Analysis of the London ball-roomTegg, 1825 |
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Advance four Half Advance two Chassez Almehs amusement antiquity back Advance four back to back back with left ballet change sides character COUNTRY DANCES couple advance twice cross and change Cross Turn partners Cross with right D. C. QUADRILLES D. C. THE FIGURE dance in honour DER FREISCHUTZ DON GIOVANNI DOUBLE FIGURE elegant entertained express four Half right four half round graceful Half promenade Advance Hands four half Hippocleides HISTORY OF DANCING LA GAZZA LADRA Ladies chain Half lady and second lady at left lady set leaving the lady left Cross Turn left of opposite left Set line Half promenade Lycurgus middle opera pantomime partner round partners Ladies chain performed refined resume places right and left right hands second couple second gentleman set second lady Set and change Set and turn Set half right SET OF QUADRILLES SINGLE FIGURE turn partners Ladies turn second WALTZES Whole figure
Popularne fragmenty
Strona 47 - Every limb, and every finger, contributes to the part he acts, insomuch that a deaf man might go along with him in the sense of it. There is scarce a beautiful posture in an old statue which he does not plant himself in, as the different circumstances of the story give occasion for it.
Strona 48 - AM verv sorry to find, by the opera bills for this day, that we are likely to lose the greatest performer in dramatic music that is now living, or that perhaps ever appeared upon a stage.
Strona 48 - Prentice. I have often wished that our tragedians would copy after this great master in action. Could they make the same use of their arms and legs, and inform their faces with as significant looks and passions, how glorious would an English tragedy appear with that action which is capable of giving a dignity to the forced thoughts, cold conceits, and unnatural expressions of an Italian opera...
Strona 45 - Full oft within the spacious walls, When he had fifty winters o'er him, My grave lord-keeper led the brawls ; The seal and maces danced before him. His bushy beard, and shoe-strings green, His high-crown'd hat, and satin doublet, Moved the stout heart of England's queen, Though Pope and Spaniard could not trouble it.
Strona 47 - Our best actors are somewhat at a loss to support themselves with proper gesture as they move from any considerable distance to the front of the stage...
Strona 53 - Dancing being that which gives graceful motions all the life, and above all things manliness and a becoming confidence to young children...
Strona 46 - Nicolini, who sets off the character he bears in an opera by his action, as much as he does the words of it by his voice. Every limb, and every finger, contributes to the part he acts, insomuch...
Strona 49 - The town is highly obliged to that excellent artist, for having shewn us the Italian music in its perfection, as well as for that generous appro-bation he lately gave to an opera of our own country, in which the composer endeavoured to do justice to the beauty of the words, by following that noble example which has been set him by the greatest foreign masters in that art.
Strona 65 - What though no friends in sable weeds appear, Grieve for an hour, perhaps, then mourn a year, And bear about the mockery of woe To midnight dances, and the public show?
Strona 30 - Mr. Gallini tells us, that at Limoges, not long ago, the people used to dance the round in the choir of the church, which is under the invocation of their patron saint ; and at the end of each psalm, instead of the Gloria. Patn, they sang as follows : "St. Marcel ! pray for us, and we will dance in honour of you.