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

17-08-2017, 13:54, опубликовал: dieseo в раздел Новости

   
The key influences of historical events in Russia on the themes of stage dance genre.
After 12 years of existence ensemble created several programs. Its face was defined by three dance suites- “Unost” with the music od D. Pritskera and of I. Dunaevskogo, “Pesnya Molodosti” accompanied by the music of G. Sviridova, “Puti-dorogi” composed by Obrant and of Shostakovich.
Arts experience of Obrant became interesting to young balettmeisters of academic theaters. It was not the first time when born in an argument with forms of academic ballet, the stage art nurtured and elevated the classical dance once more to the higher level.
Mass forms of a dance became undoubtfully the most significant phenomena of post war stage. Solo numbers of the stage were in a much worse state of things. Consequences of war were notable in the fates of individual dancers and on the development of the stage dance as a whole. The death at the front of A. Smolko, V. Humburg, V. Plisetskogo resulted in dissemblance of wonderful cooperation of A. Sedlyarova and A. Smolko, T. amd V. Gumburg, The Trio of Kastellio and the Duet of A. Mozgovoy and E. Tarahovskogo. Other carafe of the stage dance was approaching to critical age. Not too many of new actors emerged from the ensembles in those years. Only very few individuals were able to artistically approach to their new work and were able to prove that stage is their calling. One of them is Irina Borisovna Smirnova who possessed fruitful comedy gift.
Smirnova had, as the dancers used to say, had a natural spin. Many popular attributes of the craft she invented and performed for the first time.
Performance of Tirolskiy dance won for Smirnova the title of a laureate of the second all-union competition of stage artists. She tied her fate with the stage performing synthetic dance vocal numbers.
The school of mastery was attended during the war by the brothers Boris Alexandrovich and Yuriy Alexandrovich Gusakovs- wonderful duet of tap dancers. In their home of Ivanovo, they performed with success, striving to be similar in the technique and the manner of American dancers which they had seen in cinema pictures.
The most significant of their numbers were American marionets, as far as dance- acrobatic scene, opened by the satire text by N. Erdman and the “Morskoy Dance” in the balletmeister and dancers had an objective to romanticize the image of the soviet seafaring officer.
While working on the plot numbers, balettmeisters had to utilize the directing ingenuity great deal. Striving to go beyond the limits of the concrete plots, which in turn limited the use of dance, they would invent trick elements. Such specific stage tricks beautified the numbers put together by P. Virskiy for a dancer O. Vsevlodskaya.
In lyrics scene “Vospominanie”: occurred the transformation of old people into the youthful age, the way they were thirty years ago. In a happy “Dance with Fire” emerged a fireman who conquered the audience with his credibility. In finale, after a passionate kiss the opened scarlet heart of a fireman starts to throw sparks, flaming brightly. “Dance with Fire” became a name for a whole stage program for the Hermitage garden – “To the Flame”.
The plot, lawful in the dance-play miniature became consequential for the duet- acrobatic numbers where the expression of plastic submitted to the reproduction of a very concrete context which was not lucrative the option of the genre.
M. Ponna and A. Kaverzin at the time were creating their own numbers using the plot of literature classics- “The Fight of David with Son”, “Fight of Mtsiri with a Snow Leopard”. V. Sergeev and A. Taskin created a comedy number according to Gogol plot- “the Devil and Vakula.” A. Redel and M. Khrustalev did not use literature analogs, instead turning to the various themes- satire- in the numbers-sketch of waltz Boston and lyric-tragic number in “Memories”.
Amongst the balletmeisters perhaps only Goleyzovkiy continued to oppose this tendency, finding the themes which allowed to display the beauty of the human body. He turned to the eastern plots while engagingly working with Alla Kim. While creating the numbers for her balletmeister was able to capture her national character and features of her physical and spiritual composition- fragile grace and musical plasticity.
Development of stage dance in the middle of the 50s was troubled by many issues. The leading was undoubtfully folk dance, certifiable artistic accomplishments and popularity of ensembles. However, the dominance of numbers based on the folk material and the influence on the types of dance lead to routine content of repertoire.
There weren’t too many comedy numbers created in those years. Summarizing the impressions of one of the competition of stage artists, I. Yaunzem was worried about the genre uncertainty of repertoire of the young performers and that a joke and humor were absolutely forgotten by the stage of the time. Duet-acrobatic dance have mastered the means of expression by the play miniature won in its context but suffered certain losses as well.
But the biggest misfortune of stage choreography was the absence of young resources. Dance stage rarely was joined by the dancers from the academic theaters and the folk-dance ensembles. At that period, with the exception of Obrant, the stage had not one new balletmeister name which is typical for the soviet choreography of the 50s.
In the 60s the situation started to change. In 1961, in Kiev, is created a studio of the stage and circus art which had a choreographic department. In Moscow is organized the all-union art workshop of stage art where the faculty consisted of many leading individuals of the stage, among them Redel and Khrustalev.
In the beginning years of the workshop and the studio it became clear that it is necessary to unify two processes, professional education and creation of numbers. Later the Leningrad choreographic school dedicated to the name of Vaganova attempted to materialize the objective.
Preparation of the forces of balettmeisters had been started by the department of GITIS and Leningrad conservatory. With its founding, it was led by significant choreographers whose various activities involved stage dance.
The goal to activate the arts initiative by the active choreographers and to all tract new workforce the Ministry of culture of CCCP decided to systematically hold all-union competitions of choreographic numbers beginning with the 1966.
Huge role was done by the competition of the folk dance which occurred at the 6th world festival of the youth and students, held in Moscow in the summer of 1957.
There was for the first time were seen the Scotland dance and noted how the classical dance system development. For the first time seen the genuine black and Arabian dances, ancient dances of Japan. Some impressions became a genuine revelation.
The most written about stage soviet stage dancer is Mahmud Asambaev.
In reality, he is the ideal example of a stage dancers, brightly highlighting the individual human character by the features of his talent. Possessed great initiative. He lightly withstands life on tours, not paying much attention to the absence of comfort- just to the ability to appear before the audience every evening, just to be able to dance.
Speaking of Esambaev, it is necessary to utilize the highest degree measuring scale- such is the exceptionalism of his stats. Perhaps that’s why a dancer is more able to display fantasy images and not typical folk characters.
His art reflected most typical features of stage dance of the post war time when national scenic genre was dominating. It did harmonize with the later period when once again the beauty of plastic line and the principles of dance expressionism became in demand. It influenced many young dancers, for instance M. Abdulaev, S. Novbary, Renat and Rafail Ibatullinih who varied according to their character.
For the new development of folk scenic dance, it is typical not to cite the folklore material but the its synthesis with various dance systems.
Such method is used by balletmeister V. Manohin.
If to line up the stage numbers created by him since 1967 one would see the line of comedy, tragic and lyric, usually duet dances. While creating numbers based on folk material Manohin highlights the theme and features of national images with a plastic pattern or sometimes with a directing tool.
Manohin often puts together numbers based on the folk melodies without a direct illustration of the text but in the appropriate to him mood. Example is Hungarian dance and “Belorussian Kosovitsa”.
In the 60s on the stage is quickly created and gains popularity dance ensembles repertoire of which differs in its magnitude and variety of art aspirations.
Programs of the Moscow music hall the lead was preserved by the female dance ensemble organized and directed by Nikolai Sergeevich Holfin. Selecting the dancers via competition he looked for the dancers who and perfect figures, charm, artistism and who were able to create a holiday at the scene. Holfin was able to gather such a collective.
This unique collective which possessed pantomime classical dance talent and ability to solve agitation themes.
Comparing programs of the soviet music hall one can conclude that the dance performed various functions- tying elements of spectacle in unique intermissions; numbers of the independent significance, be it mass or solo. In pre-war years of the music hall showed many significant stage figures and their numbers easily became hits.
At the end of the 60s emerged several camera dance ensembles who declared the search for new forms of concert miniature.
The noble task of propaganda of the later years was done by Moscow classical ballet. It programs included many numbers created in the genre of classic-acrobatic duet. In 1977 the directors became Natalia Kasatkina and Vladimir Vasileev who put before the collective new art objectives. Production of Gayane emerged to be the first and successful experiment of creating a ballet spectacle in concert setting for the stage of various size.
To be continued...
Author: Olga Grigorieva
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