- Copyright Page
- Introduction to Part I: Shakespeare <i>and</i> Dance
- “The Heaven’s True Figure” or an “Introit to All Kind of Lewdness”?: Competing Conceptions of Dancing in Shakespeare’s England
- Decoding Dance in Shakespeare’s <i>Much Ado about Nothing</i> and <i>Twelfth Night</i>
- “When the Play Is Done, You Shall Have a Jig or Dance of All Treads”: Danced Endings on Shakespeare’s Stage
- “The Revellers Are Entering”: Shakespeare and Masquing Practice in Tudor and Stuart England
- We Are All Made: The Socioeconomics of <i>The Two Noble Kinsmen</i>’s Anti-Masque Morris Dance
- <i>The Merchant of Venice</i>’s Missing Masque: Absence, Touch, and Religious Residues
- Shakespeare’s Dancing Bodies: The Case of Romeo
- Dancing with Perdita: The Choreography of Lost Time in <i>The Winter’s Tale</i>
- “The Wisdom of Your Feet”: Dance and Rhetoric on the Shakespearean Stage
- [They Dance]: Collaborative Authorship and Dance in <i>Macbeth</i>
- Dancing with the Archive: Early Dance for Shakespearean Adaptation
- Introduction to Part II: Shakespeare <i>as</i> Dance
- Shakespeare, Modernism, and Dance
- Dance in the Broadway Musicals of Shakespeare: Balanchine, Holm, and Robbins
- “Thou Art Translated”: Affinity, Emulation, and Translation in George Balanchine’s <i>A Midsummer Night’s Dream</i>
- “Hildings and Harlots”: Kenneth MacMillan’s <i>Romeo and Juliet</i>
- Shakespeare Ballets in Germany: From Jean-Georges Noverre to John Neumeier
- “Therefore Ha’ Done with Words”: Shakespeare and Innovative British Ballets
- Measure in Everything: Adapting <i>Hamlet</i> to the Contemporary Dance Stage
- <i>Hamlet</i>, The Ballet: Examining a Choreographic Process
- Haunted by <i>Hamlet</i>: Devising William Forsythe’s <i>Sider</i>
- Dancing Her Death: Dada Masilo’s <i>The Bitter End of Rosemary</i> (2011) as a South African Contemporary Rethinking of <i>Hamlet</i>’s Ophelia
- Embodiment, Reciprocity, and Reception: Shakespeare Adaptations in a Black Atlantic Context
- Shakespeare and <i>L.O.V.E.</i>: Dance and Desire in the <i>Sonnets</i>
- Incorporating the Text: John Farmanesh-Bocca’s <i>Pericles Redux</i> and Crystal Pite’s <i>The Tempest Replica</i>
- “A Delightful Measure or a Dance”: Synetic Theater and Physical Shakespeare
Abstract and Keywords
Many of Shakespeare’s plays contain verbal references to specific dances. Knowledge of early modern dance conventions can be of tremendous value in reading (and staging) these plays: “decoding” the dance references unveils layers of subtext that are relevant to an understanding of thematic issues and of the psychological makeup of characters, and it suggests visual ways in which scenes can be staged. This chapter examines dance references in Much Ado about Nothing and Twelfth Night, focusing on the following dances: measure, cinquepace, galliard, coranto, and passy-measures pavan. Each dance is introduced through a brief review of extant choreographic sources, after which the references are examined in the context of the scene and dramatic situation in which they occur. Finally, approaches to staging the scene are considered, with the aim of making the dance references meaningful to audiences today.
Nona Monahin is Instructor in Renaissance and Baroque Dance in the Five College Early Music Program at Mount Holyoke College.
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