As an historian I use period imagery, texts and choreographic sources, as the source for performance, presentation and gesture. In this image, the position of my head and hand reflect qualities of the 18th century, while the custom-made wig is styled after a portrait in Stourhead House, a National Trust site revered not only for its 18th-century Palladian architecture, but as one of the most famous landscapes in England.
Baroque virtuosic dance
Baroque dance is the predecessor of classical ballet. In the early 1700s, it was presented by aristocrats socially and theatrically. Here I'm in a replica of the garb of the Petit Dauphin (title of the second in line to the throne), grandson of France's King Louis XIV, dancing one of the most challenging male solos of the time 'Entrée d'Appolon pour un homme', choreographied by Louis-Guillaume Pécour (1704), music by Jean-Baptiste Lully 'Le Triomphe de l'Amour'.
This mid-18th century style pose is based on period portraiture set in an idyllic English landscape. The costume is based on a portrait from Longleat House, seat of the Marquess of Bath. You can do many things with creative eyesight, as this image is actually the farm property of one of my grandmothers outside Ottawa.
Until he retired from regular performance in 2005, Edgar was a leading North American expert in Baroque dance, gesture and staging, working in Ottawa, Montreal, Toronto, and Vancouver, as well as California and New Zealand. He also directed the staging and dance of several student operas at Wilfrid Laurier University. He continues to conduct workshops such as at Queen's University, high school drama classes, and the Royal Canadian College of Organists 2016 gathering. His initial training was in Ukrainian folk dance in Ottawa (soon co-directing the ensemble) and subsequently ballet.
For information about Edgar's availability for workshops on Baroque dance, gesture and commedia dell'arte, see his home/contact page.