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Коллектив Жемчужина прекрасен

Автор: dieseo от 29-11-2018, 18:29
Когда-то давно я был приглашён на Чемпионат по спортивным бальным танцам. В тот день родилась моя любовь к этому восхитительному искусству и безграничное уважение к танцорам, посвятившим себя этому трудному и одновременно прекрасному виду спорта.

А сегодня я хочу рассказать про один великолепный коллектив, Жемчужина - есть в этих танцорах что-то, чего нет в других… И дело даже не в том, что, выступая в категории Формейшн, коллектив занимает самые высокие места на пьедестале почёта, демонстрируя своё мастерство. А в том, что становясь чемпионами страны, танцоры вкладывают в каждый танец частичку своей души. Это видно! Спортсмены танцуют не только телом, но и душой, эмоциями, сердцем!

Коллектив Жемчужины родом из Филипин. В начале своей карьеры, каждый из ребят танцевал отдельно, в паре со своими партнёрами. Все завоёвывали награды, занимали призовые места. Каждый танцор стоял на пьедестале почёта – на верхней ступени! Но потом, волею судеб, таланты объединились и создали формайшн. Теперь выступают дружным коллективом, не переставая радовать и удивлять своим мастерством и безграничным талантом! Каждая постановка – шедевр! Пластика и синхронность – всегда на высоте. Изящество исполнения всех элементов композиции, спортивное мастерство танцоров Жемчужины просто завораживает… Невозможно отвести взгляд, когда наблюдаешь за любым танцем Жемчужины!

Жемчужина – это 5 человек, 5 судеб, 5 танцоров. Каждый из них – личность и неповторимый талант, каждый велик по-своему, каждый завоевал ни одну золотую медаль, принимая участие в различных соревнованиях, в том числе, мирового масштаба. И все вместе, они теперь дополняют друг друга, создавая в танце экспрессию, великолепие, свой уникальный неповторимый стиль! Не удивительно, что такие таланты многократно становились чемпионами! Они завоевали много наград на соревнованиях самого высокого уровня, на международных играх и самых престижных Чемпионатах.

В настоящее время танцоры Жемчужины не собираются останавливаться на достигнутом – они развиваются, трудятся над следующими композициями и стремятся к новым горизонтам. Я не устану восхищаться великолепием и талантом этих искусных спортсменов, потому что Жемчужина достойна самых высоких похвал!

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

Автор: dieseo от 2-09-2017, 13:29
The key influences of historical events in Russia on the themes of stage dance genre
Interesting repertoire with a variety of genres Leningrad collective of choreographic miniature was created by the biggest master of concert miniature Leonid Jacabson. Utilizing to wide selection of themes, including contemporary, balletmeister displayed them with various tools, always preferred natural plasticity and sharply grotesque strikes. The base for some images is the dance folklore (Troika, Lovers), in others it was classical dance and its academic version.
Jacabson often declared his denial of classics and was able to prove that as far as spectacle is concerned one can do without it by successful debut of A. Khachaturyan ballet Spartacus. But in choreographic miniatures, unexpectantly combining classical dance with various plasticity systems, Jaconson significantly increased his lexicon and allowed for bright features.
Passionate polemist in nature, Jaconson is extreme in everything – in his support and denial, the way he created was indescribable. From the performers, he demanded absolute submission. It is not accidental that the troupe included dancers of highest technical level but did not haver individuality.
Starting with 1976 the artistic director became AskoldAnatolievich Makarov. Collective keeps productions of Jacobson is attracting young balettmeisters who had the eagerness to continue and develop artistic principles of big masters.
In 1977 emerged ensemble of ballet under the direction of Boris Ayfman. In his productions, created for the stage and theater, choreographic fantasy is eternally tied with logics and contemporary thinking.
Ensemble immediately attracted audience, mostly the young, with the contemporary music and themes of program, triggering moral and social problems which were expressed in abstract and variety of dance language.
In the middle of the 60s all Russian stage workshop was graduated by Y. Romanenko and A. Gaydarova. They distinguished themselves not with mastery but a promising physical attributes- beautiful lines of figure of Romanenko and exceptional strength and athletic preparation of Gaidarova. Which allowed them to display very strong support.
The interaction of various genres possessed by the nature of stage art became notable in all varieties of dance but mostly dance-play miniature. Special development gained tradition of an eccentric number with elements of dance, pantomime and word. These numbers till the mid 60s were performed by the older generation such as M. Kharitonov and N. Tiberg. In their footsteps went V. Khvorostov and E Megirov possessed by significant comedy talent and contrast body image.
Freely possessed the art of word dancer FainaNikolaevna Ivanova, laureate of the international competition of folk dance emerged in 1959 in the trope of Theater of miniatures which was directed by dramaturg V. Polyakov. Balletmeister V. Varkovitskiy put together “Besprizornik” to the popular melodies of the 20s. Jacabson – a number inspired by the Picasso painting, the Lover of absinthe.
The search of various principles of composing dance-paly miniatures may be traced in the works Ninel Alexandrovna Raudsepp and Edward KharudinovichaSattarova, the actor of the wide range. They performed numbers of various content, lyrical and drama in nature. Their “Poema o Mujestve” dedicated to the memory of one of the heroines of Krasnodar, Luba Shevtsovoy, was produced by Emilia JacovlevnaVinogradova, balletmeister always created his numbers keeping the actors in mind.
Vinogradova planned her way of development of dance-play miniature leading to the hyperbolization of images and showmanship of phenomena with the help of eccentricity.
The bloom of jazz music wide interest gave life to dance in contemporary rhythms whose author was Vladimir AlexandrovichShubarin. Art work of Shubarin who became ill with jazz before his arrival at the professional stage. His works were developed in the same direction as the choreography of the 60s. he started searching for a strong mix of virtuous classical dance with contemporary plasticity which would produce an output of various and complicated images. Of course, adding the actor expressions and fantasy the name of Shubarin also gifted.
Shubarin persistently deepened the knowledge and understanding of jazz music- its rhythmical riches, the improvisation of character given limitless space for creativity. He even studied percussion instrument which helped him to rhythmically disassemble any musical piece written for jazz.
In some dance pieces which mainly is the composition of the solo concert programs of Shubarin he achieves the goals placed before him. However, the significance of his creative works is to some degree wider than the specific professional objective.
Specific stage quality of the works of Shubarin is that he is able to view his work and the image in progress from the third point of view, able to grade it while remaining to be a dancer dedicated to his art.
Huge success with the public usually disorients a dancer more or less. He thought that he could do everything by himself without utilizing directors. Besides, the stressful conditions of a concert life tired Shubarin, somewhat extinguishing his inner fire. Trying to overcome the emerged crisis, Shubarin started to seek new forms of program composition- for a while he performed with a dance troupe.
Significant departing point for the development of stage dance gave jazz music. Dances emerged in contemporary rhythm destroying many years of separation between every day and scenic dances. Jazz accompaniment of folk melodies influenced the folk dance in solo form. The best numbers of this direction is tactically to go with folk movements and rhythms as well as elements of popular dances. Highlighted by the costumes and genuine folklore motives.
Refusal of strict frames of a plot was undergone by the genre of duet dance who obtained a wholeness of choreographic expressionism. It was aided by the reform of costume which emerged with the new demands to refuse the realistic scene clothes as well as the availability of elastic materials which allowed to underline the beauty of human figure and choreographic pattern.
Literature list.
Russian soviet stage 1917-1929 (pages 240-279).
Russian soviet stage 1930-1945 (pages 305-356).
Russian soviet stage 1946-1977 (pages 392-452).
To be continued...
Author: Olga Grigorieva

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

Автор: dieseo от 17-08-2017, 13:54
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

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

Автор: dieseo от 4-08-2017, 14:06
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

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

Автор: dieseo от 21-07-2017, 12:06
The key influences of historical events in Russia on the themes of stage dance genre
In the thirties stage dance continued to develop in two directions. First included the stage dancers. Second direction was represented by dancers and balettmeisters who liked to experiment. They started to work on theme programs and establish new artistic objectives. At the same time, they continued the process of enrichment of the academic choreography with the discoveries resulting from the dance stage. At the beginning of 1937 existence of music halls with the best samples of soviet stage ceased. However, interesting experimental productions sometimes were displayed at a regular dance stage. This is how at the Leningrad stage emerged “Progulshiki” of VasiliyVayonena, and at a Moscow stage – “Podhalim” VictoraTsaplina. Tsaplin put on a stage number with the music of Yumoresky of P. Tchaikovsky. He dressed his action figure into somewhat predictable costume- a short business jacket without a styleand bright plat pants, the audience still recognized in him familiar features – festinating pace, nervous rubbing of the hands, bowed back and the flattering look which was looking from below up, at the high management… Due to actual theme from real life and the successful realization of idea on the stage, the number of Tsaplin for many years was one of the most popular. In the 50s, L. Yakobson put together a updated number with the same title. Also, much favorited became the number “The Football player” by A. Messerer which appropriately teased not very talented but eager player who is fighting with the non-existing opponent.
Bravely combining classical dance with the sport moves,Messerer created a realistic and plausible character of a football loving young man. The same gift of capturing typical characteristics were possessed by Emil IsaacovichMey. Since the twenties he nursed an idea of a stage dance theater. In fact, all of his numbers were dance monologues. In his first one- “The Dry Goods”- he created Natalie Glan, it covered realization of philistine nature of a character.
Per N. Sats who had been observing Mey at different stages of his professional development, his plastics always very illustrative. It was built according to the laws of logical narrative. This particular feature of Mey explains his gradual progression from performing and balletmeister works to directing synthetic performances. His plan of creating his own large dance program became unrealized.
Similar experience was realized by LudmilaSpokoyskoy in the 30s, talented dancer who persisted to create her theatrical image of a single actor.
The dancer always was attracted to the possibility of creating in a choreographic miniature of acute psychological characteristics. Already during the first years of working at the stage she participated in the pantomime “Life of Woman” directed by N. Petrov in Petrograd’s Free comedy. She picked out for herself the episode of winter because she was interested in the process of going through manifestation as a woman growing old.
At the stage of Svobodnogo theater she danced tango with Monomahov where Spokoyskaya played a female vampire. Tango was interpreted by the performers absolutely seriously and made huge impression on the public of the 20s early 30s.
Despite the huge success of performances together with Monomahov in the numbers of salon genre and typical dance numbers (Kachuche, Madyarskom), Spokoyskayafelt less and less interested to perform the usual repertoire. Parting with Monomahov, she started working alone, creating numbers of her own in the genre of a dance a propaganda genre.
Her artistic methods were very similar to the methods of drama actors. Just like them she created biographies of her characters including all of the details of their life.
Rhythmic pantomime- it is perhaps the most exact definition of genre created by Spokoyskaya. Its distinguished features are not measured by any dance scale. But its topicality, ability to represent political themes with propaganda attributes- characteristics which developed traditions of dance numbers by Blue Blues, theater of political satire of the 20s.
Work of Spokoyska was also close to the work by representatives German contemporary dance, ideally close to expressionism.
In the beginning of the 30s in the CCCP toured one of the most notable representatives of German contemporary dance- Valeska Gert- already not a young woman, bad figure and weakly trained dance legs. Gert knowingly highlighted antiesthetic of her plastics making it her principle.
Gert performed genre dance scenes with singing. Knowing how to recreate her most typical feature of her characters Gert discovered something in common- its weakness before the evil world. Recreating vices the dancer painted it full of mystical powers.
A lot was borrowed from Gert a distinguished stage dancers of those years- Vera Drutskaya. Before transitioning to the creation of thematic dance concerts she studied in many experimental studios, was in cinema, worked with balettmeisters of the older generation, had close relationships with arts youth which grouped around KamerniyTheater. Throughout her practice she became familiar all directions of stage dance of her time but lasted for the genre direction.
Every number of Drutskoy was pierced by an idea, at was noted by Erwin Piskator and foretold that with time she will surpass the western Europe dancers such as Gert, Vigman and Palukka. From Drutskoy as a performer and balletmeister was expected a lot but the dancer suddenly stopped in her artistic growth. Dances of Drutskoy, highly appraised by the Moscow critics were not well received by the wide audiences when she toured CCCP in 1935. While building her numbers on complicated associations and psych nuances of her images, Drutskaya ignored the necessaryrequirements of the stage art- ease of comprehensions of representational means, particular showiness forms which resulted in her concerts being popular only with a limited circle of audience.
Misfortunes of personal and professional nature badly influenced the fate of Vera Drutskoy and she passed away early.
At the same period GalinaLerhe started her own independent thematic concerts. But unlike Spokoyskaya and Drutskoy, she was not interested in the quest for social characteristic of her dance images but was into their psychological development.
Lerhe’s special gift was meant for the stage. She got to work in ballet theaters of Kharkov, Kiev and Moscow. Significant influence on her was done by N. Forreger who decided todeny academic ballet by the beginning of the thirties, however, continued to look for ways of updating it by adding the laments of stage and circus art. In his performances in Kharkov Lerke was the lead. In 1934,Lerkhe started to prepare her own evening of art. She been long engaged with a thought that while performing at the concert stage the dancers need to give up from the specific theater costumes and make up. She did not look real in them without the appropriate decorationbackground and lighting. Limiting her costume by a uniform, Lerkhe placed before herself a very complicated objective- to achieve showmanship of a dance by the means of movements and emotional richness.
The concert program consisted of two parts. The first included the suite of Spanish dancers. Lerhe designed an opened black dress with a wide skirt which allowed movements more freely. Put together with light material which tightly hugged the figure. Throughout the performance the accessories were added.
In the second part of the concert depicted a dancer in humorous miniatures represented the state of a contemporary girl, impressionable and simple, who finds herself in various situations of life.
At the end of the 30s it smelled more and more of an upcoming storm. In Soviet art the war theme began taking a significant place reflecting the events at the far East and Spain. Civil war was commemorated by a dance scene “Rasstovanie,” it was shown at the scene of Moscow Theater of Miniatures in 1939. This synthetic stage number with singing and harmonica performed by talented A. Sedlyarov and A Smolko. Idea of the number under the influence of a cinema picture N. Pogodina and S. Utkevich “A Man with a Gun” which debuted in 1938. The dance was called Utkevich and P. Kretov.
A the same 1939 at the stage emerged “Granometchiki.” Created for the students of Moscow choreographic teaching facility, the number was performed for a long time on stage including by his author Vladimir Buymeister. The number depicted two fighters of the Republican army shooting at the enemy. One is wounded. He other one placed the comrade on his shoulders and retreated, throwing grenades.
At the time when dance art became more and more dependent on the laws of drama world, the emergence of Granatometchiki had a principle and uplifting meaning. From that point on the tradition can be traced to the 50s when the new stage of development of the Soviet choreography started- the dance once again became hegemon in the ballet spectacle.
Majority of dancers of ballet theaters also performed on the stage. Unlike in 1920s the artists of the academic ballet went on the stage not to experiment in the well-polished principles of the realistic theater but to satisfy their need in a dance.
Even O. Lepeshenskaya, who was one of the few ballerinas toured nationally, had a repertoire which used to be called very “official” at the time. With A. Ermolaev she danced adagio from “TshetnoyPredostorojnosti” and the Bravado pa de de from the Don Kihoti. With V. Smoltsov- lyrical SeventhWaltz of Shopen.
To be continued...
Author: Olga Grigorieva

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

Автор: dieseo от 10-07-2017, 13:19
The key influences of historical events in Russia on the themes of stage dance genre
Soviet stage dance inherited the pre-revolution’s genres and many artists’ forces. The dancers continued to perform long after the revolution in theater miniatures as well as chanson cafes. It determined the themes and styles of their art. Those were divided into three categories.
First one included folk dances, primarily Russian and Ukrainian.
From the performers of salon dances grace was a requirement. At first, the genre included foreign artists who introduced to the Russian public to fashionable dances of the beginning of the century (Mitchishem and Kak Walk and Tango most popular).
Artists who performed these genres were distinguished by high professionalism.
Third category was composed dancers of plastics, representatives of freelance dance who, as a rule, did not study anywhere but were attractive women. They tried to dance represting the music meaning, tried to represent the emotions contained using natural poses and movements.
Such dancers did not possess the virtues of isidre Duncan., the creator of the genre, who was striving for high moral standards. Therefore, it was hard for stage dancers to find themselves again on the conditions of life after the revolution. Some emigrated. Those remaining home tried to adjust to the demands which were required for the soviet art.
Folk dancers were able to relate to the new revolutionary audience much quicker than the rest.
Perhaps, the most famous was Grigori Phillipovich Egorov (Orlik), he was the patriarch of the Moscow family of dancers and one of the first stage dancers who received the title of a distinguished artist of the republic.
In the twenties, he performed in Ukraine as a member of the trio Orbelbal. In 1925 city of Orlin organized an ensemble of a Ukrainian Dance Kuren. Ensemble performed only one dance or, to be exact, one dance number which was arranged the way it was done in pre-revolutionary chorus.
The dance was initiated by three couples which continued as a lyrics solo of the girls. Afterwards the guys in the temp of adagio followed the composition with big extended jumps (Golubtsov, Pa-de-Baskov).
Through the Orlic’s Kuren the pre-revolutionary traditions of ensemble numbers reached the Soviet stage.
Kuren from 1927 till 1930 performed abroad with much success. After the death of Gregory Orlik, in 1932, his son George Orlik organized similar in style ensemble Vihr which lasted for 4 years.
Famous Ryazan dance was closely associated with the renditions of the Russian dance folklore, it was performed by the stage dancers of the Mariynsky theater such as Evegenia Lopuhova and Aleksander Orlov in the duration of 30 years, staring in 1912 and ending in 1941.
Olrov was highly engaged with the idea to create a number on based on authentic folk material. He suggested to introduce the element of competition between the village beauty and city cavalier, bearing the schematics of “Lapot” duet and image of manufacturing dude.
Ryazan dance was highly popular in any audience. After the revolution Lopuhova and Orlov covered almost the whole country with the number. Staring with the Ryazan dance the tradition was born of a comedy number based on the material of dance folklore which can be traced in stage art till present day.
Another distinguished dancer of the twenties, Nikolai Aleksandrov, went through the school of the pre-revolutionary dance troupe of Borrya. In consisted of 4 dancers- Piruetistov which performed in Kosak costumes and spikes.
The creation of Aleksandrova one can trace an interesting tendency- a blending of Russian folk dance with a black tap dance which brought into Russia before the revolution.
Eventually, Russian stage emerged with a hybrid genre of tap dancers. Most organically it blended with salon dances. Basically, that’s how tap dancing appeared in Russia performed by the first American artists. Sometimes, that’s how the dance was called- American.
Famous quartet Folly which also included A. Arnold L. Armantova, N. Vinchenko, A. Trilling. Arnold came up with the idea to cover the stage with bits of roofing which added a rustling sound. Later the quartet fell apart. Arnold got involved in the circus directing. Vinnchenko and Trilling for some time with much success performed paired tap dance number (Black and White) and then continued to work as musicians in jazz of Utesova. During that time stage showed salon dances.
As usual the Tango of death remained a hit, it appeared after the world war one. Best performers of salon dance were Komnev and Iving. These tango dancers, as they were advertised as the followers of rules, the performance was reviewed emotional.
Also, Willi Foska, Miss Guet and Maksly were popular. Their names, in foreign style, characterized the mood of performance.
With that tradition were tied the most famous and popular dancers of new economic politics stage – Lidia Iver, Arkadiy Nelson. The duet of Iver and Nelson were interesting due to outward contrast of a little woman and a big man- always successful from the audience point of view. Iver was able to play female weakness and little distance from reality.
An inheritance from the past times the Soviet stage received a genre of plastic dances. First performance of Duncan in Moscow occurred at the stage of Bloshoi theater in the days of the fourth celebration of anniversary of October. She was honored to receive an ability to dance at the event dedicated to October. Success of Duncan in Moscow in 1921 highly raised the authority of a dance in general and retrospectively touched all plastic dance studios.
Especially distinguished was Kasyan Goleyzevskiy. His work usually occurred on the stage despite finishing St. Petersburg theater institute and was allowed on the stage of Bolshoi as a solo.
Terribly gifted by nature and passionately loving life Gozelevskyi was greedy for art work. Even before the revolution he happily responded to the offer N. Baliev to be a co-director and composer of dance numbers in the cabaret “Bat”. His first significant work occurred in 1918 with the music of A. Skryabin. He dressed his performers into long white almost monastic tunics, he created a number close to the theme of drama by Materlika Sisters Beatrice. At the same time he borrowed from the directing tools of Meyerhold which he directed for 1907 stage production in Kommissarjevskiy Theater.
Undoubtful in the first years of his work Gleyzevskiy was under the influence of impressionists and developed characteristic for them themes. When he became the head of studio in 1918 of the studio dedicated to the talent search in ballet art, the print published a notice that a close work relations will be initiated by Andrei Beliy, one of the theorists of the Russian impressionists.
Engaged with the works of Skryabin, sharply feeling expressionism of his music Gozelevskiy with pleasure and unending fantasy gives life to his works in wonderful dance compositions, using naked bodies of the dancers as sculpture material.
In polemic wave, he even insisted on full nakedness of figures defending it that beautiful forms can not cause a disgust, on the contrary, the image should increase the morale of the current masses.
In Strauss’s Salome Zenaida Tarahovskaya who possessed the most beautiful figure was presented naked to the waist line before the audience during the of the seven veils. The early period of Gozelevsky was highly intensive and eclectic. If one follows his classification of the stage dance it is possible to state that he worked in his light intermittent and highest style.
Next to his name is usually the one of Leo Lukin. Talented, knowing music very well, he just like Gozilevskiy interpreted mainly Skryabin and more than Gloeyzevsky used eroticism in his work. Thus, the atmosphere of scandal always surrounded Lukin. Yet still his best work examples emotional state of an individual was represented by him in new plastic forms which were quite eccentric.
In 1921 a young theater artist Vladimir Dmitriev and the graduate of the Petrograd school George Balanchivadze organized art cooperation- young ballet which united the youth bloom of the ballet from St. Petersburg. It included Lidia Ivanova, Olga Mungalova, F. Lopuhova and her partner Peter Gusev as well as future balletmeister Vasiliy Vaynonen and Leonid Lavrovskiy and etc.
The work of the Young ballet had an unconditional influence on the formation of new concert and stage repertoire. The search for the new style of a classical dance and its advancement to contemporary times manifested in introduction of masculine and energetic intonations. Especially notable with bright colors in duets of Mangulova and Guseva which upset all cannons of a classical duet.
In those years at the Petrograd stage another pair gained popularity. They were from an older generation from the Maryinsky Theater- Elena Lukom and Boris Shavrov. Renewing the language of a classical dance they made it simpler in form, made it more easy to comprehend, more enriched in contents.
In the compositions produced by the Young ballet of Vaynonena immediately appeared the longing to grotesque ideas and valuable ability to put together numbers on the go.
Gifted with a rare ability of choreographic thinking, Vaynonen composed a lot of lightweight and in various genres, always finding the plastic seed in dance. Earlier works of Vaynonen predisposed to merge of academic choreography with contemporary speeding the emergence in the Leningrad ballet performances with Soviet theme.
In 1924 at the scene of the Petrograd theater “Krivoe Zerkalo” emerged new dance genre. Its creators Marie Ponne and Alexander Kaverzine can described in the words Sergei Obraztsov: stage is an art where the talent of performer is crystallized and his name becomes the name of unique genre. In this case- plastic-acrobatic duet.
Majority of strong masters of stage dance worked in satiric vein. Unique artistic work of Ponne and Kaverzina was said to fit perfectly the esthetic ideal of the time.
It is not coincidental that their work is associate with the sculpture. , their numbers represent the chain of completed harmonically and highly complicated acrobatic poses. Yet still they were very much a dance number. Compositions of Kaverzina were distinguished with the unique inner rhythm, melodic and soft bridges from one movement to the other. In agreement with the musical contents of the piece.
First significant work of Ponne and Kaverzina- suite of dances to the music Skryabina. Artists turned to the composer’s productions which were full of heroic themes and was associated with the revolutionary histrionics.
In comparison with general tendencies of development of soviet art as realistic art of Kaverzin it becomes clearer the necessity of search of new plot base for the future dance numbers. Just the other choreographers he turned to the images of classic literature.
In the search of new Ponne and Kaverzin had to give up their main advantage- virtuous possession of a body. Actors mastery as it had become one of the main points in choreographic art of the subsequent times they possessed in much lesser degree.
All subsequent works of Ponne and Kaverzin developed in the vein of plot miniatures and had taken a leading place amongst stage dance genres and advanced many bright talents.
As the result of the experiments by K. Goleyzovskogo, L. Lukina and G. Balanchivadze the lexicon of the classical dance increased. Practice of N. Forgtera, N. Glan, V. Vaynonena gave birth to contemporary characters in their art works. The art of M. Pnna and A. Kaverzina had taken the acrobatic dance into the line of poetic metaphors.
Dance stage of the 20s varied a lot. It shined with bright talents, original numbers, outdated and newly appearing genres.
To be continued...
Author: Olga Grigorieva