The interpretation of early 19th century dance steps and style

PAS ASSEMBLE': in early 19th century context

Today one sees many fine reconstructions of 19th century ballroom dances, but I feel that the ballet steps are being interpreted by modern dancers using modern dance vocabulary (eg. Vaganova).

One example is the pas assemblé in quadrille figures, being danced with perfect footwork, but following the modern usuage: the ABT dictionary defines it: "A step in which the working foot slides well along the ground before being swept into the air. As the foot goes into the air the dancer pushes off the floor with the supporting leg.." (Grand battement quality) This is exactly what we see today with dancers in 19th century costume.

Early texts (Strathy 1822 and Gourdoux-Daux 1819) describe the pas assemblé with the working leg reaching its maximum extension (to degagé )while the supporting leg is still in demi-plié; as the supporting leg stretches up, the working leg closes- no grand battement- rather what one could call today a coupé action..
Dancing in this style would give early ballroom dances that 'terre à terre' quality which contemporary writers are so careful to note in contrast to the stage style which has been preserved in the Bournonville technique.

The assemblé and terre-à-terre style in 18th century texts:

Gennaro Magri in his Trattato Teorico-Pratico di Ballo (Naples 1779) when discussing the assemblé, mentions its popularity with the French who, prefering to dance terre-à-terre, often substitute this step for the capriole. The step is done with “a little spring scarcely rising from the ground”..(and all) assemblés are done with the tips of the toes touching the ground, so little must the feet be raised above it.” (Skeaping trans. P119-120). A similar observation is made in the discussion on the jeté which “although resembling a little spring you definitely do not jump but you only rise. ….(A jump) is permitted in the theatre...to exaggerate the positions themselves” (p.80). Likewise in the Pas de Rigaudon, the final assemblé is done “barely rising into the air” (p140)