Theoretical Concepts in the Practice of the Soviet Ukraine Ballet Criticism in Late 1920S (original) (raw)
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Ballet Criticism on the Pages of the New Art Magazine (Kharkiv, 1925-1928)
CULTURE AND ARTS IN THE MODERN WORLD, 2020
The purpose of the article is to analyse and typologize the ballet criticism of the magazine New art (Kharkiv, 1925-1928). To achieve this goal, a number of principles and methods were used: the historical approach and analytical method make possible to analyse scientific and critical articles in the chronological order, the comparative methodto compare articles separating common and distinct ideas and concepts; the typological method-to classify critical publications on ballet topics. The scientific novelty of the article is that the content of the magazine New Art (Kharkiv, 1925-1928) was analysed through the prism of ballet criticism for the first time. Conclusions. In the conditions of the gradual departure from the ideas of the proletarian culture of the early 1920s in the USSR, with a complete rejection of the academic traditions of classical ballet, in the middle of 1920s there was a turn to a certain independence of the Ukrainian culture, Ukrainianlanguage magazines appeared, including the theatrical weekly New art, the content of which included the ballet criticism. The magazine reflects some aspects of the emergence of theatre studies (within which ballet studies developed) in Ukraine, which went parallel with the formation of ballet criticism. Rather conditionally, the content of publications of the New art related to ballet criticism can be divided into groups: theatrical theoretical and methodological (Ya. Mamontov and others); on the theoretical aspects of theatre, in particular, ballet criticism (I. Turkeltaub, K. Rafalskyi, M. Khrystovyi); ballet reviews, interviews, reviews, reports, chronicles (Yu. Zhihela, P. Kozytskyi, F. Malkov, H. Neivi). The New art conceptualized requirements for theatrical, including ballet, criticism: social (orientation to the ruling class of the proletariat), ideological and axiological (the transition from the propaganda of revolutionary and abstract, agitational to ideological and artistic values), anthropological (the formation of a physically and mentally new person). The two groups can be distinguished among the ballet reviews: the first-non-ideological publications, mainly applying an aesthetic and artistic approach to reviewing; the second group consists of those who condemn experimentation (constructive, body-plastic, etc.), focusing on the formation of mono-ideological approaches.
The Typology of Contemporary Ukrainian Ballet: A Musicological Perspective
Edukacja Muzyczna
In this article the author presents an original typology of contemporary ballet from a musicological standpoint. On the one hand, the proposed classification is based on already existing typologies of ballet as a dance genre. On the other hand, it proposes new criteria which take into account only the musical aspects of ballet performances. The said typology considers ballet works by Ukrainian composers from the period 1980–2020.
The images of the russian ballet in the Fine Arts of the late XIX and early XX century
Revista de la Universidad del Zulia, 2021
The purpose of the study is to analyze various interpretations of the theme of ballet in the context of creating an artistic image taking into account the specific characteristics of various arts on the factual visual material of the late nineteenth - early twentieth century. Methodology: 1) Search method, which allowed to reveal in museums and private collections, works of art dedicated to ballet of the period under consideration; 2) Historical and tipological method, which helped to group the works according to the thematic principle, to determine the degree of their value in the process of the creative work of the artist; 3) Method of stylistic analysis, which allowed to track the structural changes in the images created, the evolution of the creative method of the artist. Main findings: The nature of pictorial foundations in choreography is explored; the artistic pursuits and the various decisions in the masterpieces of graphics, painting and sculpture, dedicated to the ballet t...
2016
The Ballet Russes (1909-1929) was the revolutionary Russian ballet company under the direction of Russian impresario Serge Diaghilev (1872-1929). The Ballet Russes took an important role as a new art form as rarely taking the old traditions. Before the Ballet Russes, the costumes were nearly uniformity. Not only costumes and scenery newly designed but the music was composed as a new music by commissioned composers such as Stravinsky, Debussy and Ravel. The ballet technique was limited as well. The revolutionary choreographs of Ballet Russes’, such as Fokine and Nijinsky were employed and they no longer limited body movements in dance. The choreographers extended those innovations and brought their modern spirit to large ensemble productions. Ballet Russes wasn’t just a new type and level of ballet performances that surpassed contemporary European ballet, but also a unique artistic phenomenon that shaped the development of Western European in the 20th century. The legacy left by Diag...
Вісник КНУКіМ. Серія «Мистецтвознавство», 2020
The purpose of the article is to find out the main aspects of shifts in conceptual and ideological focuses in the criticism by Alexander Cherepnin after October 1917. The research methodology is based on a combination of analytical (analysis of literature and sources, events, facts), historical and cultural (retrospective reproduction of the conceptual positions of A. Cherepnin’s criticism, taking into account the socio-cultural context), comparative (comparison of publications of the critic before and after October 1917) methods, which allowed us to fully reveal the range of problems related to the subject of research. Scientific novelty. For the first time, the essence of shifts in Aleksandr Cherepnin’s ballet criticism from the glorification of the academic tradition to the ideological and political intention was revealed. Conclusions. At the beginning of his ballet and critical career, A. Cherepnin was a supporter of pure classical dance. He considered that the source of inspira...
The Identity of Romanian Ballet
2018
Through this article, I propose new investigations about the dramatic art and this is in a direct relationship with the choreographic and musical arts. Approaching a historical perspective, and, implicitly, the presentation of some creators of reference who have influenced the formation of choreography, its metamorphosis, its theatricalization and its involvement in the spectacular art, it gives us a new perspective on Aristotelian syncretism. The choosing of examples followed the Romanian route of choreography in its way towards the theatricalization of the classical gesture of ballet and the influence of choreography upon the corporality from the theatre space. In the formation of Romanian ballet, I am making a clear distinction between the phenomenon of transgressing the borders between the stage genres, especially between theatre and choreography. Choreography migrates towards theatre, and theatre infiltrates in choreography. This emulation, which is intended to be the idea of a total theatre, has given rise to artistic experiments where the emphasis is on the very visual interpretation, in the spirit of Thalia's simple and natural truths. The balance of these changes is fertile to the spectacular aesthetics, burdening the sap of the artistic creation also through the revealing of the internal life of the characters beyond the lines themselves. We consider this approach to be useful and necessary, because the harmonious fusion of some personalities that come with heterogeneous elements-though often regarded as an artistic amalgam-, presupposes the ability to draw avant-garde canons imposed by society's tendencies, desire viable only through a profound knowledge of the related fields. I consider that providing some valid information, credible and verifiable up to the origins can offer an instrument indispensable to the knowledge of artistic realities. The central motive of the topic is generated by the new tendencies of valuing choreography, which manifests deviations and agglutinations which, although evolving slowly, now, at the beginning of a new century, strongly expresses new languages and stage formulas, reformulates the total artist.
СТАНОВЛЕННЯ ТА РОЗВИТОК СУЧАСНОГО ТАНЦЮ В УКРАЇНІ
Танцювальні студії
The purpose of the research is to reveal the features of the development of modern dance in Ukraine in the period from the late 1990s to the beginning of the 2010s. Methodology: historical-chronological and biographical methods, stylistic analysis, and semantic analysis made it possible to carry out scientifically objective research. Scientific novelty: for the first time a wide range of phenomena in the development of modern dance in Ukraine has been systematized. Conclusions. As well as in other countries of the post-Soviet space, during the 1990s, the phenomena of contemporary dance in Ukraine took place in the context of information hunger and conceptual confusion. In the conditions of the conservative state of professional theatrical dance, until the 1990s, the hubs of the plastic experiment were sports, drama theater and children's dance. Clarity and certainty of the directions of the development of contemporary dance in Ukraine began to appear only after a number of dancers passed through training courses of European and American teachers. The most noticeable and stable phenomenon in the researched field since the mid-2000s was the activity of the theater "Kiev Modern Ballet". The fact that the work of this theater in its aesthetics is much closer to ballet art than to contemporary dance is indicative. Similar facts can be observed during the development of contemporary dance in Eastern Europe in the 1980s-the 1990s. This stage of the research prepares the study of the work of Ukrainian dancers beyond the connection with the ballet theater, and in the context of the development of Western contemporary dance.
The Representation of Female Characters in the Music of Russian Ballet
International Review of the Aesthetics and Sociology of Music, 2017
The author of the article examines aspects of female characters in the ballets Sleeping Beauty and The Nutcracker by Tchaikovsky, Romeo and Juliet, and Cinderella by Prokofiev, and Carmen Suite, Anna Karenina, and The Lady with the Lapdog by Shchedrin. The behavioural models of the heroines are considered from the perspective of the search for happiness, which is associated with finding love. The abovementioned works are from different periods in the history of Russian ballet, and they allow the evolution of female characters to be traced from the late 19th century to the 1980s. The transition from the typical behaviour of fairy-tale heroines to the actions of individual female characters reflects not so much a plurality of tones, but rather a change in the social status of women.