59:(1763–64), where he danced in court operas, as well as ballets. Many of the choreographic constructs found in the Kärntnertortheater's productions proved formative to Magri's later work as a choreographer and pedagogue, such as the powerful relationship between dance and pantomime, and the importance of geographic location in creating a work. Throughout his itinerant career, Magri interacted with a variety of geographically and choreographically diverse influencers of the dance world who shaped his own choreographic style significantly.
83:(1765–66, 1766–67, 1768–74) that showcased the wide range of virtuosic steps found in the grotesque repertoire. Many of these works were entr’acte ballets, performed between the acts of an opera with an unrelated plot. Magri then traveled to Milan, where he performed grotesque roles at the prestigious
383:
Arianna BĂ©atrice
Fabbricatore, « Semiotic elements of the grotesque “Italian” practice » in Tanz in Italien : italienischer Tanz in Europa 1400-1900 : 4. Symposion für Historischen Tanz, Burg Rothenfels am Main, 25.-29. Mai 2016 : Tagungsband, ed. Uwe W Schlottermüller;
91:
Teresa
Stafani, although the exact date of their marriage is unknown. Magri continued to perform throughout Italy before returning to Naples in 1773. There is no record of Magri performing or choreographing after 1774, although he published a highly influential treatise on grotesque dance,
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Despite the international scope of his career, Magri spent much of his time as a dancer and choreographer in his homeland of Italy. Following his first and second seasons in Vienna, Magri spent time as a grotesque dancer for Padua's Teatro Nuovo (1760, 1761, 1762, 1764), Venice's
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Although very few records exist regarding
Gennaro Magri's early life, it is assumed that his early training occurred in his home city of Naples, Italy. The first known record of Magri's dance career dates to 1758, where he performed as a principal dancer, or
396:
Arianna BĂ©atrice
Fabbricatore, La danse comique et grotesque : interprétation cinétique du Trattato teorico-prattico di Ballo (1779) de Gennaro Magri. Synthèse du projet, Pantin, CN D, Aide à la recherche et au patrimoine en danse,
79:(1762–65, 1767–78). During this time, Magri began to choreograph pieces of his own, most notably during his stay in Venice. After Magri's second season dancing in Vienna, he returned to Naples, and choreographed multiple ballets at the
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was an
Italian dancer, choreographer, pedagogue, and writer. Although the exact dates of his birth and death are unknown, it is assumed that Magri was born in
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ballet company, a prestigious
Viennese company replete with dancers from across Europe, especially Italy. Magri later returned to a second season in
406:
278:
L’action dans le texte. Pour une approche herméneutique du
Trattato teorico-prattico di ballo (1779) de G. Magri, , Pantin, CN D, 2018 (116 p.)
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Following his time as a dancer in Verona, Magri's career expanded to the international stage. From 1759 to 1760, Magri danced with the
27:, a style of theatrical dance characterized by comedy, athleticism and acrobatics, whose roots lie in the Italian street tradition of
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and other types of intricate footwork. In addition, this treatise distinguishes between different types of theatrical dancers:
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301:, by Rebecca Harris-Warrick and Bruce Alan. Brown, University of Wisconsin Press, 2005, pp. 33–61, 91-108.
158:, see the recent research led by A. B. Fabbricatore. In terms of choreography, Magri primarily created
430:, by Rebecca Harris-Warrick and Bruce Alan. Brown, University of Wisconsin Press, 2005, pp. 109–149.
344:, by Rebecca Harris-Warrick and Bruce Alan. Brown, University of Wisconsin Press, 2005, pp. 91-108.
321:, by Rebecca Harris-Warrick and Bruce Alan. Brown, University of Wisconsin Press, 2005, pp. 61–90.
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This work provides a detailed description of the virtuosic and athletic steps required of a
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23:, Italy during the 1730s, and died in Madrid. Magri is best known for his work surrounding
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Howard Weiner; Marie
Richter, Freiburg, Fa-gisis, Musik-und Tanzedition, 2016, p. 56-74.
135:(grotesque dancers). Although grotesque dance is characterized by humorous and athletic
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Bongiovanni, Salvatore. “Gennaro Magri, a
Grotesque Dancer on the European Stage.”
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Bongiovanni, Salvatore. “Magri in Naples: Defending the
Italian Dance Tradition.”
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The Grotesque Dancer on the Eighteenth-Century Stage: Gennaro Magri and His World
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The Grotesque Dancer on the Eighteenth-Century Stage: Gennaro Magri and His World
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The Grotesque Dancer on the Eighteenth-Century Stage: Gennaro Magri and His World
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The Grotesque Dancer on the Eighteenth-Century Stage: Gennaro Magri and His World
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Pantomino con maschere: Pantalone e sua figlia, Truffaldino, Pulcinella, Flaminia
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Brown, Bruce Alan. “Magri in Vienna, The Apprenticeship of a Choreographer.”
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71:(1761–62), Reggio Emilia's Teatro Publicco (1761–62), Florence's
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371:"Trattato teorico-prattico di ballo — Discours sur la danse"
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https://hal.archives-ouvertes.fr/hal-01552341/document
87:(1767). During this time, Magri married the Milanese
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104:Magri is perhaps best known for his treatise on
247:Pantomimo tra Pulcinella, Alrecchino e Coviello
187:Ritorno di soldati piemontesi alle loro case
193:Arrivo de viaggiatori nella posta di Vienna
150:as equally important and esteemed as the
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162:ballets performed between opera acts.
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170:Choreographic works are as follows:
454:18th-century Italian ballet dancers
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474:Writers from the Kingdom of Naples
360:Trattato teorico-prattico di ballo
280:https://hddanse.hypotheses.org/272
94:Trattato teorico-prattico di ballo
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464:18th-century Italian male writers
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143:is the fact that he presents the
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46:Accademia Filarmonica in Verona
469:18th-century Neapolitan people
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235:Festa da ballo (ballo analogo)
181:Mercato del pesce in Amsterdam
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459:18th-century Italian writers
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175:Mascherata dedicata a Bacco
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42:primo ballerino grottesco,
131:(character dancers), and
44:at the Teatro Nuovo dell’
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67:(1760–61, 1764), Rome's
253:La Festa della lanterna
217:Daglia amici di Rodrigo
407:L’action dans le texte
211:Di zingari e scozzesi
205:Di spagnoli e mori
199:Di diversi caratteri
133:ballerini grotteschi
75:(1764), and Turin's
166:Choreographic works
127:(serious dancers),
113:ballerino grottesco
85:Regio Ducal Teatro
53:Kärntnertortheater
29:Commedia dell'arte
223:Ballo di mestieri
65:Teatro San Angelo
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229:Festa di silvano
137:stock characters
81:Teatro San Carlo
69:Teatro Argentina
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129:mezzo carattere
106:grotesque dance
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89:prima ballerina
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25:grotesque dance
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241:Un bassa turco
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152:ballerini seri
125:ballerini seri
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73:Teatro Pergola
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77:Teatro Regio
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424:Grotteschi.
409:(in French)
100:Major works
96:, in 1779.
448:Categories
436:0299203549
350:0299203549
327:0299203549
307:0299203549
266:References
154:. On this
148:grotteschi
121:pirouettes
160:entr'acte
145:ballerini
117:caprioles
422:Magri's
156:Trattato
141:Trattato
108:(1779).
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261:(1774)
255:(1773)
249:(1767)
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201:(1765)
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177:(1761)
57:Vienna
35:Career
21:Naples
432:ISBN
397:2015
346:ISBN
323:ISBN
303:ISBN
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