During the Renaissance, there were many forms of entertainment, dance being a primary one. At times the entertainment came from partaking in such dances, and at other times intricate steps were displayed to the amazement of an audience. Loyola’s production of Much Ado About Nothing utilizes both types of dance not only to provide amusement, but to further the story. 

  

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At the top of the play, Leonato throws a banquet to honor the arrival of Don Pedro, the Prince of Arragon, and his troops. Soldiers Benedick, Claudio, Borachio, and the Prince’s “illegitimate” brother Don John perform Danse de Buffons, a sword dance. This dance is originally described in dance historian Thoinot Arbeau’s work Orchésographie (1588). Les Bouffons has origins in Rome and Greece, whose soldiers performed it to honor gods of war. This particular dance portrays a mock battle, using several positions seen in duels, from stabs to various blocks, as well as a variety of tempos and intricate steps. Its precise nature allowed it to be used as a sword exercise, as well as a test of endurance, as it can feature several different combinations, which all the while include consistent small kicks. The Danse de Buffons was not only used as a mock battle, but to mock battles. Its name can be linked to Buffoon, or idiot, and it was more of a clown show than a show of military action. 

  

More of the significant impressing and impersonating happens during the other dance incorporated into this production, The Black Nag. The Black Nag is an English country dance, a style from which country western line dancing originates. Danced in couples with simple steps and turns, The Black Nag offers the perfect opportunity to court a “lady,” and that is exactly how it is used in Much Ado About Nothing. Who dances with whom? Attend Loyola’s production of Much Ado About Nothing in the Newhart Family Theatre April 4th - 14th, 2019, to find out. 

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