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- Introduction
- 1. Ballet before 1900
- 1.1 Origins of ballet as a court performance
- 1.2 Ballet in the Age of Enlightenment
- 1.3 Romantic ballet
- 2. Ballet 20th century.
- 2.1 Russian ballet S.P. Diaghilev
- 2.2 Ballet in the USA
- 3. World ballet
- 3.1 UK
- 3.2 Soviet Russia and other countries
- 3.3 France
- 3.4 Germany
- Conclusion
- List of used literature
Introduction
Ballet is a type of theatrical art where the main means of expression is the so-called “classical” (historically established, subject to a strict code of rules) dance; a scenic work belonging to this art form.
The plot of the ballet is presented in the libretto (script). Based on the libretto, music is written that expresses the emotional and semantic content of the work, then dance and pantomime scenery and costumes are created. A screenwriter, composer, choreographer and artist take part in the creation of the ballet. There are also ballets without a plot, where the choreography expresses exclusively the content of the music. Often the ballet uses music that was not originally intended by the composer for dance (Scheherazade by Rimsky-Korsakov, Carnival by Schumann, etc.). Dance is the main component of a ballet performance. Ballet includes classical dances and character dances, ballroom, folk, and in some cases acrobatic and rhythmic-plastic dances. There are performances based only on classical or only on character dance, but in modern Western ballet.
Ballet originated at the princely courts of Italy during the Renaissance and, as its popularity grew and performance techniques improved, it spread throughout Europe, and later also conquered North and South America, Asia and Australia.
Throughout most of the 18th century. ballet developed mainly in Italy; at the beginning of the 19th century France, and later Russia, became famous for ballet troupes. In the 20th century ballet occupied a strong place on the stages of the USA (especially in New York), Great Britain and the Soviet Union.
The purpose of the essay is to trace the history of the emergence and development of ballet as a form of theatrical art.
The task is to study and analyze the literature on the topic of the essay.
1. Ballet before 1900
1.1 Origins of ballet as a court performance
At the end of the Middle Ages, Italian princes paid great attention to magnificent palace festivities. Dance occupied an important place in them, which gave rise to the need for professional dance masters.
The skill of the early Italian dance teachers impressed the noble French who accompanied the army of Charles VIII when he entered Italy in 1494, laying his claim to the throne of the Kingdom of Naples. As a result, Italian dance masters began to be invited to the French court. The dance flourished during the era of Catherine de' Medici, wife of Henry II (reigned 1547-1559) and mother of Charles IX (reigned 1560-1574) and Henry III (reigned 1574-1589). At the invitation of Catherine de' Medici, the Italian Baldasarino di Belgioioso (in France he was called Balthazar de Beaujoyeux) staged court performances, the most famous of which was called the Queen's Comedy Ballet (1581) and is generally considered the first in history musical theater ballet performance. During the reign of three French kings - Henry IV (1533-1610), Louis XIII (1601-1643) and Louis XIV (1638-1715) - dance teachers proved themselves in the field of ballroom dance, and in those forms that developed within the framework of court ballet. In England in the same era, i.e. During the reign of Elizabeth I, a similar process took place, which found expression in the productions of the so-called. masks at court in Whitehall. In Italy technology professional dance continued to enrich itself, the first works on dance appeared (Il Ballarino by Fabrizio Caroso, 1581 and Le Gratie d'Amore by Cesare Negri, 1602).
In the middle of the 17th century. There has been a departure from the strict forms inherent in court ballet. Ballet dancers now performed on a stage raised above the level of the hall and separated from the audience, as was the case, for example, in the theater built by Cardinal Richelieu at the beginning of the 17th century. This Italian-style theater was located in his palace and had a proscenium, which provided additional opportunities for creating stage illusion and spectacular effects. This is how a purely theatrical form of dance was developed.
During the reign of Louis XIV, court ballet performances reached special splendor both in Paris and in the Palace of Versailles. The "Sun King" appeared, among others, as the Sun in the Ballet of the Night (1653).
Many of the features of ballet dances that have survived to this day are explained by the origins of ballet and the style of behavior of its first performers - courtiers trained in noble manners. All nobles were familiar with the art of fencing, and many of its techniques were used in dancing: for example, “turning out”, i.e. a position of the legs in which they are turned outward from the hip to the foot. The required positions of the legs, head and arms in ballet also resemble those of fencers.
In 1661, Louis XIV created the Royal Academy of Music and Dance, which united 13 leading dance masters who were called upon to maintain dance traditions.
1.2 Ballet in the Age of Enlightenment
In the 18th century Both styles of dance - noble and virtuosic - developed rapidly. In the field of theatrical dance, masters emerged who formed their own individual style. Along with Dupre, there was the brilliant Gaetan Vestris (1729-1808), the highly technical Pierre Gardel (1758-1840) and the innovator Auguste Vestris (1760-1842), distinguished by his unusual appearance and phenomenal elevation (i.e. the ability to jump high). Simpler and lighter clothes that came into fashion the day before French Revolution, gave more freedom for performing pirouettes and lifts (special jumping movements), and the fascination with them became universal, which irritated the adherents of the tradition.
However, even more significant for the development of ballet than the growth of technology was the new attitude towards this art generated by the Enlightenment. There was a separation of ballet from opera, and a new type of theatrical performance appeared, where dance and pantomime were the means of expression. Jean Georges Noverre (1727-1810) was the most significant choreographer of this movement, not only an innovative practitioner, but also the author of very convincing publications. His Letters on Dance and Ballets (1760) laid the aesthetic foundations of the art of ballet, and many of his statements remain relevant today. Noverre became famous as the director of many ballets d'action, “effective ballets” (that is, ballets with a plot) in Stuttgart in the 1760s, and in 1776 he was invited as a choreographer to the Paris Opera. Having overcome considerable difficulties, he managed to approve the ballet as an independent form of performance in this famous opera house.
Ballet began to spread throughout Europe. By the middle of the 18th century. Princely courts everywhere sought to imitate the luxury of Versailles; at the same time, opera houses were opened in many cities, so that dancers and dance teachers, of whom there were more and more, easily found employment. Not only in France, but also in other countries, choreographers proposed innovations that were important for the development of ballet. In Austria, Franz Hilferding (1710-1768) was one of the first to create productions where the plot was presented through facial expressions and dance. The Italian teacher, Gennaro Magri, published a detailed textbook on theatrical dance, as it became in recent years before the fall of the old regime in France.
When the revolution of 1789 broke out, ballet had already established itself as a special art form. The public became accustomed to the conventions of stage facial expressions, and dance, under the influence of the ideas of the Enlightenment, freed itself from the artificiality that Noverre fought against. Ballet was no longer perceived as a phenomenon of court life.
Russian influence was manifested in the fact that Charles Louis Didelot, who had previously worked as a choreographer in St. Petersburg, was invited to stage his most famous ballet Flora and Zephyr (music by K.A. Kavos) at the Paris Opera. Returning to St. Petersburg and working there for several years, Didelot left the theater a legacy of not only a huge new repertoire, including ballets based on Russian themes, like Caucasian prisoner(music by Kavos, 1823), but also a high level of teaching at the ballet school, which would later be recognized as the best in the world.
In the 1790s, under the influence of modern fashion, women's ballet costume became much lighter and looser, so that the lines of the body were visible underneath; At the same time, they abandoned shoes with heels, replacing them with light, heelless shoes.
1.3 Romantic ballet
By the time peace was established in Europe (1815), a new generation had grown up with little interest in the past. What was inherent in the previous era was forgotten, a new aesthetics of romanticism was born, which spread to all arts. Romanticism not only destroyed old forms that seemed outdated and out of place, but sought new sources of inspiration. Young romantic artists turned to supernatural and exotic phenomena; they were attracted by the culture of distant countries and hoary antiquity. The first manifestations of Romanticism were particularly impressive, and ballet was influenced by it longer than many other forms of theatrical art.
Many ideas about the art of ballet changed completely under the influence of Maria Taglioni (1804-1884). Appearing in La Sylphide (1832), choreographed by her father, she opened the stage for a new type of ballet heroine: the ethereal guest from the other world. Her dancing had a grace that contributed to the creation of this ideal being. Although Taglioni was not the first to stand on her fingers, as historians have repeatedly erroneously asserted, she managed to turn what was just a trick before her into an expressive means of conveying the special properties inherent in elusive, ethereal images.
The music of most ballets of the Romantic era was written by composers who specialized in light genres. The most significant among them was A. Adam, the author of the music of Giselle and the Corsair. Ballet music in those days was written to order, and it was not assumed that this was a serious enough work to be performed in concerts; the passages intended for dance were melodic, and their construction was simple, while the music should only accompany the episodes, creating the general mood of the performance.
The decline of European ballet, the rise of ballet in Russia. The flame of romanticism began to wane by the mid-19th century. The ballet was still successful, but mainly as a spectacle with pretty women. In Paris, Joseph Mazilier (1801-1868) and Saint-Léon maintained the prestige of the Opera until the fall of the Second Empire in 1870. Mazilier's Le Corsaire (1856, music by Adan) and Saint-Léon's last production of Coppelia (1870, music by L. Delibes) were the highest achievements of this a period when French ballet dancers were supplanted by foreign stars. mostly Italians. An exception was Emma Livry (1842-1863), a student of Maria Taglioni, but she died at the age of 21 from burns (her ballet costume caught fire from a candle on stage). Sylvie (1876, music by Delibes) is the only surviving French ballet from this period.
In London at that time, ballet practically disappeared from the stage of opera houses, finding refuge in music halls. The artistic value of these performances was not always high, but they ensured the love of the audience for the ballet. At the end of the 19th century. special meaning had the participation of the wonderful ballerina of Danish origin Adeline Genet (1878-1970). Italy at this time remained the center from where, as before, ballerinas emerged, delighting the audience with their technical perfection. The most famous of them, Virginia Zucchi (1847-1930), became famous, however, not so much for her virtuosity as for the dramatic intensity of her playing, which put her on a par with famous actors era.
Russian ballet Diaghilev world
2. Ballet 20 V.
2.1 Russian Ballet S.P. Diaghilev
By the beginning of the 20th century. permanent ballet troupes worked in Denmark and France, but choreographic theater reached its true flourishing only in Russia. Soon, from Russia, ballet began to spread throughout Europe, both Americas, Asia and throughout the world. In the middle of the century, a remarkable feature of its development was the extraordinary variety of styles: each choreographer or artistic director the troupe offered its own approach.
Political and social changes in Russia at the beginning of the 20th century. affected the ballet as well. MM. Fokine, a graduate of the St. Petersburg Theater School, closely associated with the Mariinsky Theater, became acquainted with Isadora Duncan's (1877-1927) first tour in Russia in 1904-1905 with her dance, natural and endlessly changeable. However, even before this, he had doubts about the inviolability of the strict rules and conventions that guided M. Petipa in his productions. Fokin became close to artists striving for change Mariinsky Theater, as well as with a group of artists associated with S.P. Diaghilev (1872-1929), which included A.N. Benoit and L.S. Bakst. In their magazine “World of Art”, these artists presented innovative artistic ideas. They were equally committed to national Russian art, in particular its folk forms, and to academic movements, such as the music of Tchaikovsky. Although the dancers of the Mariinsky Theater and the Moscow Bolshoi Theater had previously traveled outside the country, Western Europe received a full understanding of their art and the rare beauty of Russian performances only in 1909, thanks to the organization of S.P. Diaghilev to the Parisian “Russian Season”. Over the next 20 years, the Diaghilev Russian Ballet troupe performed mainly in Western Europe, sometimes in North and South America; Her influence on world ballet art is enormous.
The dancers of the Russian Ballet troupe came from the Mariinsky Theater and the Bolshoi Theater: Anna Pavlova, Tamara Karsavina, Vaslav Nijinsky, Adolf Bolm (1884-1951), etc. Artists from Diaghilev’s circle composed the libretto, created scenery and costumes, and at the same time new music was written .
The First World War and the October Revolution deprived Diaghilev of the opportunity to return to his homeland. But his connections with artistic circles in Europe, as well as with emigrants from Russia, became ever closer. His troupe included artists who trained in studios in Paris and London.
Anna Pavlova participated in the first Diaghilev ballet “Russian Season”, then founded her own company, based in London, but traveling around the world and visiting even those distant countries where Diaghilev’s troupe did not reach. This great artist and woman of rare charm amazed thousands of spectators with her performance of Fokine's Dying Swan (1907, to the music of C. Saint-Saens), which became the emblem of her soulful art.
2.2 Ballet in the USA
At the end of the 19th century. ballet scenes could only be seen as part of performances called “extravaganza”, which were still preserved on the American stage. These were lavishly staged musical performances that took place on the stage of opera houses after the opera itself, so that the dance part of the performance began at about 11 or 12 o'clock. Opera houses invited ballerinas from Europe to perform leading roles in these ballets, and some of them remained to teach in America. So in different cities schools and small amateur troupes appeared. Russian artists who worked in the ballet theaters of Diaghilev or Anna Pavlova began to open studios in America, such as Adolf Bolm, Mikhail Mordkin (1880-1944) and Fokine.
A number of companies created in Europe in the hope of emulating Diaghilev's achievements influenced American ballet. One of them, which for some time bore the name “Russian Ballet of Colonel de Basil,” performed in the USA in 1933, where it was represented by the famous impresario Sol Hurok. Another troupe, historically associated with the one mentioned and called the Russian Ballet of Monte Carlo, at some point settled in the United States. In 1942, Agnes de Mille (1909-1993) staged the ballet Rodeo here, and in 1946 Balanchine staged La Sonnambula, after which the company existed as a traveling company until the early 1960s. The first ballet companies founded in America appeared in the 1930s: the Littlefield Ballet in Philadelphia and the San Francisco Ballet. The two largest American ballet theaters - the New York City Ballet and the American Ballet Theater - were born as a result of the interaction of Russian tradition and American enterprise and perseverance, shown in the first case by L. Kirstein, and in the second by Lucia Chase.
American Ballet Theater. In 1939, Lucia Chase (1897-1986), a wealthy widow who studied classical dance with M. Mordkin, together with entrepreneur Richard Pleasant (1906-1961) and artist Oliver Smith (1918-1994), created a ballet troupe, which was initially called “Balle Theater", and in 1956 - "American Ballet Theater". The company's first performance took place in January 1940. In the early years, traditional ballets such as Fokine's La Sylphide (Chopinian) were performed, as well as productions using modern and ethnic dance. To enrich her repertoire, Chase attracted various choreographers, including Fokine and Balanchine. The repertoire included, in particular, the ballets Rodeo by Agnes de Mille and Billy's Boy by Eugene Loring (both to music by A. Copland), staged for other companies.
It is impossible to imagine the American Ballet Theater without the dramatic ballets of the English choreographer Anthony Tudor.
The diversity of the American Ballet Theater's repertoire required the presence of dancers in the troupe who possessed both brilliant classical technique and dramatic talent. IN early years these were Alicia Alonso (b. 1921), Nora Kay, John Kriza (1919-1975), Igor Yuskevich (1912-1994) and Alicia Markova (b. 1910); they were followed by Tony Lander (1931-1985, Sally Wilson (b. 1932), Bruce Marks (b. 1937), Roy Fernandez (1929-1980), Lupe Serrano (b. 1930), Scott Douglas (1927-1996), Cynthia Gregory (b. 1946), Martina Van Hamel (b. 1945), Fernando Bujones (b. 1955) and Gelsey Kirkland (b. 1952).
Dance Theater of Harlem was created in 1968 by former New York City Ballet dancer Arthur Mitchell (b. 1934) to protest the assassination of Martin Luther King, and the troupe began performing in 1971. Seeking to prove that African-American dancers are an integral part of the part of the world of ballet, Mitchell included the ballets Giselle in his repertoire, Swan Lake, productions by Balanchine, Scheherazade by Fokine, as well as the work of many African-American choreographers.
3. World ballet
3.1 United Kingdom
Before the tour of the troupe of Diaghilev and Anna Pavlova in London in the 1910-1920s, ballet was represented in England mainly by the performances of individual famous ballerinas on music hall stages, for example the Danish Adeline Genet (1878-1970). English ballet owes its birth to two women who worked with Diaghilev: Marie Rambert (1888-1982), a native of Poland, and Ninette de Valois (b. 1898), born in Ireland, but went to school in London.
In the 1930s, Ninette de Valois invited Mariinsky Theater director Nikolai Sergeev (1876-1951), who emigrated from Russia, to stage classical ballets of the 19th century in order to enrich the repertoire and provide artists with the opportunity to master previously unusual dance forms. By 1956, Sadler's Wells Ballet became the Royal Ballet and performed at the Royal Opera House, Covent Garden. organized the Royal Ballet Festival in the 1994-1995 season.
Throughout the 1940s and 1940s, the Balle Rambert troupe continued to stage new ballets, while maintaining in its repertoire the original classical ballets, designed for a small cast. In 1966 the troupe was reorganized.
Other English companies include the English National Ballet, which has as its direct predecessor the company founded in 1949 by former Diaghilev dancers Alicia Markova and Anton Dolin (1904-1983), which for many years bore the name "London Festival Ballet". In 1984, the Dane Peter Schaufus (b. 1949), who headed the troupe, resumed Ashton's ballet Romeo and Juliet, which by that time had been practically forgotten. In 1990, Ivan Nagy became the director of the troupe.
The Royal Ballet has always maintained a second, smaller traveling company. In the 1990s it settled in Birmingham and is now known as Birmingham Royal Ballet.
In Russia, ballet did not lose its significance in the years after the First World War and during Soviet power, even when the political and economic situation seemed to threaten the very existence of the Bolshoi and Mariinsky (which was later October Revolution Name State Theater opera and ballet, GOTOB, and since 1934 - the name of S.M. Kirov) theaters. The 1920s were a period of intense experimentation in both the form and content of ballet performances. Proletkult productions on political and social themes also appeared, and in Moscow the works of Kasyan Goleizovsky (1892-1970), and in Petrograd (renamed Leningrad in 1924) various productions by Fyodor Lopukhov (1886-1973), including his Greatness of the Universe (1922 ) to the music of Beethoven's Fourth Symphony.
The collapse of the Soviet Union and the subsequent economic crisis brought enormous difficulties to ballet companies, which had previously been generously subsidized by the state. Many dancers and teachers left the country to settle in the USA, England, Germany and other Western countries.
During cold war many countries Eastern Europe, part of the Soviet bloc, followed Soviet principles both in training dancers and in staging performances. When the borders opened, many artists from these countries, especially from Hungary and Poland, joined the achievements of the choreography of the Western troupes that visited them, and they themselves began to travel outside their countries.
3.3 France
French ballet at the beginning of the 20th century. was in a state of crisis. The Russian artists who were invited to the Paris Opera, in particular from Diaghilev's troupe, were much stronger than the French performers. After Diaghilev's death, the leading dancer of his troupe, Sergei Lifar (1905-1986), who had once come to France from Ukraine, headed the Paris Opera Ballet and remained in this post in 1929-1945, then in 1947-1958. Under his leadership, wonderful dancers grew up, most notably the wonderful lyrical ballerina Ivette Chauvire (b. 1917), who became famous for her performance of the role of Giselle. The most interesting experiments in the field of choreography were carried out outside the Paris Opera, in particular by Roland Petit and Maurice Béjart. Petit (b. 1924) left the Opera in 1944 and created the Ballet des Champs-Élysées, where he staged, among other performances, the ballet Youth and Death (1946, to the music of J. S. Bach) for the young and dynamic dancer Jean Babile ( b. 1923). Then for the Ballet of Paris troupe he created one of his most famous and long-lived productions - Carmen (1949, to the music of J. Bizet) with Rene (Zizi) Jeanmer (b. 1924). Petit's sense of theatricality allowed him to work in the most various genres and participate in commercial events. From 1972-1998 he headed the National Ballet of Marseille troupe, where he staged many stylish and edgy theatrical performances.
In the 1970s and 1980s, French provincial troupes began to receive government support and gained international fame. Special attention deserves the troupe “Ballet of the Rhine Departments.
3.4 Germany
During the first half of the 20th century. in Germany, the most significant phenomenon was the development of free dance, which here received the name “expressive” - Ausdruckstanz. After World War II, the governments of the Federal Republic of Germany and the German Democratic Republic paid a lot of attention to supporting ballet troupes. In all the main cities of Western Germany, independent ballet groups were created at the opera houses, which staged their own performances while simultaneously participating in operas. John Cranko from England (1927-1973), who performed and staged a number of performances in the English company Sadler's Wells Theater Ballet, headed the Stuttgart Ballet in 1961 and formed an extensive repertoire of his own multi-act performances, largely reminiscent in style of Soviet ballets, rich in dramatized dances . This is Romeo and Juliet (music by Prokofiev, 1962). Onegin (1965, to the music of Tchaikovsky, arranged by K. H. Stolze) and The Taming of the Shrew (1969, to the music of A. Scarlatti, arranged by K. H. Stolze), ballets, the success of which depended greatly on the participation of the wonderful dancer Marcia Heide in them (b. 1939), Brazilian by birth, and her American partner Richard Cragan (b. 1944). The troupe soon gained worldwide fame; after Cranko’s untimely death, it was headed by Glen Tetley, who staged the ballet Organ Solo in memory of Cranko (Voluntaries, 1973, to music by F. Poulenc).
Conclusion
As by the middle of the 20th century. The role of ballet increased, troupes began to be created in almost all countries of the Americas, Europe, Asia, including in some regions Central Asia and Africa, as well as Australia and New Zealand. Ballet has found a place even in countries with their own rich dance tradition, such as Spain, China, Japan and Asia Minor. By the end of the 20th century. The problems facing ballet art became increasingly clearer. In the 1980s, when Balanchine, Ashton and Tudor died (in the 1980s) and Robbins moved away from active work, a creative vacuum arose. Most of the young choreographers working in the late 20th century were not very interested in developing the resources of classical dance. They preferred a mixture of different dance systems, with classical dance appearing impoverished, and modern dance devoid of originality in identifying bodily capabilities. In an effort to convey what constitutes the essence of modern life, choreographers use finger techniques as if to emphasize thoughts, but ignore traditional hand movements (port de bras). The art of support has been reduced to a kind of interaction between partners, when a woman is dragged along the floor, thrown, twirled, but almost never supported or danced with her.
Most troupes build their repertoire to include 19th-century classics. (La Sylphide, Giselle, Swan Lake, Sleeping Beauty), the most famous ballets of the masters of the 20th century. (Fokine, Balanchine, Robbins, Tudor and Ashton), popular productions by MacMillan, Cranko, Tetley and Kilian and the work of a new generation of choreographers such as Forsyth, Duato, James Kudelka. At the same time, dancers receive better training because... There are more knowledgeable teachers. Relatively new area dance medicine has given dancers access to injury prevention techniques.
There is a problem of introducing dancers to music. Widespread popular music does not know the diversity of styles, in many countries teaching musical literacy is at a low level, when choreographing dances, phonograms are constantly used - all this interferes with the development of musicality among dancers.
A new phenomenon last decades became ballet competitions, the first of which was held in Varna (Bulgaria) in 1964. They attract not only prizes, but also the opportunity to appear before judges representing the most prestigious organizations. Gradually, there were more competitions, at least ten per year. different countries; some offer scholarships along with money. Due to the need for choreographers, choreography competitions also emerged.
List of used literature
1. Blazis K., Dancing in general, ballet celebrities and national dances. - M., 1999
2. Bogdanov-Berezovsky V., Galina Ulanova. - M., 1999
3. Borisoglebsky M.V. Materials on the history of Russian ballet. - L., 1988
4. Walberkh I., From the choreographer’s archive. Diaries, correspondence, scripts. Ed. and entry Art. Yu.I. Slonimsky. - M. - L., 1980
5. Glushkovsky A., Memoirs of a choreographer. Publ. and entry Art. Yu. I. Slonimsky. - M., 1999
6. Classics of choreography. Rep. ed. B.I. Chesnokov. - St. Petersburg, 2000
7. Krasovskaya V.M. Russian Ballet Theater from its origins to mid-19th century century. - M., 2008
8. Levinson A., Ballet Masters. Essays on the history and theory of dance. 5th edition, supplemented. - St. Petersburg, 2001
9. Levinson A., Old and new ballet.-SPb, 2000
10. Noverre J.J., Letters on Dance, trans. from French - L., 19979
11. Pleshcheev A., Our ballet (1673-1899). - St. Petersburg, 1999
12. Slonimsky Yu-, Didlo. Milestones of creative biography. - M. - L., 1988
13. Slonimsky Yu., Masters of Ballet....-M., 1997
14. Slonimsky Yu., P.I. Tchaikovsky and the ballet theater of his time. - M., 1996
15. Slonimsky Yu., Soviet ballet. Materials for the history of owls. ballet theater. - M., 1997
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Brief history Russian ballet.
The first ballet performance in Russia took place on Maslenitsa on February 17, 1672 at the court of Tsar Alexei Mikhailovich in Preobrazhenskoye. Before the start of the performance, the actor portraying Orpheus came on stage and sang German couplets, translated to the Tsar by a translator, in which the wonderful properties of the soul of Alexei Mikhailovich were extolled. At this time, on both sides of Orpheus stood two pyramids decorated with banners and illuminated with multi-colored lights, which, after Orpheus’ song, began to dance. Under Peter I, dances appeared in Russia modern meaning of this word: minuets, country dances, etc. were introduced. He issued a decree according to which dancing became the main part of court etiquette, and noble youth were obliged to learn dancing. In 1731, the Land Noble Corps was opened in St. Petersburg, which was destined to become the cradle of Russian ballet. Since graduates of the corps in the future were expected to occupy high government positions and needed knowledge of secular manners, the study fine arts, including ballroom dance, a significant place was allocated in the corps. On May 4, 1738, the French dance master Jean Baptiste Lande opened the first ballet dance school in Russia - “Her Imperial Majesty’s Dancing School” (now the Vaganova Academy of Russian Ballet).
In specially equipped rooms of the Winter Palace, Lande began training 12 Russian boys and girls. The students were recruited from children of simple origin. Education at the school was free, pupils were full content. Ballet received further development in Russia during the reign of Elizabeth Petrovna. Among the cadets of the Ground Corps, Nikita Beketov excelled in dancing. Moreover, Beketov, who later became Elizabeth’s favorite, enjoyed the special favor of the Empress, who herself dressed the young man who performed excellently. female roles. In 1742, the first ballet troupe was created from students of the Lande school, and in 1743 fees began to be paid to its participants. On August 1, 1759, on the empress’s name day and on the occasion of the victory over the Prussian troops at Frankfurt, the ballet-drama “Refuge of Virtue” was solemnly staged, which was a huge success.
During the reign of Catherine II, ballet in Russia gained even greater popularity and was further developed. On the occasion of her coronation, a luxurious ballet “Joyful Return to the Arcadian Shepherds and Shepherdesses of the Goddess of Spring” was given in the Moscow palace, in which the most noble nobles participated. It is known that the heir to the throne, Pavel Petrovich, often danced in ballet performances at the court theater. Since the era of Catherine II, a tradition of serf ballets has appeared in Russia, when landowners started troupes made up of serf peasants. Of these ballets, the ballet of the landowner Nashchokin enjoyed the greatest fame.
In 1766, the choreographer and composer Gasparo Angiolini, discharged from Vienna, added a Russian flavor to ballet performances - he introduced Russian melodies into the musical accompaniment of ballet performances, which surprised everyone and gained universal praise. At the beginning of the reign of Paul I, ballet was still in fashion. It is interesting that under Paul I, special rules for ballet were issued - it was ordered that there should not be a single man on stage during the performance, the roles of men were danced by Evgenia Kolosova and Nastasya Berilova.
This continued until Auguste Poirot arrived in St. Petersburg. During the reign of Alexander I, Russian ballet continued its development, reaching new heights. Russian ballet owes its success at this time, first of all, to the invited French choreographer Carl Didelot, who arrived in Russia in 1801. Under his leadership, dancers such as Maria Danilova and Evdokia Istomina began to shine in Russian ballet. At this time, ballet in Russia achieved unprecedented popularity. Derzhavin, Pushkin and Griboyedov sang the ballets of Didelot and his students - Istomin and Teleshova. The Emperor loved ballet performances and almost never missed a single one. In 1831, Didelot left the St. Petersburg stage due to a conflict with theater director Prince Gagarin. Soon a star began to shine on the St. Petersburg stage European ballet Maria Taglioni.
She made her debut on September 6, 1837 in the ballet La Sylphide and delighted the public. Such lightness, such chaste grace, such extraordinary technique and facial expressions have never been shown by any of the dancers. In 1841, she said goodbye to St. Petersburg, having danced more than 200 times during this time.
In 1848, Taglioni’s rival, Fanny Elsler, famous for her grace and facial expressions, came to St. Petersburg. Following her, Carlotta Grisi visited St. Petersburg, who made her debut in 1851 in “Giselle” and had great success, showing herself to be a first-class dancer and an excellent mimic actress. At this time, choreographers Marius Petipa, Joseph Mazilier and others consistently staged luxurious ballets and attracted talented artists they tried to put forward ballet performances, which were beginning to cool down thanks to Italian opera. Among the ballet critics of that time was Vissarion Belinsky, who wrote articles about Taglioni, Guerino and Sankovskaya. During the reign of Alexander II, the promotion of domestic talents began in Russian ballet. A number of talented Russian dancers have graced ballet stage. Although great economy was observed in ballet productions, the experience of Mariyca Petipa made it possible to stage elegant ballet performances at low financial costs, the success of which was greatly facilitated by the excellent decorations of the artists. During this period of development of Russian ballet, dancing took precedence over plasticity and facial expressions.
During the reign Alexandra III ballets were given at the Mariinsky Theater twice a week - on Wednesdays and Sundays. The choreographer was still Marius Petipa. At this time, foreign ballerinas were touring in St. Petersburg, including Carlotta Brianza, who was the first to perform the role of Aurora in the ballet “The Sleeping Beauty” by Pyotr Tchaikovsky. The leading dancers were Vasily Geltser and Nikolai Domashev. In the 20th century - A. V. Shiryaev, 1904 A. A. Gorsky, 1906 Mikhail Fokin, 1909. At the beginning of the 20th century, the custodians of academic traditions were artists: Olga Preobrazhenskaya, Matilda Kshesinskaya, Vera Trefilova, Yu. N. Sedova, Agrippina Vaganova , Olga Spesivtseva. In search of new forms, Mikhail Fokin relied on modern fine art.
Anna Pavlova. Invitation to the Dance aka Invitation to the valse.
The choreographer’s favorite stage form was the one-act ballet with laconic continuous action and a clearly defined stylistic coloring. Mikhail Fokine owns the following ballets: “Pavilion of Armida”, “Chopiniana”, “Egyptian Nights”, “Carnival”, 1910; "Petrushka", "Polovtsian Dances" in the opera "Prince Igor". Tamara Karsavina, Vaslav Nijinsky and Anna Pavlova became famous in Fokine's ballets. The first act of the ballet “Don Quixote”, to the music of Ludwig Minkus, reached contemporaries in the edition of Alexander Gorsky.
Russian ballet of the twentieth century.
Galina Ulanova in the ballet "Giselle."
Pas de deux from the ballet "Swan Lake" by Tchaikovsky.
Russian ballet of the 21st century.
Pas de deux from the ballet "Corsair" by Adana.
Pas de deux from the ballet "Don Quixote" by Minkus.
Pas de deux from the ballet "La Bayadère" by Minkus.
Adagio and pas de deux from the ballet "Giselle" by Adam.
Ballet is an art form in which the creator’s vision is embodied through the means of choreography. A ballet performance has a plot, theme, idea, dramatic content, libretto. Only in rare cases do plotless ballets take place. In the rest, dancers must convey the feelings of the characters, plot, and action using choreographic means. A ballet dancer is an actor who, with the help of dance, conveys the relationships of the characters, their communication with each other, the essence of what is happening on stage.
History of the emergence and development of ballet
Ballet appeared in Italy in the 16th century. At this time, choreographic scenes were included as an episode in a musical performance, an opera. Later, already in France, ballet was developed as a magnificent, sublime court performance.
October 15, 1581 is considered to be the birthday of ballet throughout the world. It was on this day in France that he presented his creation to the public. Italian choreographer Baltazarini. His ballet was called "Cerce" or "The Queen's Comedy Ballet". And the duration of the performance was about five hours.
The first French ballets were based on court and folk dances and melodies. Along with musical scenes, the play also included conversational and dramatic scenes.
Development of ballet in France
Louis the 14th contributed to the growth of popularity and flowering of ballet art. The court nobles of that time gladly took part in the performances themselves. Even the radiant king received his nickname “The Sun King” because of the role he performed in one of the ballets of the court composer Lully.
In 1661, Louis the 14th became the founder of the world's first ballet school - the Royal Academy of Dance. The head of the school was Lully, who determined the development of ballet for the next century. Since Lully was a composer, he decided the dependence dance moves from the construction of musical phrases, and the nature of the dance movements - from the nature of the music. In collaboration with Moliere and Pierre Beauchamp, the dance teacher of Louis the 14th, the theoretical and practical foundations of ballet art were created. Pierre Beauchamp began to create the terminology of classical dance. To this day, terms for designating and describing basic ballet positions and combinations are used in French.
In the 17th century, ballet was replenished with new genres, such as ballet-opera and ballet-comedy. Attempts are being made to create a performance in which the music organically reflects the storyline, and the dance, in turn, organically flows into the music. Thus, the foundations of ballet art are laid: the unity of music, dance and drama.
Since 1681, participation in ballet performances has become available to women. Until that time, only men were ballet dancers. Ballet received its finished form as a separate art form only in the second half of the 18th century thanks to the stage innovation of the French choreographer Jean Georges Novera. His reforms in choreography assigned an active role to music as the basis for a ballet performance.
Development of ballet in Russia
The first ballet performance in Russia took place on February 8, 1673 in the village of Preobrazhenskoye at the court of Tsar Alexander Mikhailovich. The originality of Russian ballet is shaped by the French choreographer Charles-Louis Didelot. It affirms the priority of the female part in dance, increases the role of the corps de ballet, and strengthens the connection between dance and pantomime. A real revolution in ballet music was made by P.I. Tchaikovsky in his three ballets: The Nutcracker, Swan Lake and The Sleeping Beauty. These works, and behind them the productions, are an unsurpassed pearl of the musical and dance genres, unmatched in the depth of dramatic content and the beauty of figurative expressiveness.
In 1783, Catherine the Second created the Imperial Opera and Ballet Theater in St. Petersburg and the Bolshoi Stone Theater in Moscow. On the stages of famous theaters, Russian ballet was glorified by such masters as M. Petipa, A. Pavlova, M. Danilova, M. Plisetskaya, V. Vasiliev, G. Ulanova and many others.
The 20th century saw innovation in literature, music and dance. In ballet, this innovation manifested itself in the creation of dance - plastic dance, free from the techniques of classical choreography. One of the founders of modern ballet was Isadora Duncan.
Features of classical choreography
One of the main requirements in classical choreography is inverted leg positions. The first ballet performers were court aristocrats. All of them mastered the art of fencing, which used twisted leg positions to allow better movement in any direction. From fencing, the requirements for turnout moved into choreography, which was a matter of course for the French courtiers.
Another feature of ballet, performing on the toes, only appeared in the 18th century, when Maria Taglioni first used this technique. Each school and each dancer brought their own characteristics to the art of ballet, enriching it and making it more popular.
The history of ballet for children will tell you how and where ballet appeared.
When did ballet appear?
The term “ballet” appeared at the end of the 16th century (from Italian balletto - to dance). But then it did not mean a performance, but only a dance episode conveying a certain mood.
Ballet as an art form is quite young. The dance that adorns our lives has already reached its end 400 years. The place where ballet originated is Northern Italy, and this happened during the Renaissance. Local princes loved the magnificent palace festivities and hired dance masters who rehearsed dance movements and individual figures with noble people.
It is believed that the one who invented the ballet was the Italian choreographer Baltazarini di Belgioioso. He staged the first ballet performance called "The Queen's Comedy Ballet", which was staged in France in 1581.
It was in France that ballet began to develop. During the reign of Louis XIV, court ballet performances reached special splendor.
Brief history of Russian ballet
In Russia, a ballet performance called “The Ballet of Orpheus and Eurydice” was staged for the first time on February 8, 1673. This happened in the palace of Tsar Alexei Mikhailovich. Slow and ceremonious dances featured graceful poses, moves and bows, which alternated with speech and singing.
Only a quarter of a century later, along with the reforms of Peter I, dance and music entered the life of the Russian people. In educational institutions, dance classes were equipped for nobles. Foreign opera artists, musicians and ballet troupes began performing at the royal court.
The first ballet school in Russia was opened in 1731. It was called the nobility Land Corps. It is considered the cradle of Russian ballet. Jean Baptiste Lande, a French dancer, made a huge contribution to the development of the ballet school. He is the founder of Russian ballet. Lande also opened the first ballet dance school in Russia. Today it is the Academy of Russian Ballet named after. A.Ya.Vaganova.
Ballet received a further impetus in its development during the reign of Tsarina Elizabeth Petrovna. After the invitation to Russia of the choreographer from France Didelot, this art reached a special peak - graceful productions, poses and design created a sensation.
It is worth noting that Pyotr Ilyich Tchaikovsky played an important role in the development of classical Russian ballet. He is the author of such brilliant ballets as “Swan Lake”, “The Nutcracker” and “Sleeping Beauty”.
We hope that from this article you learned when ballet appeared.
38 Kiseleva Maria. Robber Musil: body and word as a way of understanding heroes // Questions of literature. 2009. No. 3. P. 350.
39 Spengler Oswald. The decline of Europe. Essays on the morphology of world history. T. 1. Gestalt and reality. M.: Mysl, 1993. P. 231.
40 Mannheim Karl. Ideology and utopia // Karl Mannheim. Diagnosis of our time. M.: Lawyer, 1994. P. 185.
41 Zamyatin Evg. Paradise // Zamyatin E.I. I'm afraid. P. 53.
42 Wells Herbert. Modern utopia. P. 189.
* We have preserved this word only in the form of a poetic metaphor: the chemical composition of this substance is unknown to us.
43 Arendt Hannah. People in dark times. M.: Moscow School of Political Research, 2003.S. 21.
44 Shklovsky's etymology is very doubtful. As you know, the name Mephistopheles is possibly Greek. origin - “hating light”, from me - not, phos - light and philos - loving; according to another version, ancient Hebrew. origin - from mefitz - spreading (distributing) and tofel - defilement, sin. It does not appear in the Bible. Appeared most likely during the Renaissance.
45 Shklovsky Victor. Ceiling of Evgeny Zamyatin // Shklovsky V.B. Hamburg account: Articles, memoirs, essays (1914-1933). M.: Soviet writer, 1990. P. 259.
46 Zamyatin Evgeniy. About lackeys // Zamyatin E.I. I'm afraid. P. 38.
47 Zamyatin E.I. Herbert Wells // Zamyatin E.I. Izbr. prod. : in 2 volumes. T. 2. M.: Khudozh. lit., 1990. P. 306. In a recent edition, this book was translated as “Modern Utopia.”
48 The benefactor whom the hero compares to Jehovah are “guardians,” that is, intelligence officers whom the narrator compares to guardian angels. The enemies of the system themselves take the name “Mefi”.
49 Stepun F. A. Religious meaning revolution // Stepun F. A. Life and creativity. Selected works. M.: Astrel, 2009. P. 486.
50 Florovsky Georgy. Metaphysical prerequisites of utopianism // Florovsky Georgy. From the past of Russian thought. M.: Agraf, 1998. P. 273.
51 Frank S. L. Heresy of utopianism // Frank S. L. Beyond the right and left. Paris: YMCA-Press, 1972. pp. 86-87.
52 See my article about this: Dostoevsky, Nietzsche and the crisis of Christianity in Europe late XIX- beginning of the 20th century // Questions of Philosophy. 2002. No. 9. P. 54-67.
UDC 18.111.85:7.01
Natalya Alekseevna Terentyeva
Chelyabinsk State Pedagogical University
BALLET AS AN ART AND CULTURAL PHENOMENON: ESSENTIAL CHARACTERISTICS AND APPROACHES TO DEFINITION
The article reveals the main essential characteristics of ballet as a cultural phenomenon, analyzes the leading cultural approaches necessary to reveal the essence of ballet art; the specificity of the cultural reading of ballet as a sociocultural system is determined.
Keywords: ballet, ballet art, synthesis of arts, creativity, stage performance, entertainment.
© Terentyeva N. A., 2011.
Ballet, both ballet in general and a specific ballet performance, can be called a phenomenon of cultural life, which has a long historical and cultural tradition of existence, acting as an effective phenomenon artistic culture society. The least controversial is the historical and cultural tradition of ballet, embodied in the galaxy of legendary names of performers, ballet teachers, choreographers, composers, conductors, and artists. For a long time, the imperial component of Russian ballet has classified it as a special form of “aesthetic mystery”, fascinating with its bright theatricality, talented combination of fairy tales with reality, variety of original dance techniques, expressively clear pantomime, genius of musical accompaniment, lively rhythms of stage action.
It seems no coincidence cultural significance ballet in Russia as a unique brand, aesthetic " business card» Russian art (confirmed by the special status of the Bolshoi Theater; the traditional definition of ballet as an element national pride). The word “ballet” in our minds is associated with the theater - golden boxes, rows of velvet chairs, a sparkling chandelier, an orchestra pit, a heavy curtain, which, when opened, shows us a beautiful picture of the kingdom magical fairies, young princes and princesses, enchanted swans, good and evil heroes, sometimes cunning, sometimes sad, but always unforgettable.
Considering ballet in this article as a special cultural phenomenon, it is necessary to highlight a number of characteristic features that determine its specificity. The art of ballet is syncretic and universal: ballet (traditional, classical form) is impossible without music, inexpressive without decoration, poor without a literary source. The universalism of ballet is most clearly manifested in its general cultural presence, ease of penetration even into those cultures that did not know national analogues (naturally, when refracted in national mentality, worldview, traditions of artistic expression). Ballet is a synthetic art or “synthesis of arts”. After all, ballet combines three fundamentals - dance, music and drama - and several “additional” (or “auxiliary”) arts - visual, literary, etc. It is clear that cinema is in the same position. performing arts, partly - architecture, especially not practical, but religious (religious buildings), which also combines the main component itself - architecture with fine art, with sculpture, indirectly - with music (since it is difficult to imagine a Catholic or Orthodox church “silent”, without music or liturgies and even in moments of silence - this is its purpose that does not allow you to forget about yourself, since the temple is designed taking into account the requirements of acoustics, that is, the musical and sound function is built into it from the very beginning). However, ballet has its own essence in this series - the center of its action is drama, and dance and music are the languages in which the ballet “talks” to its audience.
A ballet performance has a communicative nature of action. It is represented by several sides: communication between dancers who directly express the plot and content of the ballet, its system artistic images; communication between individual means of expression (music, dancers, etc.); communication between artists (including musicians) and the audience. The first two types of communication allow the third type to emerge - which is the meaning of ballet as a performance, that is, public, communicative, conveying the meaning of the action.
The art of ballet - stage-public - is a creativity that interests not only the author of the ballet (choreographer, composer, librettist, artist, artists), but also
spectators. Art is part of the spiritual culture of all humanity, and ballet as an art is the result of the activity of all humanity. Ballet, as a rule, is not aimed at expressing abstract philosophical reasoning; it is intended to demonstrate the simplest and thus most complex images- images of sensory, emotional experiences. The art of ballet is extremely popular all over the world. Nationally unique for every nation, it does not require translation into other languages and is understandable to all people, regardless of their place of residence, culture, activity and language of speech.
Thus, we can say that the art of ballet is democratic in perception, removes national barriers (although the perception national ballet another culture and requires certain training or familiarity with that culture). Dance art in the ballet theater achieves its highest development. It is combined here with dramaturgy, revealing characters and relationships, with music in its highest symphonic forms, with fine art in modern achievements. The synthetic nature of ballet theater combines different arts into a single artistic whole.
An integral feature of ballet is its entertainment (after all, it is not intended primarily for meditative contemplation, like objects of fine art or architecture), which is realized through its scenic quality. The spectacular side of the dance is also its design, or its “ornamental pattern.” Hence the need for its visual design and costume is born. Ballet arises where a performance is built on the basis of dance, and choreography becomes a theater phenomenon. Dance develops over time and is capable of expressing states, actions, and actions. A dance that carries effective content acquires dramaturgy. Dance dramaturgy forms the effective core of ballet. The unity of the script and music determines ballet dramaturgy. The script (libretto) of a ballet usually gives a brief verbal summary of the ideas, plot, conflict, and characters of the future performance. Part of the choreography, along with classical dance, is a special ballet means of expression - pantomime.
Great value for ballet it has its plot, expressed through specific ballet dramaturgy. The dramaturgy of ballet has various external and internal characteristics and depends on the idea of the ballet, plot, conflict, genre, and style of the work. Even the initially given plotless basis of the ballet is always performed sequentially and has its own internal dynamics.
Another feature of the ballet is related to its literary basis, the textuality of the action. In our opinion, this feature gives the ballet a certain mythological component, a verbal and symbolic basis for the action. Scenario dramaturgy connects ballet with literature, since the ballet script is a verbally stated plot. Very often a ballet script is created based on literary work or source-epic, myth. The great J. J. Nover, choreographer, reformer, ballet theorist, in his book “Letters on Dance and Ballets” emphasized the importance of literature in ballet. Surviving in the modern repertoire works of the XIX century - the ballet "Corsair" by A. Adam, the ballet "Esmeralda" by C. Pugni, are associated with the outstanding works of romantic literature by D. Byron and V. Hugo. Famous masterpieces P. I. Tchaikovsky have a fairy-tale literary basis (“The Sleeping Beauty” by Charles Perrault, “The Nutcracker” by Hoffmann).
At the same time, ballet largely relies on the classical verbal heritage of culture, on the basic cultural layer of the sacred text (classics) - introduction to the big world classical literature. “The Bakhchisarai Fountain” by B. Asafiev (choreographer R. Zakharov), “Romeo and Juliet” by S. Prokofiev (choreographer L. Lavrovsky), “Laurencia”
A. Krein (choreographer V. Chebukiani), “Taras Bulba” by V. Solovyov-Sedoy (choreographer B. Fenster), “ Bronze Horseman» R. Gliere (choreographer R. Zakharov), “Mirandolina”
V. Vasilenko (choreographer V. Vayonen), “Seven Beauties” by K. Karavaev (choreographer P. Gusev), “Shurale” by F. Yarulin (choreographer L. Yakobson), “Spartacus” by A. Khachaturian (choreographer L. Yakobson) and many other performances where images of outstanding works of literature are revealed on stage.
Another feature of ballet can be defined as canonicity (strict adherence to the canon). The “language” of the ballet performance as a “test” is classical dance. Classical dance is an “exemplary” dance; there is no place in it for anything superfluous or unnecessary, because its system has been crystallized over centuries. All movements (pas) carry a certain content, each pa has only its own imagery, which can be strengthened or weakened, made forte or piano, but cannot be changed to the opposite. Some movements are comic in nature, others are lyrical.
Considering ballet as a cultural phenomenon, it seems necessary to touch upon the correlation of ballet with the categories of “mass - elite”. The idea that ballet can only be experienced by a specially trained audience is incorrect. Prepared - yes, of course, but prepared in what way? After all, a spectator prepared to perceive ballet is not necessarily a choreographer or musician; This is a person who is ready to be spoken to indirectly classical drama, but through visual images, pantomime, and body language. Both the musician and the dancer, if he is not ready to perceive ballet as a series of dance and musical images replacing each other, will need a libretto.
The ability to perceive ballet is a certain kind of test of a person’s emotional “maturity,” his ability to perceive and understand other people’s feelings, expressed not in the hackneyed words of soap opera characters, but in the image of movement. That is why works devoted to topical and private issues (ballets by D. Shostakovich, F. Krasny, etc.), which tried to express not the idea of human feelings, but the ideology of communist society, did not become ballet classics. Thus, the synthesizing nature of ballet art also lies in the intertwining of the mass-elite component of culture.
Finally, an important issue remains the dichotomy of “national - international” in ballet art, in other words, the problem of introducing “foreign cultural” components into ballet. Thus, the Russian ballet school still developed within the framework of the pan-European theatrical, dramatic, musical and choreographic traditions. However, modern Russian (and world) ballet demonstrates the introduction of a whole layer of national culture - national and folk music, costumes, dance traditions, etc. This does not indicate the degradation of ballet, its “splitting” into classical and national, but that ballet has become a national-universal phenomenon. It is no longer the addition of certain arts into one cultural tradition, but became global cultural phenomenon, which manifests itself even in those cultures that could not give birth to ballet on their own.
From the point of view of studying ballet as a cultural phenomenon, we can also identify a number of cultural approaches necessary to reveal the essence of ballet art.
The application of the structural-functional approach to the study of ballet art consists in presenting ballet as an institution of the artistic life of society, a complex structure of interaction between creators, distributors and consumers of art. The functional component is seen in the understanding of ballet as a multifunctional phenomenon that affects various spheres of social reality.
A systematic approach is used in the study of ballet as an integral system of synthesis of arts, where all parts are interdependent and do not represent closed subsystems.
stems, but are harmoniously woven into the overall whole, not by simple summation, but by an equally dependent addition. Ballet must be viewed either as special art, which, although “composed” of the methods of dance, music, and drama, is one and indivisible. Ballet in this case appears, on the one hand, as a dynamic unity of its parts (music, drama, choreography, scenography), and, on the other hand, as a subsystem of a certain metasystem - a single field of art, a subsystem of artistic life.
The semiotic approach allows us to consider ballet as a unique text, focusing attention on its semiotic component - choreographic language. Within the framework of this approach, ballet action appears as an act of communication - the transfer of meanings using a specific symbolic choreographic system.
The synergetic approach consists in understanding ballet art as a complexly organized unfolding process in which some subsystems (types, genres, themes) are strengthened, while others are extinguished. Ballet art appears to be an open system, alternating in its development areas of relative calm and increasing excitability (bifurcation points), as a change in states of chaos and order, entropy and its overcoming (which is clearly confirmed in the study of the historical and cultural dynamics of the development of Western European and Russian ballet). The relationship between the main components of ballet as an art form also seemed uneven in different eras: the relationship between dance and drama has not changed fundamentally over the entire existence of ballet, although the means of expression have changed very seriously, which is manifested, of course, in the external drama of the ballet action, the relationship between music and dance .
Thus, relying on the integrative methodology of understanding ballet as a cultural phenomenon, we can highlight the specifics of its cultural reading, which, in our opinion, is associated with the functioning of ballet as a sociocultural system for the creation, dissemination and perception of artistic and spiritual values, dependent on a complex of cultural and historical conditions and the circumstances in which this system exists.
Daria Olegovna Usanova
Chelyabinsk state academy culture and arts
VIRTUAL REALITY:
PROBLEMS OF THE PRESENT IN THE RETROSPECTIVE OF PHILOSOPHICAL AND CULTUROLOGICAL HERITAGE
Today, virtual reality issues are attracting increasing attention from researchers from various disciplines. The concept of virtual reality has become so popular and fashionable that it seems difficult to find a sphere of human activity where it could not be applied. It seems that a new virtual world has emerged next to the real world. This article examines the history of the formation and development of the concept of “virtual reality” and highlights the approaches of modern scientists in interpreting this term.
Key words: virtuality, virtual reality, virtual culture, postmodernism, simulacrum, hyperreality.
© Usanova D. O., 2011.
