Playford

Wir tanzen überlieferte  Gesellschaftstänze  vergangener Epochen zur Musik des 17. - 19. Jahrhunderts - Reigen, Kontratänze und Quadrillen.

Alle Tanzfreudigen - mit oder ohne Partner - sind herzlich willkommen zum Schnuppern, Mitmachen, Lernen ...
 

Infos und Anmeldung:

www.höfischer-tanz.at

 

Cécile Laye's talk "Playford 1651 ... and more !" (3/3) in English

Saturday , October 9, 2021 

(France : 19h30 - 20h00 / UK : 6.30 pm - 8.00 pm / USA : 1.30 pm - 3.00 pm East ST / USA : 10.30 am - 12.00 am Pacific ST)

 

---- > Registration

N.B.: registration form is in French BUT if you don't speak the language of Molière, DON'T PANIC ! We provide you a Registration assistance in English over here.

Please note: registration will be definitively closed on October 08, 2021 at 22:00 (Paris time)

---

Programme

---

• In this last talk (3/3), I would like to mention the Revival movement for dance and its head figure for English Country dancing, Cecil Sharp of course but nevertheless without forgetting Mary Neal.

 

• In the 2nd talk (2/3) on the 17th century English Country Dances repertoire, using many videos filmed with the support of the French National Dance Center, I have explored, starting with the Measure, the basic structures of the John Playford dances.

 

• In the First (1/3) in this serie of three talks devoted to the repertoire of 17th Century English figure dances and its reference text, After the generalities of use and the reminder of the historical context, I proposed to guide you step by step through the English Dancing Master (Generalities, Historical background, False leads, Let's open the book: orientation, numbering, proper and improper, music, ...)

---

Cécile Laye

 

Cécile LAYE is CHESTNUT’s teaching and artistic director.

She studied early dance in England with the Dolmetsch Historical Dance Society,  Nonsuch History and Dance and EFDSS (English folk Dance and Song Society). She worked in particular under such famed teachers and researchers as  Anne Daye, Anne Cottis, Peggy Dixon, Ethyl Anderson, Marjorie Fennessy, Tom Cook and Alan Davies. In France she studied with Francine Lancelot, Andréa Francalancci and Barbara Sparti.

She founds AMARILLIS, a dance company meaning to bring to the public figure dances of the Stuarts’ time and the English inheritance, as well as some aspects of history and literature, with the collaboration of musicians and singers. CHESTNUT takes over in 1998. CHESTNUT took over its predecessor’s artistic activities (creating dance and theatre shows), its teaching (preparing dancers for Balls through a rich program of workshops and classes) and its publication ones (CDs, dance descriptions, articles on Playford and modern dances).

Over the years, Cécile LAYE has build up a strong experience as a dancing master and ball caller (French Renaissance balls/ English figure dances balls, or a mixture of both). She can pass on her taste for and pleasure in elegant dancing to beginners as well as seasoned dancers.

Besides her activities in the field of dancing, Cécile Laye studied dramatic art and staging, graduating at Cours Florent. She also graduated at Eva Ruchpaul’s Yoga Institute and the Paris school of Gestalt-therapy. She played Shakespeare, Molière and Marivaux in Paris and elsewhere in France and takes part in creating new plays and shows, for children in particular.

She draws on both sides of her extensive training, physical and artistic, to develop her teaching method.

Her constant aim is to understand the needs of a given group and of each person making up the group, to build up a class so that each person gradually understands the dance, becomes aware of his/her body and its expressive capacities, be it during a lesson, a ball, or on stage.

---

Cécile Laye's interview by Sandra Stevens - Histoire de bal

French version of this interview on Histoire de bal

Auch in diesem Jahr ist Jane Austen für uns die Namenspatronin für die Tänze des späten 18. und frühen 19. Jahrhunderts, auch wenn diesmal kein rundes Jubiläum ansteht. Wir werden uns diesmal nicht ganz so eng an Jane Austen orientieren, schließlich wollen wir ja auch viele neue Tänze erlernen, der eine oder andere echte Jane Austen Tanz wird aber natürlich dabei sein.

Neben Tänzen aus England werden diesmal auch insbesondere Tänze aus deutschen Musenalmanachen auf dem Programm stehen. Dabei entsteht ein buntes Potpourri aus verschiedenen Tanzformen der Zeit.

Auch dieses Wochenende ist wieder besonders anfängergeeignet und bietet einen breiten Einblick in den Tanz der Empirezeit.

Wer mag, und entsprechende Kleidung hat, kann an diesem Wochenende auch gerne im Kostüm tanzen – wer also in ein Empire Kleid oder in einen Frack schlüpfen möchte, mag das tun, alle anderen tragen normale moderne Kleidung – wie immer.

Die Zeiten sind:
Samstag 13:00-15:30 und 16:30-19:00 Uhr
Sonntag 10:00-12:30 und 13:30-16:00 Uhr
 

Historischer Tanz in Frankfurt 2021:
- Sommerferienprogramm -
24.–25.7.2021 Barocktanz: Leichte barocke Solopaartänze zum Einstieg und Wiedereinstieg
31.7.–1.8.2021 (Zusatztermin) Barocktanz: Leichte barocke Solopaartänze zum Einstieg und Wiedereinstieg
21.–22.8.8.2021 Barocktanz: „The Princess of Hesse“ (1740)

- Reguläres Programm -
11.–12.9.2021 Barock/Rokoko: Hessen im Spiegel des Gesellschaftstanzes des 18. Jahrhunderts (Teil 1)
16.–17.10.2021 Barock/Rokoko: Hessen im Spiegel des Gesellschaftstanzes des 18. Jahrhunderts (Teil 2)
30.–31.10.2021 Barocktanz: Barocktänze für Kinder
13.–14.11.2021 Empire: Das Jane-Austen Wochenende
4.–5.12.2021 Barocktanz: „La princesse de Darmstadt“ (c1717)

Weitere Informationen finden sich auf meiner Webseite www.historische-tanzkunst.de sowie im Flyer.

 

Wir tanzen überlieferte  Gesellschaftstänze  vergangener Epochen zur Musik des 16. - 19. Jahrhunderts.
Reigen, Kontratänze und Quadrillen sind sehr beliebte Formen und werden paarweise in einer Gruppe getanzt.

Alle Tanzfreudigen - mit oder ohne Partner - sind herzlich willkommen zum Schnuppern, Mitmachen, Lernen ...
Geselligkeit, Freude an Bewegung, klassische Musik - eine geniale Kombination!

www.höfischer-tanz.at

Due to the current health crisis and despite our attachment to the Tapis Vert in Normandy, the 6th edition of the summer courses of historical dance organized by chestnut in collaboration with Danses au (Pas)sé et HéliosKine will take place this year in Paris.

---

A good opportunity to experience Paris differently ! ....

---

This 6th edition retains all the advantages that make the success of these Summer Courses for 5 years! :

- 2 courses, 2 repertoires, 3 workshops 

- the possibility to build your program according to your tastes and your energy. According to your wishes, you can concoct an intensive program (with a maximum of 6 hours of lessons/ day) or alternate in your day the moments of workshop with moments of relaxation or visit in Paris or its surroundings.

- studios adapted to the practice of dance

- a training place close to many cultural sites (Micadanses studios are close to the City Hall)

---

Please find all détails on chestnut website 

 

---

 

1. Periods and contents

2. Schedule

3. Workshop description

4. Instructors

5. Location

6. Fees

7. How to get there

8. Registration

9. Contact

10. Flyers

---

PERIODS and CONTENTS

---

1. COURSE n° 1 from Saturday 17 to Wednesday 21 July

• 1. English Country Dances / Cécile Laye (Chestnut)
• 2. Baroque dances / Irène Feste (Danses au (Pas)sé) 

The program of each workshop is designed for all levels in variations adapted to each.

2. COURSE n° 2 from Tuesday 27 July to Saturday 31 July

• 1. English Country Dances / Cécile Laye (Chestnut)
• 2. Baroque dances / Pierre-François Dollé (HéliosKine)

The program of each workshop is designed for all levels in variations adapted to each.

---

WORSHOPS' DESCRIPTION 

---

 

COURSE n° 1 from Saturday 17 to Wednesday 21 July

1. English Country Dances (3 hours / day) / Cécile Laye 

The workshop will again give us the opportunity to celebrate the incredible richness of the repertoire of English figure dances which have contributed so much to the history of ancient dance and which have reinvented themselves regularly from the 16th century to the present day.

Programme: "Homonymous dances"

They are dances using the same music for different choreographies from ancient and modern repertoire: Le Basque (Cécile Laye); Kneeland Romp (Gary Roodman);Virgin Frolick (The Dancing Master, 1710);Hand to hand (Gary Roodman); The Merry Milkmaids (The Dancing Master, 1651 and 1728 versions) ; A trip to Macclesfield (Brian Wedgbury); An Enchanted Place (Antony Heywood); two versions of Drapers Gardent (The Dancing Master, 1706) including one in menuet steps.

and / or

2. Baroque dances (3 hours / day) / Irène Feste 

Programme: "Unique choreographic scores"

• Entrée de l’Amiral de France en 1756 par M. Dupré (FL/Ms20.1/01)
• La Nouvelle Bourrée des Princesses par M. Rameau (FL/1728.1/14)

The singularity of these scores comes from the fact that they are the only dances choreographed, respectively by M. Dupré and by Pierre Rameau, which have reached us to this day.
Each of these choreographic scores is in a collection to learn the art of writing or describing dance.
After Raoul-Auger Feuillet’s “Chorégraphie….” in 1700, other dance masters tried to write a method.

La Bourrée des Princesses by Mr. Rameau, a dance for a man and a woman, is featured in the “Abrégé de la nouvelle Méthode dans l’Art d’écrire ou de tracer toutes sortes de Danses de Ville…” , by Pierre Rameau, published in 1728.

The Entrée de l'Amiral de France by M. Dupré, is described and noted in the “ Méthode pour apprendre de soi-même la Chorégraphie, ou l’Art de décrire…” , de Dupré, Maître à danser au Mans, published in 1757.
This is a ballet entrance for a man, quite approachable for a woman!
We will also see together that there is a surprise.

---

COURSE n° 2 from Tuesday 27 July to Saturday 31 July

1. English Country Dances (3 hours / day) / Cécile Laye 

The workshop will again give us the opportunity to celebrate the incredible richness of the repertoire of English figure dances which have contributed so much to the history of ancient dance and which have reinvented themselves regularly from the 16th century to the present day.

Programme: "From the Grand Square to the Square of Mahony"

From the old and modern directories, we will work on the evolution of a figure from the 17th century to the present day.The program will allow dancers to work with different aesthetics and proposals. The following dances will be included: Hunsdon House (The Dancing Master, 1670); Little Hunsdon (Pat Shaw); Les Lanciers (Alexander Strathy version, 1822); La Beaudri (La Cuisse, 1762);Cupid’s Garden (Marjorie Heffer); Play to win (Antony Heywood); Mary K (Gary Roodman)

and / or

2. Baroque dances (3 hours / day) / Pierre-François Dollé

Programme: "Les Caractères de la danse, fantaisie musicale de Jean-Fery Rebel"

After a gentle warm-up, mixing a moment of relaxation and body reconnection with progressive stretches, we will tackle together the technique of the «Belle Dance», returning to the fundamentals of all the steps necessary for the easy practice of this technique.

In a second time, we will explore the famous «Caractères de la danse», musical fantasy of Jean-Fery Rebel, a kind of exercise of style, which unfolds, like a thread of Ariane, most of the dances of ball and theatre in use in the first quarter of the eighteenth century.

After a prelude allowing the customary reverences, we will have pleasure to dance the Courante, the Menuet and the Bourrée, ball dances par excellence, then to travel in a lively and dense Chaconne, a Sarabande, a Gigue, a Rigaudon, a Passepied, a Lourre, a pastoral Musette to finish with an Italian Sonata, a sort of window open to a new fashion to come

These Characters of Dance were performed by many artists in the 18th century, including the dancers Marie Sallé and Marie-Anne de Camargo, who choreographed and danced them on the French and English stages in particular.
When Marie Sallé moved the audience with her sensitivity and charm, the Camargo impressed the Parisian public with its mastered technique, its jumps and its chats!

It is this whole range of intentions and styles that, in a choreography created by myself, in an idea of progression, we will study together, for the pleasure of dance, movement and the emotions that dance gives us.

Let’s dive together into these famous «characters», mythical piece if any!

---

INSTRUCTORS

---

 

Cécile LAYE

Cécile Laye is CHESTNUT’s teaching and artistic director. She studied old dance forms in England with the Dolmetsch Historical Dance Society,  Nonsuch History and Dance and EFDSS (English folk Dance and Song Society). She worked in particular under such famed teachers and researchers as  Anne Daye, Anne Cottis, Peggy Dixon, Ethyl Anderson, Marjorie Fennessy, Tom Cook and Alan Davies. In France she studied with Francine Lancelot, Andréa Francalancci and Barbara Sparti. At the end of the eighties, she founded AMARILLIS, a dance company meaning to bring to the public figure dances of the Stuarts’ time and the English inheritance, as well as some aspects of history and literature, with the collaboration of musicians and singers. AMARILLIS was replaced by CHESTNUT in 1998. CHESTNUT took over its predecessor’s artistic activities (creating dance and theatre shows), its teaching (preparing dancers for Balls through a rich program of workshops and classes) and its publication ones (CDs, dance descriptions, articles on Playford and modern dances). Over the years, Cécile LAYE has build up a strong experience as a dancing master and ball caller (French Renaissance balls/ English figure dances balls, or a mixture of both). She can pass on her taste for and pleasure in elegant dancing to beginners as well as seasoned dancers. Besides her activities in the field of dancing, Cécile Laye studied dramatic art and staging, graduating at Cours Florent. She also graduated at Eva Ruchpaul’s Yoga Institute and the Paris school of Gestalt-therapy. She played Shakespeare, Molière and Marivaux in Paris and elsewhere in France and takes part in creating new plays and shows, for children in particular. She draws on both sides of her extensive training, physical and artistic, to develop her teaching method. Her constant aim is to understand the needs of a given group and of each person making up the group, to build up a class so that each person gradually understands the dance, becomes aware of his/her body and its expressive capacities, be it during a lesson, a ball, or on stage.

---

 

Irène FESTE

From an early age, Irène Feste trained in classical dance with J. Pelletier, Y. Meyer, S. Prince and M. Denard.After a Master Engineer in Telecommunications and Networks and her Diploma of teacher of Classical Dance, she discovered Belle Dance and Baroque Eloquence awith the Cie L'Eclat des Muses de C. Bayle (Le Ballet de la Merlaison).She was introduced to the Italian Renaissance style with B. Sparti and G. Giordano. She is a performer in France and at the International for: Divertimenty, Les Corps Eloquents, Le Baroque Nomade, La Tempesta, Doulce Mémoire, Il Ballo and is choreographer-interpreter of Cie Fantaisies Baroques, co-founded with P.-F. Dollé (Danceries en Fables, L'Ile des Esclaves, 1717: Les Honneurs faits au Tsar, Métamorphoses - le Chat Botté...) In 2013 and 2019, she choreographed for director Pascal Ruiz: Le Masque d'Or, Le Secret des Mémoires. In 2015, she participated in the BBC’s The King who invented Ballet, for the tercentenary of the death of Louis XIV. Artist performer, choreographer and dancing master, through her research (Centre National de la Danse - Aide à la Recherche et au Patrimoine en Danse 2013, 2014, 2016, 2020), she contributes to the diffusion of ancient dance, from the sixteenth to the nineteenth centuries, during workshops in France and Europe, pedagogical and choreographic actions in schools and conservatories.
Since 2020, she has been choreographer and performer of the company Danses au (Pas)sé(Le Ballet des 5 Sens, a young audience performance).

---

 

Pierre-François DOLLÉ

Pierre-François Dollé, after a multidisciplinary training at the Balettakademie in Cologne, he danced very contrasting repertoires within different companies which led him to work, among others, in Germany and England. Back in France, he obtained his DE as a dance teacher and crossed paths with Christine Bayle, with whom he created many ballets. He also dances for the company l'Eventail, and works with many choreographers, directors and conductors of the baroque stage. In various styles, he now has a sustained activity of choreographer, notably in collaboration with the company Cracovia Danza, the Arts Florissants or for productions in Japan, United States and Germany. He founded Cie Fantaisies Baroques, with Irène Feste, in 2007. In 2013, 2014, 2016 and 2020, he obtained the Aid for Research and Heritage in Dance from the Centre National de la Danse for research on dances from the early 17th century and on Empire and pre-Romantic styles.

 

All our instructors are PRO DA members :

 

LOCATION

Located on rue Geoffroy l'Asnier in the 4th arrondissement of Paris, Micadanses studios are equipped and made available to amateur and professional dancers to host rehearsals, workshops, workshops and other meetings around dance.

---

FEES

Teaching Fees (€/pers.) : 

1 workshop  (15 hours) : 195 €

2 workshops (30 hours) : 360 €

---

HOW TO GET THERE

Micadanses studios are located at different numbers on Geoffroy l'Asnier Street. Numbers and access codes will be communicated to you later after your registration.

---

REGISTRATION

Registration confirmation is confirmed by returning the registration form together with the amount of the deposit.

Registration form COURSE n° 1 (July, 17 to 21): Course n° 1 Registration Form

Registration form COURSE n° 2 (July, 27 to 31): Course n° 2 Registration Form

---

CONTACT

contact@chestnut.fr ou 0033 660 222 321

---

FLYERS

---

 

Due to the current health crisis and despite our attachment to the Tapis Vert in Normandy and the welcome of Jean Galodé, its director, the 6th edition of the summer courses of historical dance organized by CHESTNUT will take place this year in Paris.

---

A good opportunity to experience Paris differently ! ....

---

This 6th edition retains all the advantages that make the success of these Summer Courses for 5 years! :

- 2 courses, 2 repertoires, 3 workshops 

- the possibility to build your program according to your tastes and your energy. According to your wishes, you can concoct an intensive program (with a maximum of 6 hours of lessons/ day) or alternate in your day the moments of workshop with moments of relaxation or visit in Paris or its surroundings.

- studios adapted to the practice of dance

- a training place close to many cultural sites (Micadanses studios are close to the City Hall)

---

Please find all détails on chestnut website 

 

---

 

1. Periods and contents

2. Schedule

3. Workshop description

4. Instructors

5. Location

6. Fees

7. How to get there

8. Registration

9. Contact

10. Flyers

---

PERIODS and CONTENTS

---

1. COURSE n° 1 from Saturday 17 to Wednesday 21 July

• 1. English Country Dances / Cécile Laye (Chestnut)
• 2. Baroque dances / Irène Feste (Danses au (Pas)sé) 

The program of each workshop is designed for all levels in variations adapted to each.

2. COURSE n° 2 from Tuesday 27 July to Saturday 31 July

• 1. English Country Dances / Cécile Laye (Chestnut)
• 2. Baroque dances / Pierre-François Dollé (HéliosKine)

The program of each workshop is designed for all levels in variations adapted to each.

---

WORSHOPS' DESCRIPTION 

---

 

COURSE n° 1 from Saturday 17 to Wednesday 21 July

1. English Country Dances (3 hours / day) / Cécile Laye 

The workshop will again give us the opportunity to celebrate the incredible richness of the repertoire of English figure dances which have contributed so much to the history of ancient dance and which have reinvented themselves regularly from the 16th century to the present day.

Programme: "Homonymous dances"

They are dances using the same music for different choreographies from ancient and modern repertoire: Le Basque (Cécile Laye); Kneeland Romp (Gary Roodman);Virgin Frolick (The Dancing Master, 1710);Hand to hand (Gary Roodman); The Merry Milkmaids (The Dancing Master, 1651 and 1728 versions) ; A trip to Macclesfield (Brian Wedgbury); An Enchanted Place (Antony Heywood); two versions of Drapers Gardent (The Dancing Master, 1706) including one in menuet steps.

and / or

2. Baroque dances (3 hours / day) / Irène Feste 

Programme: "Unique choreographic scores"

• Entrée de l’Amiral de France en 1756 par M. Dupré (FL/Ms20.1/01)
• La Nouvelle Bourrée des Princesses par M. Rameau (FL/1728.1/14)

The singularity of these scores comes from the fact that they are the only dances choreographed, respectively by M. Dupré and by Pierre Rameau, which have reached us to this day.
Each of these choreographic scores is in a collection to learn the art of writing or describing dance.
After Raoul-Auger Feuillet’s “Chorégraphie….” in 1700, other dance masters tried to write a method.

La Bourrée des Princesses by Mr. Rameau, a dance for a man and a woman, is featured in the “Abrégé de la nouvelle Méthode dans l’Art d’écrire ou de tracer toutes sortes de Danses de Ville…” , by Pierre Rameau, published in 1728.

The Entrée de l'Amiral de France by M. Dupré, is described and noted in the “ Méthode pour apprendre de soi-même la Chorégraphie, ou l’Art de décrire…” , de Dupré, Maître à danser au Mans, published in 1757.
This is a ballet entrance for a man, quite approachable for a woman!
We will also see together that there is a surprise.

---

COURSE n° 2 from Tuesday 27 July to Saturday 31 July

1. English Country Dances (3 hours / day) / Cécile Laye 

The workshop will again give us the opportunity to celebrate the incredible richness of the repertoire of English figure dances which have contributed so much to the history of ancient dance and which have reinvented themselves regularly from the 16th century to the present day.

Programme: "From the Grand Square to the Square of Mahony"

From the old and modern directories, we will work on the evolution of a figure from the 17th century to the present day.The program will allow dancers to work with different aesthetics and proposals. The following dances will be included: Hunsdon House (The Dancing Master, 1670); Little Hunsdon (Pat Shaw); Les Lanciers (Alexander Strathy version, 1822); La Beaudri (La Cuisse, 1762);Cupid’s Garden (Marjorie Heffer); Play to win (Antony Heywood); Mary K (Gary Roodman)

and / or

2. Baroque dances (3 hours / day) / Pierre-François Dollé

Programme: "Les Caractères de la danse, fantaisie musicale de Jean-Fery Rebel"

After a gentle warm-up, mixing a moment of relaxation and body reconnection with progressive stretches, we will tackle together the technique of the «Belle Dance», returning to the fundamentals of all the steps necessary for the easy practice of this technique.

In a second time, we will explore the famous «Caractères de la danse», musical fantasy of Jean-Fery Rebel, a kind of exercise of style, which unfolds, like a thread of Ariane, most of the dances of ball and theatre in use in the first quarter of the eighteenth century.

After a prelude allowing the customary reverences, we will have pleasure to dance the Courante, the Menuet and the Bourrée, ball dances par excellence, then to travel in a lively and dense Chaconne, a Sarabande, a Gigue, a Rigaudon, a Passepied, a Lourre, a pastoral Musette to finish with an Italian Sonata, a sort of window open to a new fashion to come

These Characters of Dance were performed by many artists in the 18th century, including the dancers Marie Sallé and Marie-Anne de Camargo, who choreographed and danced them on the French and English stages in particular.
When Marie Sallé moved the audience with her sensitivity and charm, the Camargo impressed the Parisian public with its mastered technique, its jumps and its chats!

It is this whole range of intentions and styles that, in a choreography created by myself, in an idea of progression, we will study together, for the pleasure of dance, movement and the emotions that dance gives us.

Let’s dive together into these famous «characters», mythical piece if any!

---

INSTRUCTORS

---

 

Cécile LAYE

Cécile Laye is CHESTNUT’s teaching and artistic director. She studied old dance forms in England with the Dolmetsch Historical Dance Society,  Nonsuch History and Dance and EFDSS (English folk Dance and Song Society). She worked in particular under such famed teachers and researchers as  Anne Daye, Anne Cottis, Peggy Dixon, Ethyl Anderson, Marjorie Fennessy, Tom Cook and Alan Davies. In France she studied with Francine Lancelot, Andréa Francalancci and Barbara Sparti. At the end of the eighties, she founded AMARILLIS, a dance company meaning to bring to the public figure dances of the Stuarts’ time and the English inheritance, as well as some aspects of history and literature, with the collaboration of musicians and singers. AMARILLIS was replaced by CHESTNUT in 1998. CHESTNUT took over its predecessor’s artistic activities (creating dance and theatre shows), its teaching (preparing dancers for Balls through a rich program of workshops and classes) and its publication ones (CDs, dance descriptions, articles on Playford and modern dances). Over the years, Cécile LAYE has build up a strong experience as a dancing master and ball caller (French Renaissance balls/ English figure dances balls, or a mixture of both). She can pass on her taste for and pleasure in elegant dancing to beginners as well as seasoned dancers. Besides her activities in the field of dancing, Cécile Laye studied dramatic art and staging, graduating at Cours Florent. She also graduated at Eva Ruchpaul’s Yoga Institute and the Paris school of Gestalt-therapy. She played Shakespeare, Molière and Marivaux in Paris and elsewhere in France and takes part in creating new plays and shows, for children in particular. She draws on both sides of her extensive training, physical and artistic, to develop her teaching method. Her constant aim is to understand the needs of a given group and of each person making up the group, to build up a class so that each person gradually understands the dance, becomes aware of his/her body and its expressive capacities, be it during a lesson, a ball, or on stage.

---

 

Irène FESTE

From an early age, Irène Feste trained in classical dance with J. Pelletier, Y. Meyer, S. Prince and M. Denard.After a Master Engineer in Telecommunications and Networks and her Diploma of teacher of Classical Dance, she discovered Belle Dance and Baroque Eloquence awith the Cie L'Eclat des Muses de C. Bayle (Le Ballet de la Merlaison).She was introduced to the Italian Renaissance style with B. Sparti and G. Giordano. She is a performer in France and at the International for: Divertimenty, Les Corps Eloquents, Le Baroque Nomade, La Tempesta, Doulce Mémoire, Il Ballo and is choreographer-interpreter of Cie Fantaisies Baroques, co-founded with P.-F. Dollé (Danceries en Fables, L'Ile des Esclaves, 1717: Les Honneurs faits au Tsar, Métamorphoses - le Chat Botté...) In 2013 and 2019, she choreographed for director Pascal Ruiz: Le Masque d'Or, Le Secret des Mémoires. In 2015, she participated in the BBC’s The King who invented Ballet, for the tercentenary of the death of Louis XIV. Artist performer, choreographer and dancing master, through her research (Centre National de la Danse - Aide à la Recherche et au Patrimoine en Danse 2013, 2014, 2016, 2020), she contributes to the diffusion of ancient dance, from the sixteenth to the nineteenth centuries, during workshops in France and Europe, pedagogical and choreographic actions in schools and conservatories.
Since 2020, she has been choreographer and performer of the company Danses au (Pas)sé(Le Ballet des 5 Sens, a young audience performance).

---

 

Pierre-François DOLLÉ

Pierre-François Dollé, after a multidisciplinary training at the Balettakademie in Cologne, he danced very contrasting repertoires within different companies which led him to work, among others, in Germany and England. Back in France, he obtained his DE as a dance teacher and crossed paths with Christine Bayle, with whom he created many ballets. He also dances for the company l'Eventail, and works with many choreographers, directors and conductors of the baroque stage. In various styles, he now has a sustained activity of choreographer, notably in collaboration with the company Cracovia Danza, the Arts Florissants or for productions in Japan, United States and Germany. He founded Cie Fantaisies Baroques, with Irène Feste, in 2007. In 2013, 2014, 2016 and 2020, he obtained the Aid for Research and Heritage in Dance from the Centre National de la Danse for research on dances from the early 17th century and on Empire and pre-Romantic styles.

 

All our instructors are PRO DA members :

 

LOCATION

Located on rue Geoffroy l'Asnier in the 4th arrondissement of Paris, Micadanses studios are equipped and made available to amateur and professional dancers to host rehearsals, workshops, workshops and other meetings around dance.

---

FEES

Teaching Fees (€/pers.) : 

1 workshop  (15 hours) : 195 €

2 workshops (30 hours) : 360 €

---

HOW TO GET THERE

Micadanses studios are located at different numbers on Geoffroy l'Asnier Street. Numbers and access codes will be communicated to you later after your registration.

---

REGISTRATION

Registration confirmation is confirmed by returning the registration form together with the amount of the deposit.

Registration form COURSE n° 1 (July, 17 to 21): Course n° 1 Registration Form

Registration form COURSE n° 2 (July, 27 to 31): Course n° 2 Registration Form

---

CONTACT

contact@chestnut.fr ou 0033 660 222 321

---

FLYERS

---

 

Saturday, April 10, 2021

19h00 (Paris Time) / 6.00 pm (London Time) / 1:00 p.m. Eastern Daylight Time (10:00 a.m. Pacific Time)

Registration

As part of New London Assembly / AEM Week-End Online Classes, Amherst Early Music, largest presenter of Early Music workshops in North America :

---

 

Selected Dances from the 11th Chestnut Costume Ball

with Cécile Laye & Brad Foster

 

 

Cécile Laye and Chestnut have prepared a number of practice videos for their next Ball. This workshop will cover most of the dances in those videos and will add additional instructions. Dances presented will be selected from the historic dances Punk’s Delight, Parson’s Farewell and Staines Morris, all from the 1st edition of Playford in 1651, plus the modern dance Preston Almaine by Brian Wegbury. The workshop will include further discussion on dance steps and Cécile’s interpretations. The videos we cover are also separately available for sale from Chestnut.

 

---

 

Cécile LAYE is CHESTNUT’s artistic director.

She studied old dance forms in England with the Dolmetsch Historical Dance Society,  Nonsuch History and Dance and EFDSS (English folk Dance and Song Society). She worked in particular under such famed teachers and researchers as  Anne Daye, Anne Cottis, Peggy Dixon, Ethyl Anderson, Marjorie Fennessy, Tom Cook and Alan Davies. In France she studied with Francine Lancelot, Andréa Francalancci and Barbara Sparti.

At the end of the eighties, she founded AMARILLIS, a dance company meaning to bring to the public figure dances of the Stuarts’ time and the English inheritance, as well as some aspects of history and literature, with the collaboration of musicians and singers. AMARILLIS was replaced by CHESTNUT in 1998. CHESTNUT took over its predecessor’s artistic activities (creating dance and theatre shows), its teaching (preparing dancers for Balls through a rich program of workshops and classes) and its publication ones (CDs, dance descriptions, articles on Playford and modern dances).

Over the years, Cécile LAYE has build up a strong experience as a dancing master and ball caller (French Renaissance balls/ English figure dances balls, or a mixture of both). She can pass on her taste for and pleasure in elegant dancing to beginners as well as seasoned dancers.

Besides her activities in the field of dancing, Cécile Laye studied dramatic art and staging, graduating at Cours Florent. She also graduated at Eva Ruchpaul’s Yoga Institute and the Paris school of Gestalt-therapy. She played Shakespeare, Molière and Marivaux in Paris and elsewhere in France and takes part in creating new plays and shows, for children in particular.

She draws on both sides of her extensive training, physical and artistic, to develop her teaching method.

Her constant aim is to understand the needs of a given group and of each person making up the group, to build up a class so that each person gradually understands the dance, becomes aware of his/her body and its expressive capacities, be it during a lesson, a ball, or on stage.

---

For nearly 40 years, BRAD FOSTER has been calling and sharing his love of dancing with people of all ages. A caller of English country dances, contras and squares, Brad is known for his clear and concise teaching as well as his community building. Brad started country dancing while in high school in Pasadena, CA. Soon thereafter he started teaching, and has been at it ever since. Brad travels extensively, holding workshops throughout the U.S., Canada and overseas. A frequent staff member at many North American dance weeks and weekends, Brad is now Executive and Artistic Director Emeritus of the Country Dance & Song Society (CDSS) after serving for 28 years. 

Besides teaching, Brad runs New London Assembly, a week-long program in English dance that is part of the Amherst Early Music Festival; the New Home Ball, a historical-style English ball; and 1794 Meetinghouse, with a summer concert series and year-round community chorus. 

---

 

Cécile Laye's talk "Playford 1651 ... and more !" (2/3) in English

 

Saturday, April 24, 2021 

(France : 19h30 / UK : 6.30 pm / USA : 1.30 pm East ST / USA : 10.30 am  Pacific ST)

 

Registration : over here

---> Please note: registration will be definitively closed on 04/23/2021 at 22:00 (Paris time)

---

• In this 2nd talk (2/3) on the 17th century english countrydances repertoire, using many videos filmed with the support of the French National Dance Center, I will explore, starting with the Measure, the basic stuctures of the John Playford dances.

 

• In the First (1/3) in this serie of three talks devoted to the repertoire of 17th Century English figure dances and its reference text, After the generalities of use and the reminder of the historical context, I proposed to guide you step by step through the English Dancing Master (Generalities, Historical background, False leads, Let's open the book: orientation, numbering, proper and improper, music, ...)

 

• In the last talk (3/3), I would like to mention the Revival movement for dance and its head figure, Cecil Sharp.

---

Cécile LAYE is CHESTNUT’s artistic director.

She studied old dance forms in England with the Dolmetsch Historical Dance Society,  Nonsuch History and Dance and EFDSS (English folk Dance and Song Society). She worked in particular under such famed teachers and researchers as  Anne Daye, Anne Cottis, Peggy Dixon, Ethyl Anderson, Marjorie Fennessy, Tom Cook and Alan Davies. In France she studied with Francine Lancelot, Andréa Francalancci and Barbara Sparti.

At the end of the eighties, she founded AMARILLIS, a dance company meaning to bring to the public figure dances of the Stuarts’ time and the English inheritance, as well as some aspects of history and literature, with the collaboration of musicians and singers. AMARILLIS was replaced by CHESTNUT in 1998. CHESTNUT took over its predecessor’s artistic activities (creating dance and theatre shows), its teaching (preparing dancers for Balls through a rich program of workshops and classes) and its publication ones (CDs, dance descriptions, articles on Playford and modern dances).

Over the years, Cécile LAYE has build up a strong experience as a dancing master and ball caller (French Renaissance balls/ English figure dances balls, or a mixture of both). She can pass on her taste for and pleasure in elegant dancing to beginners as well as seasoned dancers.

Besides her activities in the field of dancing, Cécile Laye studied dramatic art and staging, graduating at Cours Florent. She also graduated at Eva Ruchpaul’s Yoga Institute and the Paris school of Gestalt-therapy. She played Shakespeare, Molière and Marivaux in Paris and elsewhere in France and takes part in creating new plays and shows, for children in particular.

She draws on both sides of her extensive training, physical and artistic, to develop her teaching method.

Her constant aim is to understand the needs of a given group and of each person making up the group, to build up a class so that each person gradually understands the dance, becomes aware of his/her body and its expressive capacities, be it during a lesson, a ball, or on stage.

 

Playford 1651 ... et plus ! est une conférence en trois parties ayant pour objectif d'apporter aux danseurs un éclairage théorique sur leur pratique des danses à figures anglaises.

La deuxième partie en français (2/3) sera donnée le samedi 27 mars 2021 de 18h00 à 19h30 (heure de Paris).

The lecture will be given in French. At other proposed dates, it will be spoken in English. First part (1/3) in English : Saturday, March 13, 2021 

 

Au programme de cette deuxième partie : 

Cécile Laye nous aidera en s'inspirant du mémoire qu'elle a écrit pour le centre Centre National de la Danse à comprendre comment et à partir de quoi une danse de John Playford se structure.  Nous verrons plusieurs vidéos filmées.

Il est possible d'assister à cette 2ème causerie même si on n'a pas assisté à la première.

---> Inscription : ici  <---

 

Cécile LAYE étudie les danses historiques en Angleterre avec la Dolmetsch Historical Danse Society, Nonsuch History and Dance et la EFDSS (English folk Dance and Song Society). Elle a en particulier l’occasion de travailler sous la direction de pédagogues ou de chercheurs éminents tels que Anne Daye, Anne Cottis, Peggy Dixon, Ethyl Anderson, Marjorie Fennessy, Tom Cook et Alan Davies. En France, elle étudie avec Francine Lancelot, Andréa Francalancci et Barbara Sparti. En 1998, elle fonde la compagnie CHESTNUT pour faire découvrir et aimer au public français le répertoire des danses à figures anglaises qu’elle s’applique à replacer dans le continuum historique chorégraphique européen.  Formée à la comédie et à la mise en scène au Cours Florent dont elle est diplômée, elle s’attache aussi à mettre en rapport le répertoire anglais avec certains aspects de l’histoire et de la littérature britannique. 

Elle enseigne en France, en Belgique, en Angleterre et au Amherst Early Music Festival aux Etats-Unis. Elle obtient en 2016, l’Aide à la Recherche et au Patrimoine en Danse du Centre National de la danse pour constituer une typologie des danses de la 1ère édition de l’English Dancing Master.

---

Cécile LAYE is CHESTNUT’s artistic director.

She studied old dance forms in England with the Dolmetsch Historical Dance Society,  Nonsuch History and Dance and EFDSS (English folk Dance and Song Society). She worked in particular under such famed teachers and researchers as  Anne Daye, Anne Cottis, Peggy Dixon, Ethyl Anderson, Marjorie Fennessy, Tom Cook and Alan Davies. In France she studied with Francine Lancelot, Andréa Francalancci and Barbara Sparti.

At the end of the eighties, she founded AMARILLIS, a dance company meaning to bring to the public figure dances of the Stuarts’ time and the English inheritance, as well as some aspects of history and literature, with the collaboration of musicians and singers. AMARILLIS was replaced by CHESTNUT in 1998. CHESTNUT took over its predecessor’s artistic activities (creating dance and theatre shows), its teaching (preparing dancers for Balls through a rich program of workshops and classes) and its publication ones (CDs, dance descriptions, articles on Playford and modern dances).

Over the years, Cécile LAYE has build up a strong experience as a dancing master and ball caller (French Renaissance balls/ English figure dances balls, or a mixture of both). She can pass on her taste for and pleasure in elegant dancing to beginners as well as seasoned dancers.

Besides her activities in the field of dancing, Cécile Laye studied dramatic art and staging, graduating at Cours Florent. She also graduated at Eva Ruchpaul’s Yoga Institute and the Paris school of Gestalt-therapy. She played Shakespeare, Molière and Marivaux in Paris and elsewhere in France and takes part in creating new plays and shows, for children in particular.

She draws on both sides of her extensive training, physical and artistic, to develop her teaching method.

Her constant aim is to understand the needs of a given group and of each person making up the group, to build up a class so that each person gradually understands the dance, becomes aware of his/her body and its expressive capacities, be it during a lesson, a ball, or on stage.