Dicotomie o sinergie? Gasparo Angiolini e l’originalità della danza.

[Autom. eng. transl.] The eighteenth century appears as the theater of innumerable dichotomies. Faith and reason, mind and body, art and science, ancient and modern: these are just some of the pairs of opposites that have animated a protean century. Alongside this strictly binary logic, however, it is possible to trace a line of thought that, referring to the famous metaphor of Leibniz and Shaftesbury - later taken up by Addison and Diderot - of the "great chain of being", shows the continuity and the exchange between similar opposing elements. The close synergy affirmed in the eighteenth century between the dance of the ancients and that of the moderns offers an effective example: overcoming the sterile querelle that had ignited the previous centuries, in fact, the undeniable auctoritas of the past is now put to the test of the obvious critical gains and of contemporary art. The essay dwells at a specific emergency site of this dynamic, elaborating a precise analysis: the creation and legitimization of the pantomime ballet by Gasparo Angiolini. More in detail, through the critical questioning of some of the choreographer's writings, it is shown that between the models in play it is not possible to perform any encapsulation or spreading action: in virtue of the eventual character of the dance, in fact, every new choreic representation is constitutes as original identity, in constant and unstoppable movement with the other by itself.