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1
Price, Brena R., and Terry F. Pettijohn. "THE EFFECT OF BALLET DANCE AT IRE ON BODY AND SELF-PERCEPTIONS OF FEMALE DANCERS." Social Behavior and Personality: an international journal 34, no. 8 (January 1, 2006): 991–98. http://dx.doi.org/10.2224/sbp.2006.34.8.991.
Повний текст джерелаАнотація:
Body and self-perceptions of female ballet dancers (N = 38) were assessed in a repeated measures design experiment investigating the effects of dance attire. Participants were randomly assigned to complete a ballet class dressed in a black leotard with pink tights or dressed in their choice of loose-fitting clothing referred to by dancers as “junk.” The next day, participants completed a ballet class in the other clothing condition. After completing the ballet class each day, dancers completed surveys regarding self-perceived body image and performance level. Results revealed that participants reported significantly lower self- and body-perception ratings in the leotard with tights attire condition compared to the loose-fitting clothing condition. These results have implications for the effects of required dance attire on female dancer perceptions.
2
Gutsche-Miller, Sarah. "Parisian Music-Hall Ballet through the Eyes of its Critics." Dance Research 36, no. 1 (May 2018): 67–90. http://dx.doi.org/10.3366/drs.2018.0221.
Повний текст джерелаАнотація:
In the 1890s, Paris's three pre-eminent music halls – the Folies-Bergère, the Olympia, and the Casino de Paris – staged ballets on a nightly basis alongside circus acts and song-and-dance routines. As music-hall ballet librettos and scores show, these productions were closely related to ballets staged by the Paris Opéra, with similar large-scale structures, scene and dance types, and dramatic, choreographic, and musical conventions. What music-hall ballets looked like, however, is less clear: they have left few visual traces, and virtually no prose descriptions of choreography or staging. The one plentiful source of information is press reviews, but relying on reviews poses many problems for the historian. Critics’ various culturally situated viewpoints and interpretations may be used to create a composite picture of what might have been happening on stage, but they can also leave us with a hazy understanding of the genre. This paper examines the multiple and sometimes contradictory critical responses to 1890s music-hall ballets both to highlight what effect such contradictions might have on our perception of music-hall ballet (in particular as art or salacious spectacle) and to call attention to the problems inherent in using the press as a documentary source.
3
HORSKA, Veronika, and Taras SHIT. "MASCULINE BALLET AS AN EXAMPLE OF A MODERN BALLET ART." Bulletin of the Lviv University. Series of Arts Studies 103 (2021): 39–50. http://dx.doi.org/10.30970/vas.22.2021.12179.
Повний текст джерелаАнотація:
Masculine ballet as an example of a modern ballet art In the given article the queStion of masculine ballet art craft through the gender modification in brief text presentation is settled, and therefore analysis of the search of masculine character depiction of art direction is done. The analysis of ballet art works are done where the masculine part is inseparable part of big role of cognominal character. There were provided the inveStigation of the men of art – the actors – and their undefeated way to creating new ballet characters of woman’s prototype. Also the prominent Ukrainian ballet Stage figures are inveStigated who were contributing to the diapason of Ukrainian theater by their masculine part. The formulation of the article objectives: to inveStigate the regularities and Striving of the masculine hero on the European and Ukrainian Stages, to reach the aim of the enrichment by his uniqueness and generativity up to conStant criteria of self-knowledge and self-perfection through the perception of the audience analytics. To present the examples of Ukrainian ballet artiSts, their figurativе aspect and changes laid by them into the hiStorical qualifications of conStruction of the lines of the rising masculine notable personalities. Summaries. Ukrainian and European ballet space combines the gender intereSts of Structure of the interpretation and subStitution in characters of expression of that or another role. For years the Ukrainian dancers have been enriching the Ukrainian Stage, the ones whose unbelievable perception and transmission of artiStic bright energy color were fulfilling and indulging the theater Stage. Also in the rhythm of perception of modern performances there is a quite certain aspect for underStanding that gender safety “belts” concerning “the non-fitting” of the Feminine vs Masculine (and inStead) have no more importance of attention drawing from the side of theater critics. The norms of the confusion of certain paraphernalia in the coStumes, role staging and diversification in representing the individuality as a main hero in certain performance give the audience the opportunity to investigate the feminine and masculine characters in the Pleyada of modern performances and the way for avant-garde decisions.
4
Petrushanskaya, E. M. "The Epoch’ Tendencies in Marius Petipa’ Last Ballet The Magic Mirror." Art & Culture Studies, no. 1 (2021): 142–79. http://dx.doi.org/10.51678/2226-0072-2021-1-142-179.
Повний текст джерелаАнотація:
Based on well-known and research materials about the creation, preparation, premiere and perception of The Magic Mirror ballet (choreography by M. Petipa, music by A. Koreshchenko, 1903), a culturalogical perspective of this phenomenon is proposed. This perspective is also applied to many components of the synthetic whole — music, scenography. As well as for the analysis of significant trends in changes in ballet toposes and their interpretations, ballet pantomime and its (as, in general, the classical ballet’ poetics) hypothetical impact onto silent movies.
5
Rabasco Aguilar, José Gabriel. "Un fandango de plata: de las relaciones artísticas y nuevas aportaciones en torno a La Argentina y el ballet El fandango del candil." ACCADERE. Revista de Historia del Arte 6 (2023): 43–62. http://dx.doi.org/10.25145/j.histarte.2023.06.03.
Повний текст джерелаАнотація:
"The objective of this paper is to present a vision of the masterpieces of several artists who were involved in the existence of Les Ballets Espagnols de La Argentina and changed the perception of the Spanish dance scene through the analysis of one of their ballets called El fandango del Candil. Thus, the aim of this paper is to clarify the original compositional structure, maintenance and transformations that occurred this ballet by studying and analyzing the original sheet music provided by La Residencia de Estudiantes de Madrid. Furthermore, it seeks to highlight the creative components that, together with the dancer, created one of the first ballets with a plot that under the plastic, musical and dramatic arts under choreographic guidance in an ultimate art performance."
6
Goltsman, Maria. "Об общих графических закономерностях восприятия живописи и балета: мнемоническая форма танца [On some graphic regularities of perception in painting and dance: Mnemonic form of dance]". Sign Systems Studies 31, № 2 (31 грудня 2003): 393–419. http://dx.doi.org/10.12697/sss.2003.31.2.05.
Повний текст джерелаАнотація:
On some graphic regularities of perception in painting and dance: Mnemonic form of dance. The present article handles some problems of the mechanisms of visual perception in painting and classical ballet. It proceeds from the assumption that the interaction between those arts is based on the similarity of their formal languages. The main attention focuses on the questions of how and why does the classical ballet use the code of painting? The interaction between pictorial art and ballet occurs through the theatre, which is considered to be a picture coming alive in European tradition. This principle is taken here as a main method of analysis of ballet art and it is used in two ways. The first handles a problem of composition of a ballet as a theatrical performance. The second analyses the movement itself — the language of the choreography as such. The last part of the article contains the answer to the question — why does the ballet need such aspects of pictorial code as frontal composition of a picture coming alive, memory photo, multiplication of the similar images and repeating movements. Dance is dynamic, picture is stable. To represent a movement, the painting uses the rhythm and visual repeating of lines and contours. It helps to construct an illusion of motion and brings the temporal aspect into a static piece of art. Whereas different stops, poses and fixations in ballet help it to visualize the movement, to capture the space. This is one of the ways for ballet to leave its trace in space as much as in the memory of the spectators, to become fixed in space, to prevent the dispersion of dance in the thin air and to surmount in such a way the ephemera characteristic of it.
7
Popović-Bodroža, Ana. "Picasso and the theater: From Harlequin to Pegasus: The modernist fine art and theater turn." Zbornik radova Filozofskog fakulteta u Pristini 53, no. 4 (2023): 317–33. http://dx.doi.org/10.5937/zrffp53-42003.
Повний текст джерелаАнотація:
Following the method of interdisciplinary studies, this paper analyzes Pablo Picasso's relation to theater through his paintings, theater work, and the influence of theater not only on the themes of his paintings but also on the affirmation of the Avant-garde, the Cubist experiments and practices, the breakthrough of Cubist ideas across the medium of theater. The entire Picasso's art is presented in the light of several major artistic Avantgardes of which he was the founder and ideologist (the "father" of Cubism, inventor of Collage, the first Ready-mades and Constructivist sculptures, initiator of so-called Primitive Art, early Surrealism, etc.). However, it seems that the most significant field of his work, the "Cubist Revolution", has entered a new dimension through the presentation-performance-on the theater stage and in high culture circles. The influence of the stage and the early "Total Design" concept on his art and the perception of space/ object within Cubism and beyond are exceptional, as is the performative act and the presentation of his ideas through the language of the stage. In this case, one medium, by its nature the more communicative one (theater), takes the role of presenting the other, more hermetic one (fine art). That influenced, in multiple ways, the affirmation and acceptance of Pablo Picasso's art. Starting with the early fascination with characters such as Harlequin, Pierrot, circus horse riders, dancers, and jugglers, present in his paintings ("Blue Phase" 1901-1904, "Pink Phase" 1905-1907, and beyond), this paper focuses on his collaboration with Serge Diaghilev and the "Russian Ballet" ("Ballets Russes", 1917-1924), the elite troupe of Russian dancers who settled in Paris as the epicenter of modern art and started their productions there. Picasso was chosen to design the stage, the Cubist costumes, and the monumental theater curtains. Among other ballets, an outstanding piece, "Parade" by Erik Satie (1917), is seen today as a borderline performance, a turning point in ballet art, the start of its revolutionizing process towards contemporary ballet. By creating costumes resembling totems and the stage design based on Cubist division and perception of space, made from geometric shapes and particles ("facettes"), Picasso has taken the theater back to its primordial origins, its shamanic character. The paper elaborates on the relation of the ballet "Parade" with the ideas and theater theories of the theatrologist and sociologist Richard Schechner. Additionally, it addresses the question of a slow, postponed social reception and the (un)acceptance of Picasso's work and his comrades, a theme elaborated by the philosopher Jean-Francois Lyotard in the field of aesthetics and post-aesthetics.
8
Carvalho, E., A. Faria, M. H. Loureiro, and J. P. Figueiredo. "Food Restriction And Self-Image Perception In Ballet Dancers." Clinical Nutrition ESPEN 54 (April 2023): 511. http://dx.doi.org/10.1016/j.clnesp.2022.09.159.
Повний текст джерела
9
Keller, Nicole. "Learning to Dance." Harvard Educational Review 83, no. 1 (March 26, 2013): 96–97. http://dx.doi.org/10.17763/haer.83.1.n2570781548626w6.
Повний текст джерелаАнотація:
When I was three years old, I was enrolled in my first ballet class. I loved the tights and tutus and pink, though a future in the ballet I did not have. I learned to plié and pas de bourrée, but, due to the dramatic nature of my untimely departure from the art form at the ripe age of nine, I developed a perception of myself as ungraceful. Not one for wallowing, I soon thereafter discovered my next and lasting passion: writing.
10
Orel, D. "FEATURES OF THE CIRCUS GENRE OF AERIAL GYMNASTICS (FORMS OF SYNTHESIS ON THE EXAMPLE OF A DUET CORDE DE PÉRIL)." Innovative Solution in Modern Science 6, no. 33 (October 7, 2019): 134. http://dx.doi.org/10.26886/2414-634x.6(33)2019.10.
Повний текст джерелаАнотація:
The purpose of the research is to analyze the specific features of the forms and techniques of ballet priyoms that are used as an integral part in the construction of tricks in the duet corde de péril of the circus genre of aerial gymnastics. The scientific novelty of the article consists in an attempt to comprehend the phenomenon of the unique use of similar priyoms both in ballet in a duet miniature and in aerial gymnastics of a duet corde de péril, which is a rather rare occurrence and representation of this circus genre in aerial gymnastics today. Plasticity, and expression are enriched with musical accompaniment and can be found at the intersection of two vectors − ballet and circus gymnastics, stunts in tricks. The technique of representation in the vertical plane (as opposed to horizontal in the ballet), demonstrates the new paradigm of perception synthesized genre.Key words: circus art, circus genres, aerial gymnastics, circus trick, corde de péril
11
Кряжева, И. А. "The Image of Spain in Sergei Diaghilev’s “Russian Seasons”." Музыкальная академия, no. 1(781) (March 27, 2023): 194–203. http://dx.doi.org/10.34690/298.
Повний текст джерелаАнотація:
В статье рассматриваются так называемые испанские балеты, поставленные по инициативе Сергея Дягилева в рамках «Русских сезонов», — «Менины», «Cuadro flamenco», отчасти «Треуголка». Каждое из этих трех произведений стало своеобразным отражением восприятия его авторами испанского художественного мира; в каждом создается многослойный, символичный, выраженный современным языком образ Испании. Эти балеты воплощают эстетические поиски дягилевской балетной труппы и вместе с тем вносят существенный вклад в развитие русско-испанских связей. The article deals with the ballets staged on the initiative of Sergei Diaghilev within the framework of the “Russian Seasons”, united by the Spanish theme “Las Meninas,” “Cuadro flamenco,” partly “El sombrero de tres picos.” Each of these three works became a kind of reflection of the perception of Diaghilev and other authors of the artistic world of Spain, each creates a multi-layered, symbolic image of Spain expressed in modern language. These ballets reflect the aesthetic searches of the Diaghilev ballet troupe and, at the same time, make an invaluable contribution to the development of Russian-Spanish relations.
12
Kim, Naeun, and Sunyoung Kim. "A Study on the Differences in Perception between Current Organizational Culture and Preferred Organizational Culture of Professional Ballet Company." Korean Society of Culture and Convergence 45, no. 6 (June 30, 2023): 335–48. http://dx.doi.org/10.33645/cnc.2023.06.45.06.335.
Повний текст джерелаАнотація:
Performing arts organizations face an irregular and unpredictable task environment, which requires systematic organizational diagnosis and evaluation management to address. The purpose of this research is to investigate the differences between the current organizational culture types perceived by dancers of a professional ballet company and their preferred organizational culture types, in order to provide foundational data for the management direction of the ballet company. To achieve this, a survey was conducted among current professional dancers working in the ballet company. The research was conducted using the Organizational Culture Assessment Instrument (OCAI). As a result of the research, dancers expressed a strong preference for a clan culture, while having high expectations for a culture of clan and adhocracy. On the other hand, they showed a desire for a decrease in hierarchical and marketculture. To address this, it is crucial to transform the organizational culture into a human-centric culture that emphasizes teamwork and individual artistic expression, based on trust and effective communication, rather than highlighting competition or winning among the members.
13
Coombes, Timothy F. "The Nursery as Circus: Dancing the Childlike to Fauré's Dolly Suite, 1913." Journal of the Royal Musical Association 142, no. 2 (2017): 277–325. http://dx.doi.org/10.1080/02690403.2017.1361174.
Повний текст джерелаАнотація:
ABSTRACTIn 1913, at the Théâtre des Arts in Paris, a controversial but highly successful ballet choreographed a circus-style pantomime to the music of Fauré's Dolly Suite. With its apparently incongruent relation of dance to music, the ballet displayed, as one reviewer put it, ‘criticisms in action’. This article investigates how we might conceive the production as an act of musical and cultural criticism, by examining its close relation with contexts such as early comic film, music-hall entertainment, the children's literature market, medical and anthropological theories, and surrealist thought. The ballet implicitly challenged conventional interpretations of Fauré's music as reflecting a particular perception of childhood – one which was rather too close to the sentimental attitudes vehemently dismissed in contemporaneous literature. The production was an important manifestation of an emergent understanding of the ‘childlike’ in early twentieth-century French culture – as a condition enlightened by irrationality, with important physiological traits.
14
Cornell, Katherine, and Nadine Saxton. "Reviewing the Role of the Dance Critic in Toronto." Canadian Theatre Review 107 (June 2001): 87–89. http://dx.doi.org/10.3138/ctr.107.013.
Повний текст джерелаАнотація:
It is time to review the role of the dance critic. During the Not Just Any Body dance education conference, held at the National Ballet School in Toronto in November 1999, it was clear that the dance community’s perception of the critic differs greatly from the critics’ perception of their own role. Even the Toronto critics expressed opposing points of view on their position and the power they have.
15
Kawano, Yui, and Mayumi Kuno-Mizumura. "Rotational Movement of the Upper Limbs Associated with the Aesthetic Appreciation of Ballet." Medical Problems of Performing Artists 37, no. 1 (March 1, 2022): 44–52. http://dx.doi.org/10.21091/mppa.2022.1006.
Повний текст джерелаАнотація:
OBJECTIVE: This study aimed to identify the structure of upper limb movements in ballet dancers that affect the audience’s perception of the aesthetics and to examine if upper limb rotational movement is a factor contributing to the aesthetics of ballet. METHODS: This study comprised 3-dimensional movement analysis and subjective evaluation of 12 female ballet dancers. Thirty-three reflective markers were affixed to their bodies. Their upper limb movements, which are bodily expressions mimicking a swan’s flapping movement, were captured and viewed by 34 observers with previous ballet experience (i.e., university students majoring in dance education). The joint angle and velocity of each body part were calculated from the coordinates of the markers. The observers subjectively evaluated the videos through four pairs of categories: “beautiful–ugly,” “like–dislike,” “interesting–not interesting,” and “good–bad,” on a five-point semantic differential scale. Two groups were extracted based on the “beautiful–ugly” rating and compared using an independent t-test. An exploratory factor analysis was performed on the kinematic parameters that showed significant differences. RESULTS: Five factors were identified: amplitude of rotational movement, speed of upward arm movement, amplitude of movement in the distal upper limbs, apparent speed of the downward arm movement, and speed of the internal rotation movement. CONCLUSION: The results supported the hypothesis that rotational movement of the upper limbs is a factor contributing to the aesthetics of upper limb movements in ballet and will be useful for understanding the intrinsic aesthetics of upper limb movements in ballet.
16
Salosaari, Paula. "Perception and Movement Imagery as Tools in Performative Acts Combining Live Music and Dance." Nordic Journal of Dance 4, no. 1 (June 1, 2013): 16–27. http://dx.doi.org/10.2478/njd-2013-0003.
Повний текст джерелаАнотація:
Abstract In this article I discuss movement imagery and perceptual strategies as tools in enhancing performative acts of playing music and composing performance material combining music and dance. In my earlier research I have introduced the concept of multiple embodiment in classical ballet and developed co-authored choreography with dancers. The concept of multiple embodiment in ballet suggests treating the fixed vocabulary as qualitatively open and therefore a basis for interpretation, improvisation and composition of new dance material. Directing the dancer’s experience in an open-ended way with movement imagery and perceptual strategies gave the performer new, sometimes surprising information about performance possibilities and thereby enhanced interpretation of dance material. (Salosaari 2001) Movement imagery has helped creating open-ended tasks in dance and thus enabled co-authoring in dance making projects. (Salosaari 2007; Salosaari 2009). Not only dance, but other art forms as well, are embodied. In playing a musical instrument, the sound is made using body movements. In workshops with a musician and a dancer, reported in this article, I ask whether the tools created for dance creation would work also in music making. I ask whether movement imagery and perceptual strategies can initiate music interpretation and improvisation?
17
Fomkin, Alexey Viktorovitch. "Peculiarities of using the demonstration principle in ballet pedagogy." Samara Journal of Science 5, no. 1 (March 1, 2016): 192–96. http://dx.doi.org/10.17816/snv20161314.
Повний текст джерелаАнотація:
Demonstration is one of the most important teaching principles. The foundation for the scientific study of this principle was laid by the outstanding pedagogue Ya.A. Komensky, who called it the golden rule of didactics. Later, Komenskys ideas were developed by J.H. Pestalozzi, K.D. Ushinsky, and other pedagogues. A special role in clarifying and specifying the functions of demonstration belongs to Russian pedagogues and psychologists developing the ideas of the unity of consciousness and activity (S.L. Rubinstein), the theory of activity (A.N. Leontyev), and the theory of gradual formation of mental actions (P.Ya. Galperin). Demonstration has been used in teaching dance since the ancient times, when various visual aids were used to illustrate the teachers words. Yet, despite the presence of extensive literature in other areas, in ballet pedagogy the study of demonstration has been limited to just a few researchers - N.I. Tarasov, E.P. Valukina, and A.A. Alferova. This paper presents the first attempt in ballet pedagogy to comprehensively analyse the use of the principle of demonstration in ballet teaching. Drawing on the historical traditions of ballet education, the author shows the leading role of demonstration in teaching professional skills to ballet artists and reveals the essence of the main types of demonstration - figural/pictorial, verbal, image-based and natural. The paper highlights the leading role of figural demonstration, in which showing of movements is traditionally the main teaching tool. The combination of the four types of demonstration - figural, verbal, image-based and natural - facilitates the visual, audial and motor perception of a movement (or its model, image) by the students allowing them to internalize movements into their psyche and body.
18
Liu, Ting. "The interpretative function of singing in the “score” of a modern ballet performance." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 62, no. 62 (September 16, 2022): 79–92. http://dx.doi.org/10.34064/khnum1-62.05.
Повний текст джерелаАнотація:
Statement of the problem. Under consideration is a specific form of art synthesis – singing in modern ballet. The synthesis of arts is attributive to the poetics of European opera, where a choreographic plan is used, however, singing in ballet is a rather rare phenomenon against the background of the dominance of singing in the operas of the 18th and 19th centuries. Nonetheless, there are eloquent examples of the return of singing in a ballet as a characteristic feature of the innovative choreographic theatre (“Pulcinella” by I. Stravinsky). The relevance of the topic is explained by the lack of musicological research devoted to the functions of singing as a component of ballet, while in modern practice there are clear precedents for the revival of this phenomenon. Some topical sources indicate the synthetic type of theatrical spectacle in the context of French Baroque culture (Danshina, 2010; Anfilova, 2004; Chepalov, 2008 and others), but the vocal component is not considered as a special problem. The purpose of the article is to investigate the interaction of vocal and ballet arts in the modern practice of ballet productions of the Kharkiv Opera and Ballet Theater (Ukraine) in the retrospective context of European musical-theatrical traditions. Modern ballet “The Little Prince” based on A. Saint-Exupery’s novel of the same name (2016) staged by Kharkiv ‘M. Lysenko’ National Academic Theatre of Opera and Ballet (KhNATOB) was chosen to be the material of the article. The following research methods are used: historical and typological approach that distinguishes the styles of European opera culture; semantic analysis of ballet performance as an artistic text; interpretative-cognitive comprehension of singing and its functions in ballet dramaturgy. Presentation of the research results. The creative experience of the French choreographer Johann Nuss on the stage of Kharkiv Opera Theatre – the premiere of the modern ballet “The Little Prince”, testified to the actualization of intertextuality in solving the problem of the relationship between singing and dancing. Traditional artistic plans are an important factor in the dramaturgy of a ballet performance. Together with two purely choreographic levels where the virtuoso skill of dancers and plastique of “talking” movements prevails, the singing voice is the third plan, which indicates the continuity of the French tradition (one can remember the model of J. B. Rameau’s “Gallant India”). The choice of musical material for the performance belongs to J. Nuss. He “saw” the image of Rose, who the Prince is in love with, twofold: as a choreographic-plastic and a “singing” one. Respectively, the role of Rose is embodied by a ballerina (Honoured Artist of Ukraine Iryna Khandazhevska) and a singer (Honoured Artist of Ukraine Olena Starykova, soprano). Dressed in a costume of a flower, the singer represents an ideal creature: themes from R. Glier’s and S. Rachmaninoff’s vocal compositions sound. The appearance of other bright characters is accompanied by instrumental music fragments, these are the King (J. S. Bach’s Second Orchestral Suite), the Ambitious Man (L. Delibes “Coppélia”), the Drunkard (“Winter” from A. Vivaldi’s “The Seasons”), and the Banker (J. S. Bach’s Suite for Cello Solo). So, the introduction of coloratura singing into the spectator’s plan of perception of the expressive-linguistic means of ballet opens a new symbolic world. Conclusions. Singing in a ballet is a specific manifestation of the art synthesis characteristic of modern choreographic performance. The vocal art emphasizes the highest, spiritual degree of communication, adding to the spectators’ experience a cathartic component. The interpretative function of singing in the concept of the performance is obvious: singing is a symbol (expression) of the divine essence of a human. Energy of vocals, multiplied by the traditional means of classical choreography and modern ballet, is a component of “multimedia modality” (Petrovic, 2017) as a sign of the interpretive thinking of the directors. Understanding the action of multimodality in the space-time of ballet is an interpretative dimension of spiritual reality. The prospect of researching. The study of modern forms of stage life of “singing in a ballet” indicates the need to develop this concept in the theoretical and methodological key, as well as to consider other examples of ballet performances (“One Thousand and One Nights” by F. Amirov, “Spartacus” by A. Khachaturian in Kharkiv Opera and others).
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Khokhlova, Daria. "To the problems of difference in interpretations of the plot of D. D. Shostakovich’s ballet “The Limpid Stream”." Человек и культура, no. 3 (March 2020): 43–51. http://dx.doi.org/10.25136/2409-8744.2020.3.33137.
Повний текст джерелаАнотація:
The object of this research is the plot of D. D. Shostakovich’s ballet “The Limpid Stream”. The subject is the interpretation of this plot in the versions of F. G Lopukhov (1935) and A. O. Ratmansky (2003), as well as peer review on these spectacles. The goal of this work consists in determination of the crucial for the concepts of ballet masters differences of libretto (as a literary foundation of the plot) in the three versions of the ballet, and comparison of perception of the plot in the year of its first staging and at the present. The considered problematic required application of historical approach – attraction of the materials and articles for the period of 1935-1936. The historiographical analysis allowed translating and examining one of the most recent peer reviews on the spectacle – the English-language reviews on the “Limpid Stream” of Ratmansky, presented on the London tour of Bolshoi Theatre in August 2019. The article also utilizes practical experience of author’s work with Ratmansky and participation in the aforementioned tours (performing the role of Zina).The main tool for solution of the set problem became the comparative analysis of the varieties of libretto (authors – Lopukhov and Piotrovsky) of the three versions of ballet “The Limpid Stream”. It is concluded that the first versions of ballet were popular among the public, but aroused negative or ambiguous feedback, which led to the removal of spectacle from the repertoire. The last version is regularly performed in the repertoire of Bolshoi Theatre, including on the tour, being well regarded by the public and sophisticated British critics.
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Nather, Francisco Carlos, and José Lino Oliveira Bueno. "Timing Perception in Paintings and Sculptures of Edgar Degas." Kronoscope 12, no. 1 (2012): 16–30. http://dx.doi.org/10.1163/156852412x631628.
Повний текст джерелаАнотація:
AbstractThe impressionist artist Edgar Degas (1834-1917) is widely known for his artistic production dedicated to the representation of movement. Degas has done a careful study, realistically depicting the movement both in his paintings of scenes of horses, women bathing and dancing, and in his sculptures of dancers in various positions of classical ballet. Since movements exist only at the intersection space-time, and visual works of art exist only in physical spaces defined by the works themselves, this article discusses the perception of time in the work of Degas. Therefore, this paper emphasizes aspects of the representation of movement used by the artist and the implied relations of these aspects with the perception of time. The timing perception is addressed according to studies that revealed components of the subjective perception of time related to a meeting of an observer with a work of visual art (aesthetic episode).
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Smith, Jenna, and Paul McCarthy. "Gender bias personality perception in stereotypically gendered sport." Sport & Exercise Psychology Review 17, no. 2 (September 2022): 76–87. http://dx.doi.org/10.53841/bpssepr.2022.17.2.76.
Повний текст джерелаАнотація:
Gender bias is a significant issue within sport and exercise; this bias can have prominent influences on performance and developmental issues. The extent of literature surrounding bias is vast. However, the cause of bias is rarely explored. The present study aimed to investigate the effect personality has on gender bias within sports; this considers the influence of personality on gender bias and the potential rationale for bias. Sixty-eight (34 male and 34 female) participants completed a Big-5 personality inventory and read two of four sports vignettes (ballet and football), either male or female vignettes; they then further completed a two Big-5 inventory questionnaires regarding the personality of the athlete in the vignette. The results indicated that individual personality traits influence the level of bias towards gender in sports. Further, they suggest that the gender of the athlete influences our perception of athletes’ personalities and the stereotypical gender of the sport they participated in.
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Turner, Alasdair. "Partners in the street ballet: An embodied process of person-space coupling in the built environment." Environment and Planning B: Urban Analytics and City Science 44, no. 2 (July 27, 2016): 294–307. http://dx.doi.org/10.1177/0265813516638185.
Повний текст джерелаАнотація:
The diurnal movements of pedestrians in the built environment are sometimes typified as a ‘street ballet’, where each actor or dancer has their own set role within a larger complex. Every individual in the ballet may have many influences on their behaviour including the physical layout of the environment, cognitive strategies to navigate it, experiential or affective preferences as well as social, economic and political factors, but ultimately each one seems to obey apparently choreographed actions. The aim of this article is to understand whether or not there is in fact an underlying choreography to the ballet, in that certain steps or moves are more likely than others, such that a ‘dance’ through daily life is constructed. To do so, simple automata that use active perception to inhabit the world are evolved against different tasks within the environment, representing different sets of moves that may be taken. It is shown that any evolved automaton appears to embody a mathematical person–space relationship that joins visual affordance with motor action: the convergence of a simple Markov model of visual movement. From the Markov model, a general model of embodied action in the environment is proposed, whereby memory of the dance is ingrained over evolutionary history, such that it forms building blocks for non-discursive action within the built environment and comprises a possible common phenomenological framework.
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Simonović, Marija. "Fire As A First Cause Of Phenomenon In Gaston Bachelard's The Psychoanalysis Of Fire And Igor Stravinsky's The Rite Of Spring." Kwartalnik Młodych Muzykologów UJ, no. 50 (3) (June 2022): 43–63. http://dx.doi.org/10.4467/23537094kmmuj.21.006.16100.
Повний текст джерелаАнотація:
In this paper, the ballet of Igor Stravinsky The Rite of Spring is interpreted from the perspective of Gaston Bachelard’s philosophical thought. Bachelard’s systematic psychoanalysis of literary images in The Psychoanalysis of Fire is applied to the interpretation of musical images in The Rite of Spring. Bearing in mind that rhythm is a key characteristic of Stravinsky’s composition, the paper analyses the immediate correspondences between Stravinsky’s and Bachelard’s perception and interpretation of rhythm in the works under consideration.
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Guachalla, Adrian. "Social inclusion and audience development at the Royal Opera House: a tourist perspective." International Journal of Culture, Tourism and Hospitality Research 11, no. 3 (August 7, 2017): 436–49. http://dx.doi.org/10.1108/ijcthr-07-2016-0071.
Повний текст джерелаАнотація:
Purpose The Royal Opera House, located at the epicentre of Covent Garden, stands as the UK’s leading provider of opera and ballet performances. Having been extensively redeveloped, its front facade is not visible from the area’s central market place and the perceived exclusivity and elitism commonly associated with its art forms also impose a challenge. This study aims to analyze the influence that the Opera House exerts on the tourist’s perception and experience of the world-renowned London’s “Theatreland”. Design/methodology/approach In all, three hundred and six semi-structured interviews with domestic, international, first-time and repeat tourists were conducted in six different locations throughout the area and inside the flagship building using a convenience sampling approach. These were then analyzed with the assistance of qualitative data analysis software (QSR N*Vivo) in two stages leading to an initial set of categorical topics that derived in a number of findings related to the factors that influence the tourist’s perception and experience of place. Findings The Opera House’s perceived urban concealment proved to have an impact on its influence on Covent Garden’s sense of place. But its social inclusion and audience development initiatives that foster a new generation of opera and ballet theatre-goers emerged as important findings as the House’s open door policy for daytime visitors along with live relays of current opera and ballet productions in other locations spark an interest in experiencing the building from the inside. Research limitations/implications This paper focuses exclusively on findings related to audience development and social inclusion initiatives currently used at the Royal Opera House and their impact on the tourist’s perception and experience of place. However, many other factors influence these processes and scope for further research is highlighted. Practical implications The Royal Opera House’s perceived urban concealment imposes a challenge to the task of developing new audiences for its current and future productions. Its learning and participation unit must endeavor to engage younger and international markets by focusing on the quality of the House’s performances, its heritage and added facilities of the venue such as exhibitions and shop. Social implications The Royal Opera House’s creed of “excellence, access and artistic development” is implemented by extending opportunities to younger target markets to engage with its cultural produce. Originality/value This paper addresses the gap in knowledge related to the development of the niche Opera House tourist segment of the cultural tourism market.
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Thomson, Kaivo, and Anthony Watt. "Investigating cognitive style differences in the perception of biological motion associated with visuospatial processing." Polish Psychological Bulletin 44, no. 1 (March 1, 2013): 50–55. http://dx.doi.org/10.2478/ppb-2013-0006.
Повний текст джерелаАнотація:
Abstract The purpose of the study was to compare the visuospatial decision-making error scores related to the perception of biological motion of individuals categorized as field dependent or field independent. A sample of 69 participants aged 18-27 years (M = 21.91, SD = 2.39) that included 33 males and 36 females completed the experiment. Cognitive style was assessed using the Group Embedded Figure Test. Perception of biological motion was evaluated using two different point-light stimuli developed from video images of a ballet dancer’s performance of a correct and incorrect turn in the fifth position. The results showed that individuals classified as field independent made significantly fewer visuospatial processing errors. The findings are considered and discussed in relation to theoretical perspectives associated with both cognitive processing and cognitive style.
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Jang, Seon Hee, and Frank E. Pollick. "Experience Influences Brain Mechanisms of Watching Dance." Dance Research 29, supplement (November 2011): 352–77. http://dx.doi.org/10.3366/drs.2011.0024.
Повний текст джерелаАнотація:
The study of dance has been helpful to advance our understanding of how human brain networks of action observation are influenced by experience. However previous studies have not examined the effect of extensive visual experience alone: for example, an art critic or dance fan who has a rich experience of watching dance but negligible experience performing dance. To explore the effect of pure visual experience we performed a single experiment using functional Magnetic Resonance Imaging (fMRI) to compare the neural processing of dance actions in 3 groups: a) 14 ballet dancers, b) 10 experienced viewers, c) 12 novices without any extensive dance or viewing experience. Each of the 36 participants viewed short 2-second displays of ballet derived from motion capture of a professional ballerina. These displays represented the ballerina as only points of light at the major joints. We wished to study the action observation network broadly and thus included two different types of display and two different tasks for participants to perform. The two different displays were: a) brief movies of a ballet action and b) frames from the ballet movies with the points of lights connected by lines to show a ballet posture. The two different tasks were: a) passively observe the display and b) imagine performing the action depicted in the display. The two levels of display and task were combined factorially to produce four experimental conditions (observe movie, observe posture, motor imagery of movie, motor imagery of posture). The set of stimuli used in the experiment are available for download after this paper. A random effects ANOVA was performed on brain activity and an effect of experience was obtained in seven different brain areas including: right Temporoparietal Junction (TPJ), left Retrosplenial Cortex (RSC), right Primary Somatosensory Cortex (S1), bilateral Primary Motor Cortex (M1), right Orbitofrontal Cortex (OFC), right Temporal Pole (TP). The patterns of activation were plotted in each of these areas (TPJ, RSC, S1, M1, OFC, TP) to investigate more closely how the effect of experience changed across these areas. For this analysis, novices were treated as baseline and the relative effect of experience examined in the dancer and experienced viewer groups. Interpretation of these results suggests that both visual and motor experience appear equivalent in producing more extensive early processing of dance actions in early stages of representation (TPJ and RSC) and we hypothesise that this could be due to the involvement of autobiographical memory processes. The pattern of results found for dancers in S1 and M1 suggest that their perception of dance actions are enhanced by embodied processes. For example, the S1 results are consistent with claims that this brain area shows mirror properties. The pattern of results found for the experienced viewers in OFC and TP suggests that their perception of dance actions are enhanced by cognitive processes. For example, involving aspects of social cognition and hedonic processing – the experienced viewers find the motor imagery task more pleasant and have richer connections of dance to social memory. While aspects of our interpretation are speculative the core results clearly show common and distinct aspects of how viewing experience and physical experience shape brain responses to watching dance.
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Dryburgh, Anne, and Sylvie Fortin. "Weighing in on surveillance: perception of the impact of surveillance on female ballet dancers’ health." Research in Dance Education 11, no. 2 (June 2010): 95–108. http://dx.doi.org/10.1080/14647893.2010.482979.
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Yang, Youngeun. "Comprehending Dance through Empathy: A Spectator’s Total Body-Mind Experience of Watching Wind of May (Moon, 2020)." Dance Research 40, no. 1 (May 2022): 61–84. http://dx.doi.org/10.3366/drs.2022.0358.
Повний текст джерелаАнотація:
This article advances a hermeneutico-phenomenological enquiry into the lived experience of watching the recently created ballet, Wind of May (Moon, 2020), to examine the role of empathy in comprehending this dance performance. Drawing on Edith Stein’s work, it shows how dance spectatorship entails dynamic interactions between the core processes of empathy formation, namely, direct multimodal perception, emotional engagement, and cognitive thinking. It further employs Dee Reynolds’s concept of ‘affect’ to highlight how empathic experience can be physically embodied yet non-emotional. In doing so, it argues that empathy involves a total mind-body experience that can be valuable to dance interpretation.
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Xavier, Joelma Rezende. "Sobre bailados de Corpo de Baile: uma análise comparativa entre literatura e dança no texto rosiano." O Eixo e a Roda: Revista de Literatura Brasileira 27, no. 3 (December 21, 2018): 221–47. http://dx.doi.org/10.17851/2358-9787.27.3.221-247.
Повний текст джерелаАнотація:
Resumo: A partir da leitura de Corpo de baile, de João Guimarães Rosa, pretende-se discutir relações entre literatura e dança nos desdobramentos estéticos do texto rosiano. Para isso, apresenta-se um panorama sobre história e formação de “corpo de baile” em dança (BOURCIER, 2001) e sugere-se uma abordagem sobre a percepção de um “corpo de baile”, especialmente nas novelas Campo geral, Uma estória de amor, A estória de Lélio e Lina e Buriti. Parte-se da concepção de que a dança é um dos elementos dinamizadores dos enredos de Corpo de baile, além de ser um traço importante na representação de personagens, sobretudo na esfera feminina. Este artigo, por meio de uma análise comparativa, apresenta contribuições para o enfoque interartes nos estudos da obra rosiana.Palavras-chave: corpo de baile; dança; literatura; linguagem.Abstract: From the reading of Corpo de Baile, by João Guimarães Rosa, it attempts at discussing relations between literature and dance in the aesthetic developments of the rosiano text. The article aims to presenting an overview of history and formation of “corps de ballet” in dance (BOURCIER, 2001) and it aims at pointing out an approach about the perception of a “corps de ballet”, mainly in the novels Campo Geral, Uma estória de amor, A estória de Lélio e Lina and Buriti. It is part of the conception that dance is one of the energizing elements of Corpo de Baile, besides being an important trace in the representation of characters, mostly in the female sphere. This article, through a comparative analysis, presents contributions to the interviewing approach in the studies of Guimarães Rosa’s work.Keywords: corps de ballet; dance; literature; language.
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Todi, Cristina. "The Metamorphosis of Performing Arts." Theatrical Colloquia 9, no. 1 (June 1, 2019): 173–86. http://dx.doi.org/10.2478/tco-2019-0004.
Повний текст джерелаАнотація:
Abstract This article examines the relationship between performing arts, the multidisciplinary aspect of them, thereafter seeking to address a few similarities and differences in approaching a live performance. The confluence between ballet, theatre and opera is obvious and a brief overview of the main interlaced stages in the development of performing arts will also prove that they have always been related and dependant on one another. Every performing art crosses its boundaries and not only does it explore issues or topics specific to the other arts, but it also uses their tools. Thus, this article integrates a few contemporary tendencies of intersection in performing arts, mainly the pervasive presence of ballet and theatre. Subsequently, in considering live performance, the impact on the audience is also assessed, as well as the harmony of perception created between the performer and the public. Further on, the paradigm development in performing arts is determined due to the augmenting of the new technological tools being used. The aim of using these tools is to create special effects that emphasize the quality of the performance. In addition to a comprehensive influence, this article explains how contemporary social and political changes, scientific and technological progress have determined more changes in the performing arts than they had in the previous centuries.
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Salzano, Annamaria, Fabiana Camuso, Mario Sepe, Maha Sellami, Luca P. Ardigò, and Johnny Padulo. "Acute Effect of Toe Cap Choice on Toe Deviation Angle and Perceived Pain in Female Professional Ballet Dancers." BioMed Research International 2019 (April 10, 2019): 1–8. http://dx.doi.org/10.1155/2019/9515079.
Повний текст джерелаАнотація:
Several classical dance complex movements, such as pointe, require body weight to be supported properly to avoid risk of foot injury. Regarding the choice of toe cap for pointe shoes, it is unclear which type can better alleviate pain symptoms and toe deviation angle in dancers. The aim of the current crossover study was to investigate the acute effect of using different types of toe caps among well-trained professional dancers on pain perception and toe deviation angle. Ten young female professional dancers volunteered to participate in the study. Each participant was tested during two separate sessions with an interval of 72 h in between. Participants were tested in the two sessions with a standard commercial or a customized prototype toe cap, always with pointe shoes, and in randomized order. An anteroposterior X-ray examination was performed separately for each participant and a visual analogue scale for pain perception was administered following each situation (with a standard commercial or a customized prototype toe cap). Significant amelioration was obtained when a customized toe cap prototype was used both for toe deviation angle and for visual analogue scale. Use of a customized toe cap prototype compared to a standard one may acutely reduce both toe deviation angle and pain in elite female professional dancers.
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Rahardjo, Dian Kusmawati, and Haryadi Sarjono. "Tinjauan pustaka sistematis: Studi kritis pementasan budaya di era pandemi Covid-19 pada pertunjukan sendratari Ramayana secara online." Satwika : Kajian Ilmu Budaya dan Perubahan Sosial 6, no. 1 (April 28, 2022): 180–90. http://dx.doi.org/10.22219/satwika.v6i1.18275.
Повний текст джерелаАнотація:
Indonesia memiliki kekayaan tradisi yang menjadikannya sebagai daya tarik tersendiri, salah satunya adalah seni Sendratari Ramayana. Cerita ini populer di kalangan masyarakat Jawa. Akan tetapi, dengan adanya pandemi Covid-19 pementasan ini terhenti sementara waktu dan dialihakan dengan cara virtual melalui media daring. Tujuan penelitian ini untuk mengetahui pengaruh persepsi dan minat pengunjung wisata terhadap pagelaran seni Sendratari Ramayana secara online. Pementasan ini dianggap berhasil karena memiliki daya tarik tersendiri dan banyak diminati wisatawan lokal maupun global. Metode penelitian yang digunakan adalah metode SLR (Systematic Literature Review), yaitu menggunakan data yang bersumber dari rujukan artikel penelitian yang sudah terindeks International Standart Serial Number secara online yang dipublish dengan Kode ISSN. Sedangkan artikel yang terpakai difokuskan pada jurnal terpublikasi dari tahun 2017-2021. Hasil penelitian menunjukan masih ada rasa tanggung jawab terhadap aktivitas kesenian dari pelaku seni. Serta keinginan untuk menjadi semakin baik dalam melakukan pertunjukan walaupun dilaksanakan secara daring karena pandemi. Kondisi ini mengakibatkan munculnya dua sisi yang berbeda. Di satu sisi memberikan dampak positif bagi pengelola lokasi wisata, pemain, dan penduduk sekitarnya yang menjadi penari latar dalam pentas. Di sisi lain para pedagang kaki lima, juru parkir, tidak beroperasi sebagai akibat dari pandemi Covid-19. Gambaran ini dapat diartikan bahwa pertunjukan Sendratari Ramayana secara online tetap diminati para pengunjung karena pengaruh persepsi dan minat pengunjung wisata yang positif dan cukup puas terhadap kualitas pertunjukan seni sendratari tersebut. Indonesia has many cultures related to various folklores that make it a special attraction, one of which is the Ramayana ballet, which became a popular story among the Javanese people, but with the Covid-19 pandemic, this performance was suspended for a while, but in the end it was stopped. reopen in a virtual way through online media. The purpose of this study was to determine the effect of the perception and interest of tourist visitors on the online Ramayana ballet art performance, considering that this performance was considered successful because it is an art performance that has its own tourist attraction which is very well known and attracts foreign and domestic tourists. The research method used is the SLR (Systematic Literature Review) method, which uses data sourced from the literature of research articles that have been indexed by the International Standard Serial Number online published with the ISSN code, while the paper used is focused on published journals from 2017-2021. . The results of the study show that there is still a sense of responsibility for the continuity of artistic activities from artists, as well as the desire to be better at performing the performances that are presented, even in a pandemic, namely online performances. This will have two impacts, namely a positive impact for the manager of tourist sites, players and surrounding residents who are recruited to work as background dancers in the stage, while the negative impact is for street vendors, parking attendants, due to not operating as a result of the Covid pandemic. -19. This description can be interpreted that the online Ramayana ballet performances are still in demand by visitors because of the positive influence of perceptions and interests of tourist visitors and are quite satisfied with the quality of the ballet art performances.
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Christensen, Julia F., Anna Lambrechts, and Manos Tsakiris. "The Warburg Dance Movement Library—The WADAMO Library: A Validation Study." Perception 48, no. 1 (December 17, 2018): 26–57. http://dx.doi.org/10.1177/0301006618816631.
Повний текст джерелаАнотація:
The Warburg Dance Movement Library is a validated set of 234 video clips of dance movements for empirical research in the fields of cognitive science and neuroscience of action perception, affect perception and neuroaesthetics. The library contains two categories of video clips of dance movement sequences. Of each pair, one version of the movement sequence is emotionally expressive (Clip a), while the other version of the same sequence (Clip b) is not expressive but as technically correct as the expressive version (Clip a). We sought to complement previous dance video stimuli libraries. Facial information, colour and music have been removed, and each clip has been faded in and out. We equalised stimulus length (6 seconds, 8 counts in dance theory), the dancers’ clothing and video background and included both male and female dancers, and we controlled for technical correctness of movement execution. The Warburg Dance Movement Library contains both contemporary and ballet movements. Two online surveys ( N = 160) confirmed the classification into the two categories of expressivity. Four additional online surveys ( N = 80) provided beauty and liking ratings for each clip. A correlation matrix illustrates all variables of this norming study (technical correctness, expressivity, beauty, liking, luminance, motion energy).
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Grutsynova, Anna P. "The Ballet “Les Noces de Pelée et de Thetis” (1653) Preserved in Visual Images." ICONI, no. 1 (2021): 75–89. http://dx.doi.org/10.33779/2658-4824.2021.1.075-089.
Повний текст джерелаАнотація:
The article is devoted to the ballet “Les Noces de Pelée et de Thetis” which was produced in 1693 in the Petit Bourbon Palace in Paris (according to the rules of the French theater of that time period) in order to complement the opera with the same name composed by Carlo Caproli. The basis for the plot of the production was the myth widely disseminated in art works about the mortal Peleus and the Nereid Thetis, transformed in correspondence with the aesthetics of that time. The Dance entrées followed each scene of the Italian opera and were connected with its each content, in its turn, forming a consistent, logically delineated narration. The published libretto conveys the plot, and at times the outer form of the action quite vividly and fi guratively. A description of the decorations and machines used in the ballet has also been preserved, as the result of which in our time it becomes possible to create a visual impression from the production. In addition, important defi ning details capable of providing a perception not only of the protagonists’ outward appearances, but also of a concrete distribution of roles between the performers are the sketches for numerous costumes preserved up to our time. Thereby, it turns out that in 17th century musical performance a considerable role is played by its visual solution, which, having been preserved in iconographic materials, is capable of helping create an impression from the overall conception of the production a few centuries after it happened.
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MANTOROVA, ANNA. "TEODOR CURRENTZIS IN PERM CULTURAL LIFE IN 2011-2022." Культурный код, no. 2023-2 (2023): 42–52. http://dx.doi.org/10.36945/2658-3852-2023-2-42-52.
Повний текст джерелаАнотація:
Teodor Currentzis is a Russian conductor of Greek origin. He was born on February 24, 1972 in Athens in a musical family. In 1994 he moved to Russia, St. Petersburg, to study conducting at the St. Petersburg Conservatory with conductor Ilya Musin. In 2004-2010 he was chief conductor of the Novosibirsk Opera and Ballet Theatre, where he founded the MusicAeterna orchestra and choir. In 2011-2019, he was the artistic director of the Diaghilev Festival and the Opera and Ballet Theatre in Perm. According to critic Dmitry Renansky, thanks to the work of Currentzis during the years of the “Permian Cultural Revolution”, Perm was given the status of the third musical capital of Russia. The article examines the image of Teodor Currentzis in the Permian public, his role in the cultural life of the regional center. Focused interviews of viewers in Perm are used as a source. The article puts forward two hypotheses. Firstly, the trickster toolkit used by Teodor Currentzis in the process of self-design and self-presentation is read by the audience in a number of aspects. Secondly, the trickster in this mythological construction is in synthesis with another archetypal image that smooths out its most dangerous properties and which needs to be clarified during the interview. As a result of the field research, it was found that the archetype of the trickster here is indeed supplemented by another image that neutralizes the negative features of the first one, and the established cultural image forms, respectively, two strategies of spectator perception.
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Burganova, Maria A., and Nikolai Tsiskaridze. "INTERVIEW WITH NIKOLAI TSISKARIDZE — A MEMBER OF THE COUNCIL FOR CULTURE AND ART UNDER THE PRESIDENT OF THE RUSSIAN FEDERATION, RECTOR OF THE VAGANOVA ACADEMY OF RUSSIAN BALLET." Scientific and analytical journal Burganov House. The space of culture 17, no. 4 (November 10, 2021): 10–13. http://dx.doi.org/10.36340/2071-6818-2021-17-4-10-13.
Повний текст джерелаАнотація:
Traditionally, our journal opens with an academic interview. In this issue, we present an outstanding figure of world culture — Nikolai Tsiskaridze, a member of the Council for Culture and Art under the President of the Russian Federation, National Artist of Russia, Rector of the Vaganova Academy of Russian Ballet. His charismatic image personifies the Russian ballet school. It is universally recognised that Tsiskaridze’s creative and pedagogical activity has given a new impetus to the school of classical dance. Thanks to his efforts, the Vaganova Academy of Russian Ballet has rightfully taken a leading place on the world stage and is highly regarded by the professional community. Nikolai Tsiskaridze kindly agreed to answer the questions of Maria Burganova, the Editor-in-Chief of the journal Burganov House. Space of Culture. INTERVIEW WITH NIKOLAI TSISKARIDZE — A MEMBER OF THE COUNCIL FOR CULTURE AND ART UNDER THE PRESIDENT OF THE RUSSIAN FEDERATION, RECTOR OF THE VAGANOVA ACADEMY OF RUSSIAN BALLET Maria A. Burganova: What defines contemporary culture in Russia? Dialogue with the past, search for innovations, an expectation of change? Nikolai M. Tsiskaridze: Everything listed by you. And also, the rapid development of the culture of consumerism. M.B.: Are culture and the state interrelated concepts? To what extent does the state determine the development of culture? Can culture exist without government support? N.Ts.: At all times, culture could not exist without state support; therefore, of course, these concepts are interrelated. M.B.: The cultural space is a dialogue space. The audience creates it jointly with an artist, an actor, a musician. Today it seems that the viewer comes to the theatre, museum, philharmonic “to have a rest”. Who is an ideal viewer? What would you like to communicate to them? To what extent does the creative process take the possible reaction of the viewer into account? N.Ts.: There can be no dialogue. There is an artist, and there is the viewer’s perception of them. Any cultural space — theatre, museum, and so on, has always been a space for relaxation. When they say that the viewer also “works”, “creates” — it is nonsense. M.B.: The modern cultural space is permeated with Internet culture. How does this relate to classical heritage and education? Has a new cultural myth been formed? N.Ts.: The Internet is just a form of expression. M.B.: Virtuality is fully capturing museums and theatres. Exhibitions based on media technologies have become commonplace. In theatres, laptops broadcasting monologues and stage performances appear instead of actors. Is this a farce or a new reality in art? Is there a border in the cultural space which virtual technologies cannot cross? N.Ts.: Some people like butter, and some like margarine. If a person loves margarine, then they will use it. If someone wants to use a laptop, they will use a laptop. Whoever wants to see an artist will come to the artist.
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Guachalla, Adrian. "The Royal Opera House and Covent Garden: A symbiotic and complex touristic relationship." Tourism and Hospitality Research 19, no. 2 (November 6, 2017): 225–37. http://dx.doi.org/10.1177/1467358417738309.
Повний текст джерелаАнотація:
The Royal Opera House has a longstanding and solid relationship with Covent Garden, which is an environmentally clustered urban area for tourism and culture rich in heritage, commercial ambience and provision of different types of performing arts. Located within the core of the area opposite its popular market place, its opulent main entrance faces a less visited precinct. This makes the building less visible to the area’s visitors raising questions about its role in the perception of Covent Garden. Given that current studies on flagship developments tend to focus on contemporary projects, this research aims to understand the influence that a well-established cultural flagship exerts in the perception of a popular area for tourism using the Royal Opera House in Covent Garden as a case study. To address this aim, a social constructivist approach was adopted and 306 semi-structured interviews were conducted with domestic and international visitors throughout six locations within the area to understand the role of the Opera House in the perception of Covent Garden. Findings indicate that cultural flagships tend to be stereotyped as grandiose freestanding buildings which is not the Royal Opera House’s case given Covent Garden’s urban density. Instead, its flagship status is related to the quality of its productions and its historical attachment to the area. This is rooted in the attraction of a diverse set of visitors and international talent leading to a cosmopolitan ambience and a strong sense of civic pride as the UK’s leading provider of opera and ballet productions.
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Huschka, Sabine. "Media-Bodies: Choreography as Intermedial Thinking Through in the Work of William Forsythe." Dance Research Journal 42, no. 1 (2010): 61–72. http://dx.doi.org/10.1017/s0149767700000838.
Повний текст джерелаАнотація:
Since Ballet Frankfurt was reconstituted as the Forsythe Company in 2004, William Forsythe has increasingly explored formats of installation art practice. Works such as Human Writes (in collaboration with Kendall Thomas, 2005) and You made me a monster (2005) develop within an interactive and intermedial space and experiment with new ways to experience the production and perception of movement. “Performance installation” is the new term for this intertwined process of movement production and movement perception. The choreographic composition itself grows out of procedures of performative sensing by the dancers, which spreads to onlookers. This multiplex awareness of movement for which the dancer's body is the medium constitutes what I shall call the “media-body” as an essential moment of performance installation as choreographic event. Compared to earlier Forsythe installations—which he called “choreographic objects”—like White Bouncy Castle (1997), City of Abstracts (2000), or Scattered Crowd (2002), with their accessible spaces of movement (in White Bouncy Castle the spectator was a visitor moving about freely inside a white inflatable castle, and City of Abstracts featured choreographic projections of movement on large screens in open spaces) performance installations take place squarely in the theatrical context: in theater lobbies, exhibit halls, or accessible public performance spaces where dancers and the audience come together in a mutually shared yet operationally divided space that leads them into an interactive relationship.
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Orel, Barbara. "The World of Odour in the Slovenian Performing Arts." Amfiteater 9, no. 2021-2 (December 5, 2021): 92–98. http://dx.doi.org/10.51937/amfiteater-2021-2/92-98.
Повний текст джерелаАнотація:
The article provides an overview of performances on Slovenian stages that have used odour to stimulate the audience’s senses and arouse transformational effects. Representing the first research of this kind into Slovenian culture, the author demonstrates that odour was used as a means of sensory perception, especially in experimental theatre practices since the 1970s. One of the first such works was Cimetova vrata ladje norcev in druge spremembe (The Cinnamon Door of the Ship of Fools and Other Changes), a performance art piece directed by Tomaž Kralj at Glej Theatre in 1975. In the 1990s, the interest in olfactory perceptions grew among theatre-makers who successfully used odour to implement the aesthetics of the real in post-dramatic theatre and achieve the immersion of the spectator. This role of odour in theatre also continues in the 21st century. Barbara Pia Jenič began deliberately and continuously developing the poetics of scent at the Sensorium Theatre, which she founded in 2001 with Gabriel Hernandez. In her creation of sensorial events, Jenič relies on the methodologies of Enrique Vargas, with which she became acquainted as an actress and scent designer in his group Teatro de los Sentidos and creatively developed them at the Sensorium Theatre. As a scent designer, Jenič has collaborated with other Slovenian theatres, among others, on the 2015 operatorium, The Tenth Daughter (Deseta hči) by Svetlana Makarovič (based on the libretto by Milko Lazar, directed by Rocco) at the Slovenian National Theatre – Opera and Ballet Ljubljana.
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Hysa, Oksana. "Olena Berehova, ‘Dialoh kul’tur: obraz inshoho v muzychnomu universumi’ [Dialogue of Cultures: The Image of the Other in the Musical Universe], Kyiv 2020." Muzyka 67, no. 3 (November 9, 2022): 178–83. http://dx.doi.org/10.36744/m.1412.
Повний текст джерелаАнотація:
Olena Berehova’s monograph Dialoh kul’tur: obraz inshoho v muzychnomu universumi [Dialogue of Cultures: The Image of the Other in the Musical Universe] was written within the theme of basic re- search of the Institute of Cultural Studies of the National Academy of Arts of Ukraine 'Dialogue of Cultures in Postmodernity: Dynamics of Self-Organization and Globalization Challenges'. In the book, for the first time in Ukrainian culturology, an attempt is made to scientifically comprehend the dialogue of cultures through the prism of an imagological approach. The analytical material of the monograph was the latest Ukrainian composers’ creativity, as well as the best examples of contemporary world music, which are panoramic in the main musical genres (opera, ballet, symphony, vocal and choral, chamber music) and create a broad intertextual and dialogical context. In the monograph on the example of specific art cases it is proved that the imagological approach makes possible the study of artistic images objectified in works of art, revealing the specifics of figurative perception of 'Other' by different cultures, revealing the ideas of cultural dialogue about each other.
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Волкова, Е. А., Н. М. Волков, and Е. В. Фролова. "NATIONAL IDENTITY OF THE RUSSIAN PEOPLE IN THE PERCEPTION OF F.M. DOSTOEVSKY." Актуальные вопросы современной филологии и журналистики, no. 3(46) (September 26, 2022): 130–34. http://dx.doi.org/10.36622/aqmpj.2022.87.21.021.
Повний текст джерелаАнотація:
В ноябре 2021 г. исполнилось 200 лет со дня рождения одного из крупнейших русских писателей - Ф.М. Достоевского, на сегодняшний день являющегося одним из самых актуальных и востребованных, цитируемых, переводимых и экранизируемых русских авторов. В разных странах его творческое наследие анализируется литературоведами, философами, лингвистами и историками, культурологами и психологами; по его произведениям ставят оперные, балетные и драматические спектакли, снимают кинофильмы и сериалы, рисуют комиксы и создают настольные и компьютерные игры. Статья посвящается анализу специфики восприятия русского национального самосознания в произведениях Ф.М. Достоевского, то есть, по мысли авторов, национальной души и национального характера русского народа. Рассмотрение данной проблемы представляется весьма актуальной в современных геополитических условиях в связи с необходимостью самоидентификации. Ф.М. Достоевский усматривал сплоченность и могущество русского народа исходя из территориального, духовного и нравственного факторов и утверждал в своих художественных и публицистических произведениях, что русский народ - это удивительное явление в общечеловеческой истории. Характер русской нации так отличается от всех остальных народностей, что, по мнению великого писателя, европейцам до сих пор не дано его осознать. November 2021 marked the 200th anniversary of the birth of one of the greatest Russian writers, F. M. Dostoevsky. He is one of the most relevant and demanded, quoted, translated and screened Russian authors today. In different countries, his creative heritage is analyzed by literary critics, philosophers, linguists and historians, culturologists and psychologists; Opera, ballet and drama performances are staged based on his works, films and serials are shot, comics are drawn and board and computer games are created. The article is devoted to the analysis of the "cultural code" in the works of F.M. Dostoevsky, that is, they washed the authors, the national soul and the national character of the Russian people. The consideration of this problem seems to be very relevant in modern geopolitical conditions due to the need for self-identification. Dostoevsky saw the cohesion and power of the Russian people based on territorial, spiritual and moral factors. He argued that the Russian people is an amazing phenomenon in human history and proved this in his artistic and journalistic works. The character of the Russian nation is so different from all other nationalities that Europeans have not yet been able to comprehend it.
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SUSLOV, I. V. "SYMBOLIC INTERACTIONISM: PRE-REVOLUTIONARY AND SOVIET ARCHITECTURE AS MEDIA IN THE PERCEPTION OF NEW GENERA-TIONS OF YOUTH." Central Russian Journal of Social Sciences 17, no. 5 (2022): 15–30. http://dx.doi.org/10.22394/2071-2367-2022-17-5-15-30.
Повний текст джерелаАнотація:
There are three historical stages in the urban development of many large and medium-sized cities of Russia: pre-revolutionary, So-viet and post-Soviet, with characteristic principles of urban planning and iconic architectural objects symbolizing certain values. Purpose: to study the peculiarities of the emo-tional perception of the Soviet, pre-Soviet and post-Soviet components of urban space by the youth of the Russian regional center in the 2020s. Research methodology: reasoning in the spirit of M. McLuhan, we consider ar-chitecture as media or intermediary between a person and the world of meanings. The analysis of mental maps will allow you to recreate the imaginary structure of urban space, identify individual components of this structure and determine their symbolic sig-nificance (including emotional) in the eyes of citizens. As a result of the study of mental maps, the trend of devaluation of the symbol-ic value of the old merchant building area has been determined. Once (in the pre-revolutionary period), the prestigious district is now poorly represented on the mental maps of young people. In the eyes of modern youth, the historical center of the city loses its importance and ceases to fit into the im-age of the future. The symbolic significance of such objects-symbols of the Soviet urban space, as the monument to Lenin, the build-ings of the regional and city administration, the Opera and Ballet Theater is also falling. Modern youth mental maps of Saratov also lack Soviet industrial giants and revolution-ary monuments. However, such architectural objects built in Soviet times as, for example, the Bridge and Victory Park on Sokolova Gora are still the main landmarks on the periphery of the city. Financing: this work is supported by the grants the Russian Science Foundation, RSF № 22-18-00153.
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Steorn, Patrik. "Med popkultur i kroppen - Benny Nemerofsky Ramsays videoverk från tidigt 2000-tal." Tidskrift för genusvetenskap 32, no. 1 (June 13, 2022): 111–25. http://dx.doi.org/10.55870/tgv.v32i1.3574.
Повний текст джерелаАнотація:
Artists who use experiences from a life outside the heterosexual norm as inspiration have attracted increasingly more attention in contemporary art during the last decade. The author suggests that one feature they have in common is the strategy to make themselves into artistic material, by means not only of their own bodies but also of the self-perceptions. They also use explicit references to the impact of pop-culture in cultural stagings of normative and non-normative notions of identities, feelings and desires. Canadian video and performance artist Benny Nemerofsky Ramsay combines both these features in his production. Works from the earlier part of the 2000s as well as interviews with the artist from mainstream media, form the primary base of this article that aims to analyze how emotions and body are used as artistic material in the work of an artist who is outside the heterosexual norm, but right in the mainstream of popular culture. In the light of theories on contemporary consumer culture, the role of the subject and of the body in contemporary art as well as popular culture as arena for self-fashioning activities, particularly two works are analyzed: I am a Boy Band (2002), and Lyric (2004). The self-perception of a gay man is used as artistic material in the work of Nemerofsky Ramsay. His childhood activities of singing in a choir and taking ballet classes are linked together with his artist’s role in his adult work. With references to traditions of “camp” and lesbian and gay performance art he uses his own body in the form of flamboyant gestures and emotional facial expressions, to stage how queer appropriating and incorporation of the surrounding culture is filled with both passion and disgust and also how these practices can point to positionalities beyond the dichotomy of depth and surface.
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Krasnovа, Nataliia. "Technologies of Aesthetic Education of Personality by Means of Theatrical Art." Bulletin of Luhansk Taras Shevchenko National University 1, no. 6 (344) (2021): 78–92. http://dx.doi.org/10.12958/2227-2844-2021-6(344)-1-78-92.
Повний текст джерелаАнотація:
The article characterizes theatrical art as a combination of pictorial possibilities of different arts: literature, stage, painting, architecture, dance, etc. Characteristics, differences of types of theater are given: dramatic, musical (opera, operetta, ballet), pantomime, puppet theater, theater of small forms, which in a way influence the formation of the personality of the younger generation. It is shown that aesthetic education can be considered as a universal means of personal development based on the identification of individual abilities, diverse aesthetic needs and interests. The purpose of aesthetic education is determined, namely, on the basis of perception, interpretation of works of art and practical artistic and creative activity to form in a person a personal and valuable attitude to reality and art, to develop aesthetic consciousness, cultural and artistic competence, ability to self-realization, need for spiritual self-improvement. It is proved that artistic and pedagogical technologies are the most effective in the process of aesthetic education of personality; their structure contains: human resources (emotionally colored subject-subject interaction, a palette of forms and methods of organizing various types of artistic and creative activities), artistic and intellectual resources (works of art, artistic knowledge, ideas, meanings, values), technical resources (audiovisual, computer); types: local (specific methods for the development of certain skills and abilities), systemic (covering the holistic educational process, various arts). Forms and methods of art and game technologies (dramatization, pantomime, staging, dramatization) that contribute to the aesthetic education of the individual are presented.
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Pickard, Angela. "Ballet body belief: perceptions of an ideal ballet body from young ballet dancers." Research in Dance Education 14, no. 1 (April 2013): 3–19. http://dx.doi.org/10.1080/14647893.2012.712106.
Повний текст джерела
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Kellermann, Mariana Marques. "LUDICIDADE: O JOGO E A BRINCADEIRA NA LINGUAGEM DA DANÇA." @rquivo Brasileiro de Educação 3, no. 6 (September 12, 2016): 106. http://dx.doi.org/10.5752/p.2318-7344.2015v3n6p106.
Повний текст джерелаАнотація:
<p>Este artigo propõe reflexão sobre a importância do desenvolvimento psicomotor no ensino-aprendizagem da dança, seja nos conteúdos apresentados pela escola formal, seja nas escolas de dança que se interessam pelos estudos da percepção corporal e por seu desenvolvimento lúdico como fio condutor para a compreensão de um ser integrado. O objetivo é mapear jogos e brincadeiras surgidos da intensidade e da espontaneidade nas aulas de dança com crianças de 7 a 9 anos de idade que pretendiam ingressar em Cursos de Formação para Bailarinos na Escola de Teatro e Dança da Universidade Federal do Pará (ETDUFPA) em 2003, na cidade de Belém do Pará.</p><p> </p><p><strong>ABSTRACT</strong></p><p>This article proposes a reflection towards the importance of the psychomotor development in the teaching/learning of dance, be it in the regular school curricula or in the dance schools interested in body perception and its ludic development as guidance to the understanding of an integrated being. The objective is to map games and plays springing from the intensity and spontaneity in dance classes with 7-to-9 year old children, who intended to enter training courses for ballet dancers at the Federal University of Pará’s Drama and Dance School (ETDUFPA) in 2003, Belém city, state of Pará.</p><p><strong>Keywords: </strong>Edutainment. Body. Dance. Movement.</p>
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Alegre, Luisa, Margarida Moura, and Maria João Alves. "The “Spontaneous 40” of Lisbon: A Dance Experience for Mature Participants." Congress on Research in Dance Conference Proceedings 2012 (2012): 1–11. http://dx.doi.org/10.1017/cor.2012.1.
Повний текст джерелаАнотація:
The present work in the form of a case study aims to identify the contribution of the dance performance “Spontaneous 40” through the personal perception of two ordinary male and five ordinary female citizens, part of a total group of 40, all over 40 years old, who, voluntarily and without any previous experience, participated in the laboratory of Madrid choreographer “La Ribot” at the “Teatro Camões” in Lisbon within the cycle of performance art called “Like You and Me.” This cycle was programmed by the art director of the theater, Mark Deputter, contradicting the idea that art has little to do with people's daily lives, and advocating the replacement of trained and disciplined bodies of classical ballet dancers on stage with the differentiated bodies of ordinary people: some small, big, fat, thin, young, or old. The Spontaneous 40 is a creative and interdisciplinary work in an artistic, cultural, and educational forum that explores the body, laughter, sounds, objects as background music, and poetic visual richness. Following a qualitative methodology, an open questionnaire was used for data collection. The data were subjected to content analysis to phenomenological grounds. The data were then subjected to a content analysis. The results of this study revealed that the unanimated adult becomes alive through dance, reconciling him- or herself with his body, with him- or herself and with others, and exploring his or her creative background and allowing him or her to build self-images of life with more energy, elegance, and creativity, away from the stereotype of aging in our present Portuguese society.
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Myroslav, Yatsiv. "THE PHENOMENON OF LIGHT IN SCENOGRAPHIC SOLUTIONS YEVHENA LYSYKA." Vìsnik Nacìonalʹnogo unìversitetu "Lʹvìvsʹka polìtehnìka". Serìâ Arhìtektura 3, no. 1 (June 15, 2021): 140–54. http://dx.doi.org/10.23939/sa2021.01.140.
Повний текст джерелаАнотація:
Scenography is a special kind of fine art and a visual aspect of a theatrical spectacle. Its task is to form the space of the stage with the help of plastic, painting and light-colour effects, which are inextricably linked with each other and theatrical action. In a theatrical performance, it is a way to immerse the spectator in something special - the atmosphere conceived by the director, created by the theatrical artist, director of light and actors. The purpose of the publication is to try to reveal the role of light and colour in the stage decisions of Yevhen Lysyk, to establish how these means formed a unique painting style of the artist, which turned his scenography into an independent component of opera and ballet performances. For the scenography of Y. Lysyk, a characteristic method is the use of optical illusions. He uses architectural and light-coloured optical illusions as a means of enhancing the perception of forms and space of scenography. Such optical illusions include the law of light irradiation, illusions of magnification of vertically arranged elements in comparison with horizontal ones, colour contrasts, subjective perception of colours (chromatic stereoscopy), etc. His stage solutions differ in their colour scheme. In most performances, the artist's scenography dominates the structure of theatrical action. The play of colour contrasts and bright spots on the huge monumental canvases causes the audience a reflexive desire to open their eyes, thereby sharpening the hearing and "turns on" the imagination. The subjective tendency to colour testifies to the inner world of the artist and at the same time to the way of his thinking, the peculiarities of his creative manner. The following research methods were used: visual, comparative, philosophical, artistic, stylistic and iconographic. Analysis of individual stage solutions Y. Lysyk allowed us to draw a theoretical conclusion: light and colour play an important role in shaping the creative concept of an outstanding theatrical artist, and contribute to the formation of his unique style and manner of performing artistic and monumental stage solutions. The theoretical assumption is made that their integral performance, in the context of composition, perspective system, proportions, ways of using light and colour approaches the basic principles of construction in iconographic images of the Christian tradition.
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Derbentseva, L. V. "Poet of light tonality (study of A.T. Tvardovsky’s poem “The House by the Road” in high school)." Literature at School, no. 4, 2020 (2020): 92–105. http://dx.doi.org/10.31862/0130-3414-2020-4-92-105.
Повний текст джерелаАнотація:
The purpose of the article is to present the experience of studying A.T. Tvardovsky’s oeuvre in the 11th grade on the example of introductory classes and the poem “House by the road”. The author focuses on the anniversary date (the 110th anniversary of the poet’s birth), the peculiarities of students’ perception of poetry, and the overview of modern methodological and literary approaches to the study of the poet’s work in different classes. On the example of the tasks of the introductory lesson, the lesson opportunities are shown (comparison of early and late works, comparison with the folklore texts, identification of a variety of forms of lyrical works at different stages of the poet’s creative work). Based on literary approaches to the poem by A.T. Tvardovsky, the methodological concept of the proposed variant of lesson planning is defined. The article presents in detail the compositional (due to the genre originality of the poem) and contextual (interpretation of the poem in other forms of art) analyses at different stages of the study of the poem. In addition, the article outlines other directions of studying the poem, which can be considered as separate independent options for studying a work of art at a literature lesson. In conclusion, the article presents the results of acquaintance with the interpretation of the poem by A.T. Tvardovsky (film-ballet by A. Belinsky) and variants of tasks for 11-grade students to compare them, as well as the analysis of tasks fulfillment. Based on the approach to the study of A.T. Tvardovsky’s oeuvre, proposed in the article, the principles and techniques of the classical methodology are updated, which, in our opinion, greatly contributes to the development of the philological and general culture of students.
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Morrison, Simon. "Still in Search of Satanilla." 19th-Century Music 46, no. 1 (2022): 3–38. http://dx.doi.org/10.1525/ncm.2022.46.1.3.
Повний текст джерелаАнотація:
In 1978 dance historian Selma Jeanne Cohen published an essay in Dance Research Journal called “In Search of Satanella.” It lamented the loss to the repertoire of a once-popular ballet about demonic love. Cohen asked a series of questions about the ballet’s 1840 genesis, reception, and transformation over time. Finding answers requires taking up bigger issues about the ballet canon, ballet taboos (including angelic dancers doing devilish things), and ballet reconstruction projects. Perceptions of nineteenth-century Romantic ballet rest primarily on its sturdier, hardier creations, much less so the looser assemblages, the bric-a-brac entertainments intended for diverse audiences. To search for Satanilla is to find more than just this one ballet. It is to discover an entire realm of the repertoire.