tibicen

Ah here we go. Here's the artist's statement from the choreographer, emphasis mine:

The Dancing

For the dancing in this show we strove to keep as close as possible to what we know of choreographic practices under Francis I.

The scarcity of sources lead us to explore a variety of documents, form treatises on the subject to the eyewitness accounts of ambassadors of the time, not forgetting iconographic sources and descriptions of masquerades. We wished to bring out the multiplicity of court practices during that period, with the perpetuation of early repertoires, foreign influences, and the appearance of new fashions, new forms, new manners: moving towards what was to be known, much later, as the French style.

With the exception of just one dance taken from the repertoire and completely restored from information found in Renaissance treatises [they must mean Rostibulli] all the dances have been choreographed anew , using the steps, figures, and movements, but also the methods of composition and ornamentation of the Renaissance often based on geometrical or numerical relationships, and of course a fine concordance with the music. The various texts available and a wealth of untapped iconography revealed dancing that was much more inventive, virtuosic, dramatic, grotesque, or fanciful than we had imagined. We thus aimed to bring out the variety and complexity of those dances. In the different tableaux, we have explored a range of styles, from the most noble, measured, or subtle, to the most lively or demonstrative. Restoring the vitality of this "new" choreographic material finally encouraged us to restore its meaning and its spectacular dimensions too, and to go beyond a mere reconstruction of movements in order to bring to life the hearts and minds of that period.

AAAAAAAAAACH *spit*

That is some Mannschaft Pavane level bullshit.

P.S. I am beginning to suspect why is was and how it came that Ingrid Brainard was the irrascable terror she was.