Signification, Imitation, Expression: the Idea of a Mimetic Dance and Its Appropriations in Seventeenth-Century Spain and France

Florence d’Artois

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Chapter 18 Signification, Imitation, Expression: the Idea of a Mimetic Dance and Its Appropriations in Seventeenth-Century Spain and France

In: Brill's Companion to the Reception of Aristotle's Poetics

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Florence d’Artois

Florence d’Artois
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Type:: Chapter

Pages:: 471–495

DOI:: https://doi.org/10.1163/9789004695719_020

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Abstract

This chapter aims to revisit Aristotle’s definition of dance as a mimetic art at the beginning of the Poetics, considering its interpretations in 17th-century Spain and France. Two interpretative traditions will be compared, shaping the understanding of the mimetic nature of orchestration in two different directions: one emphasizing rhythm in Spanish treatises, the other focusing on muthos in French treatises that conceive ballet through analogy with dramatic action. This chapter explores the historical reasons for this asymmetry, encompassing philology, scenic practices, and the role of the Poetics in these distinct cultures. Through this comparison, it seeks to retroactively shed light on what makes dance (orchèsis) unique in relation to other mimetic arts.

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Brill's Companion to the Reception of Aristotle's Poetics

Series: Brill's Companions to Classical Reception, Volume: 28

Cover Brill's Companion to the Reception of Aristotle's <i>Poetics</i>

E-Book ISBN:: 9789004695719

Publisher:: Brill

Print Publication Date:: 06 Dec 2024

Subjects
- Classical Studies
  - Classical Tradition & Reception Studies

Front Matter

Part 1 Reception Areas

Part 2 The Poem, Its Parts and Effects

Section 1 Story (Muthos)

Section 2 Poetic Language (Lexis)

Section 3 Visual and Performing Arts

Section 4 Catharsis

Part 3 Literary Theory: Generic Perspectives

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Chapter 18 Signification, Imitation, Expression: the Idea of a Mimetic Dance and Its Appropriations in Seventeenth-Century Spain and France

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Brill's Companion to the Reception of Aristotle's Poetics

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