrar el movimiento. Tal y como se deriva del conjunto del texto, la escritura de la danza opera previa desmitificación del espacio escénico que, al igual que el cuerpo del bailarín, queda reducido a los criterios matemáticos de orden y medida. A su vez, la técnica de la danza se cifra en un método que parte de la descomposición de los elementos técnicos en criterios de claridad y distinción. La lectura de este sistema de notación sólo es posible a la luz del principio planimétrico. El relato del surgimiento del racionalismo cartesiano en la teoría de la danza propone una categorización filosófica para interpretar al que se considera el origen del actual ballet; a su vez, permite a la filosofía abordar rigurosamente el arte de poner el cuerpo en movimiento.
This investigation studies the emergence of a set of concepts associated with socalled “Cartesian rationalism” among a group of theorists of baroque dance. Operating by means of case studies of dance texts, it seeks their consistency with the philosophical categories that are habitually used to approach the context of the 17th Century Academies of art. The Doctoral Thesis, centred on the philosophical focus, progresses by means of a tripartite structure in which the aspects of dance are ordered in a chronological manner. In the first part, associated with what is considered as “humanism”, the case studies of the Orchesographie of Thoinot Arbeau (1588), Le gratie d’amore of Cesare Negri (1602), and the Discursos del arte del danzado of Juan de Esquivel (1640) are analysed. These theorists share a vision of mimetic dance in which the body of the dancer is conceived of as a microcosm. The second part, which functions as a connecting element for the body of the research, address the emergence of the “Académie royale de Danse” of Louis XIV, in which notions typically associated with the ancien régime are put into play along with others that belong to the modern mentality. In the final part, the influence of Cartesian thought on the theories of Feuillet is analysed. His book Choreographie (1700) was written in response to the request from Louis XIV to create a method of notation to record movement. As can be seen from the text, the writing down of dance involves the demystification of the stage space that, as with the body of the dancer, is reduced to the mathematical criteria of order and measurement. In turn, the technique of dance is encoded in a method that derives from the breakdown of the technical elements according to criteria of clarity and differentiation. The reading of this system of notation is possible only in the light of the planimetric principle. ! The story of the rise of Cartesian rationalism in the theory of dance suggests a philosophical categorisation for interpreting that which is considered to be the origin of present ballet; in turn, it allows philosophy rigorously to address the art of putting the body into movement.
This investigation studies the emergence of a set of concepts associated with socalled “Cartesian rationalism” among a group of theorists of baroque dance. Operating by means of case studies of dance texts, it seeks their consistency with the philosophical categories that are habitually used to approach the context of the 17th Century Academies of art. The Doctoral Thesis, centred on the philosophical focus, progresses by means of a tripartite structure in which the aspects of dance are ordered in a chronological manner. In the first part, associated with what is considered as “humanism”, the case studies of the Orchesographie of Thoinot Arbeau (1588), Le gratie d’amore of Cesare Negri (1602), and the Discursos del arte del danzado of Juan de Esquivel (1640) are analysed. These theorists share a vision of mimetic dance in which the body of the dancer is conceived of as a microcosm. The second part, which functions as a connecting element for the body of the research, address the emergence of the “Académie royale de Danse” of Louis XIV, in which notions typically associated with the ancien régime are put into play along with others that belong to the modern mentality. In the final part, the influence of Cartesian thought on the theories of Feuillet is analysed. His book Choreographie (1700) was written in response to the request from Louis XIV to create a method of notation to record movement. As can be seen from the text, the writing down of dance involves the demystification of the stage space that, as with the body of the dancer, is reduced to the mathematical criteria of order and measurement. In turn, the technique of dance is encoded in a method that derives from the breakdown of the technical elements according to criteria of clarity and differentiation. The reading of this system of notation is possible only in the light of the planimetric principle. ! The story of the rise of Cartesian rationalism in the theory of dance suggests a philosophical categorisation for interpreting that which is considered to be the origin of present ballet; in turn, it allows philosophy rigorously to address the art of putting the body into movement.
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Filosofía, Departamento de Filosofía Teorética, leída el 18-01-2016