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The key influences of historical events in Russia on the themes of stage dance genre

4-08-2017, 14:06, опубликовал: dieseo в раздел Новости

   
The key influences of historical events in Russia on the themes of stage dance genre
Her feeling of contemporary times ballerina was able to project on the stage even while performing classical repertoire. Lepeshenskaya interpretation was unconstrained. She changed not just stylistics of a dance, she also simplified plastics of hands and manner.
The inherently blinding technique of Lepeshinskaya allowed to complicate the dance lexicon of traditional productions and to speed up temper of performance which bore new quality of the bravado optimistic dance corresponding to the spirit of times.
In pre-war years of creative evening of academic dancing were so frequent that competition emerged in mastery of a performance and in the originality of prepared programs. They were put together by the dancers themselves and by the theater balettmeisters who were trying their strength in forms of concert miniature. Even at that time L. Yakobson and V. Varkovitskiy were creating their first numbers. Actively worked for the stage K. Gozilevskiy, V. Vaynonen and R. Zaharov. Kachucha with the music of I. Dunaevskogo in the production of V. Chabukiani who included it in all of his creative evenings became the most popular stage number not just for Chabukiani and E. Chikvaidze but in the interpretation of many other appropriate dancers.
Huge role of creating and development of soviet choreography played All-union festival of folk dance, occurred in Moscow in 1936.
With the first years of revolution through the cities of the CCCP toured small amateur ensembles of musicians, dancers and singers composed of Georgians, Armenians, Uzbeks and other nationals.
In 1924 at one of the evening of the communist university of the workers of the east with huge success emerged the Uzbek dancer Tamara Khanum. The audience was awed by originality of her talent and variety of the Uzbek dance folklore performed by her.
In 1935 many Soviet dancers were sent to the international festival in London.
Therefore, at the time of All-union festival of folk dance the Caucasian and mid-Asian national folklore, not to mention Russian Ukrainian and Byelorussian ones were not a discovery for the specialists and wide public. Nevertheless, the festival which composed collectives and solo dancers of all nationalities of CCCP made a colossal impression.
It is very natural that everyone was worried of the need of preserving the riches of the multinational art. Idea of creation a group which would be able to artfully incarnate variety of dances of people of the CCCP was introduced by I. Moiseev.
Everyyear Moiseev dedicated his time and strength to folk art. Eventually he became very proficient folklorist, known very well in the republics. And when the theater of the folk arts was organized, Moiseev became the head of its choreographic department.
Ensemble gave his first concert on the 20th of February of 1937 in the Colonnade hall of the House of Unions. That was a founding date for the organization.
When mentioning the program of the collective Moiseev noted the three directions of art development- enrichment of the existing dances, creation of the new and composing numbers with particular themes, basically, genre stage dance.
In Polyanka of Moiseevcontemporary era came to the stage. Nevertheless, the critics did not understand that fact. Balletmeister was told even though Polyanka was composed quite up tune but it looked falsely.
Denying the attempts of Moiseev to express contemporary in traditional form of Russian dance, critics, willing and unwilling, directed it along the lines of retrospecthistorical line. They saw his task in reinforcement of the scenes of the dance folklore which was becoming less alive at the time. Moiseev had a much wider vision. He strived not just to preserve wonderful form of folk art of the past but also to discover its social nature by creating genre scenes of the pre-revolution living as well as reflecting present time. That’s how the cycle was born – “Contemporary pictures”.
Moiseev closely looked for the principles of program construction. Practice advised him that the program must contain variety of dances- dynamical, playful, lyric, mass and solo. Besides, second act of the concert must differ from the first in composition. For example, if the first act is composed of short numbers, the second should include numbers of more opened dance forms.
In its essence, Moiseev mastered the laws of building a stage concert. Despite its name, the ensemble was formed as collective of stage dance. He fixated in scenic and specifically in stage form the samples of folklore but also summarized the bottom line everything that had been done in the past twenty years at the dance stage in area of folk and genre dance.
Moiseev became one of the best stage balettmeisters. His input into Soviet culture was truly huge.
The success of the Ensemble of folk dances lead the similar collectives started to emerge not just in republics but under the direction of Unions.
Programs of such ensembles built according to the laws of multi-genre stage concert reflected specific thematic of arts involving singing and dancing.
In the end of the 30s came to the end the times of action dance from the new political economics stage as well as chick salon and ominous apache dances. Potential of the plastics genre was at the end as well, it traced its tradition from Duncan.
The tap dance was reinvented as a rhythmical composed on the basis of contemporary plastics and performed to the jazz rhythms.
The acrobatic dance was very sensitive to the tendencies of times as far as plot was concerned. Involved were the various plot directions- heroics, lyric and grotesque.
The dance in all it scene varieties took strong hold in stage repertoire. Besides ensembles of folk dance emerged the talented performers from the national republics that signified refinement of culture of less progressive nations.
The dance became operational, actual as well as storytelling leads of the genre. It became an encyclopedia of the contemporary times.
In 1945 great performers of Georgian dance, N. Ramishvilli and S. Suhishvilli organized ensemble in Georgia. In 1948, N. Bolotov created in Moldavia ensemble “Jok”. The same year N. Nadejdinacreated a wonderful idea to glorify the Russian woman in a dance. Thus, the female choreographic ensemble “Berezka” was born.
In the first post war years the differences in directions of ensembles emerged. The inspiration always was variety of folklore gathered by the centuries, yet he also used the material of contemporary life- its themes, the everyday living and the dance plastics. Ensembles which were created in the republics placed a goal for themselves to fully copy and interpret local dance folklore. Nadejdina chose a different method and a different objective- she was attracted to poetic dance images which generalized features of the Russian character, creations of folk fantasy and featuring Russian nature.
In 1948 Nadejdina put together for certain Hermitage production girls chorus dance, very poetically named “Berezka”. People always compared a girl to slim and light tree. Success of the dance predisposed the emergence of the dance ensemble with similar name and its main number for the past quarter of the century is always that number.
“Berezka” became a stronghold quickly thanks to its female performs (at first). Nadejdinawas able to find talented dancers of similar beauty, Russian type. Among the distinguishedin their noble grace were N. Ryabova, N. Dvoynikova and M. Koltsov.
Girls lyrical dances would remain in the repertoire of ensemble even though in 1965 it would involve male performers which would help balletmeister to vary the ideas. Some dances would be accompanied by the chorus singing.
“Berezka” quickly conquered wide recognition in the home country and abroad- it became a laureate of the second world festival of democratic youth.
At the international scene came other soviet collectives. A winning march of the soviet dance art started state ensemble of folk dance of the CCCP under the direction of I. Moiseev.
Special sympathy of the audience of Eastern Europe caused by the fact the ensemble created a special program- Dances of the Slavic nations which included Russian Ukrainian Serbian, Macedonian polish Czech and Slovakian.
In the end of 40s thematic and genre search of Moiseev caused the reinforcement of his productions. Emerged dance suits, theatrical performances- with their own dramaturgy, own plot. Tendencies were noted for the change of the folk-danceensemble into a theater.
Tendencies of theaterlization were also noted in the 40s of the Leningrad youth ensemble under the direction of ArkadiaEfrimovichObrante who worked in different direction and with a different material.
To be continued...
Author: Olga Grigorieva
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