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<article article-type="research-article" dtd-version="1.3" xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xml:lang="ru"><front><journal-meta><journal-id journal-id-type="publisher-id">vaganov</journal-id><journal-title-group><journal-title xml:lang="ru">Вестник Академии Русского балета им. А.Я. Вагановой</journal-title><trans-title-group xml:lang="en"><trans-title>Bulletin of Vaganova Ballet Academy</trans-title></trans-title-group></journal-title-group><issn pub-type="ppub">1681-8962</issn><publisher><publisher-name>Vaganova Ballet Academy</publisher-name></publisher></journal-meta><article-meta><article-id custom-type="elpub" pub-id-type="custom">vaganov-1468</article-id><article-categories><subj-group subj-group-type="heading"><subject>Research Article</subject></subj-group><subj-group subj-group-type="section-heading" xml:lang="ru"><subject>ТЕОРИЯ И  ИСТОРИЯ ИСКУССТВА</subject></subj-group><subj-group subj-group-type="section-heading" xml:lang="en"><subject>ТHEORY AND HISTORY OF ART</subject></subj-group></article-categories><title-group><article-title>«Я — другой»: слово и пластика в творчестве хореографа Кристал Пайт</article-title><trans-title-group xml:lang="en"><trans-title>Tarasova O. I. «I and the Other»: the word and plastic in the work of the choreographer Crystal Pite</trans-title></trans-title-group></title-group><contrib-group><contrib contrib-type="author" corresp="yes"><contrib-id contrib-id-type="orcid">https://orcid.org/0000-0002-0887-8075</contrib-id><name-alternatives><name name-style="eastern" xml:lang="ru"><surname>Лаврова</surname><given-names>С. В.</given-names></name><name name-style="western" xml:lang="en"><surname>Lavrova</surname><given-names>S. V.</given-names></name></name-alternatives><bio xml:lang="ru"><p>Доктор искусствоведения, доцент, Researcher ID: U-3307-2017.</p><p> </p><p>Ул. Зодчего Росси, д. 2, Санкт-Петербург, 191023</p></bio><bio xml:lang="en"><p>Dr. Habil; Ass. Prof., Researcher ID: U-3307-2017</p><p> </p><p>2, Zodchego Rossi St., Saint Petersburg, 191023</p></bio><email xlink:type="simple">slavrova@inbox.ru</email><xref ref-type="aff" rid="aff-1"/></contrib><contrib contrib-type="author" corresp="yes"><contrib-id contrib-id-type="orcid">https://orcid.org/0000-0003-0831-0153</contrib-id><name-alternatives><name name-style="eastern" xml:lang="ru"><surname>Ирхен</surname><given-names>И. И.</given-names></name><name name-style="western" xml:lang="en"><surname>Irkhen</surname><given-names>I. I.</given-names></name></name-alternatives><bio xml:lang="ru"><p>Доктор культурологии, доцент.</p><p>Ул. Зодчего Росси, д. 2, Санкт-Петербург, 191023</p></bio><bio xml:lang="en"><p>Dr. Habil; Ass. Prof.</p><p>2, Zodchego Rossi St., Saint Petersburg, 191023</p></bio><email xlink:type="simple">irkhen67@gmail.com</email><xref ref-type="aff" rid="aff-1"/></contrib><contrib contrib-type="author" corresp="yes"><name-alternatives><name name-style="eastern" xml:lang="ru"><surname>Тарасова</surname><given-names>О. И.</given-names></name><name name-style="western" xml:lang="en"><surname>Tarasova</surname><given-names>O. I.</given-names></name></name-alternatives><bio xml:lang="ru"><p>Доктор филос. наук, доцент.</p><p>Ул. Зодчего Росси, д. 2, Санкт-Петербург, 191023</p></bio><bio xml:lang="en"><p>Dr. Habil., Ass. Prof.</p><p>2, Zodchego Rossi St., Saint Petersburg, 191023</p></bio><email xlink:type="simple">ol.tar@mail.ru</email><xref ref-type="aff" rid="aff-1"/></contrib></contrib-group><aff-alternatives id="aff-1"><aff xml:lang="ru"><institution>Академия Русского балета имени А.Я. Вагановой</institution><country>Россия</country></aff><aff xml:lang="en"><institution>Vaganova Ballet Academy</institution><country>Russian Federation</country></aff></aff-alternatives><pub-date pub-type="collection"><year>2020</year></pub-date><pub-date pub-type="epub"><day>01</day><month>11</month><year>2020</year></pub-date><volume>0</volume><issue>4</issue><fpage>136</fpage><lpage>151</lpage><permissions><copyright-statement>Copyright &amp;#x00A9; Лаврова С.В., Ирхен И.И., Тарасова О.И., 2020</copyright-statement><copyright-year>2020</copyright-year><copyright-holder xml:lang="ru">Лаврова С.В., Ирхен И.И., Тарасова О.И.</copyright-holder><copyright-holder xml:lang="en">Lavrova S.V., Irkhen I.I., Tarasova O.I.</copyright-holder><license xml:lang="ru" license-type="creative-commons-attribution" xlink:href="https://creativecommons.org/licenses/by/4.0/" xlink:type="simple"><license-p>Данная работа распространяется под лицензией Creative Commons Attribution 4.0.</license-p></license><license xml:lang="en" license-type="creative-commons-attribution" xlink:href="https://creativecommons.org/licenses/by/4.0/" xlink:type="simple"><license-p>This work is licensed under a Creative Commons Attribution 4.0 License.</license-p></license></permissions><self-uri xlink:href="https://vaganov.elpub.ru/jour/article/view/1468">https://vaganov.elpub.ru/jour/article/view/1468</self-uri><abstract><p>В статье анализируется творчество канадской танцовщицы и хореографа Кристал Пайт в ракурсе художественной оппозиции «Я — Другой». Анализируются спектакли: «Темные материи» («DarkMatters», 2009), «Буря — реплика» («TheTempestReplica», 2011), «Травма» («Betroffenheit», 2015), «Заявление» («TheStatement», 2016). Саморефлексия, попытка познания себя через оппозицию «Я — Другой» — одна из важнейших черт постмодерн-танца в целом. Метафизика относительности, в которой один человек определяет себя через другого, отражая его движения, при этом стремится выразить себя, транслируя свой жизненный опыт в танце, была свойственна и творчеству Пины Бауш, и многим другим хореографам. Она также нашла свое выражение и в творчестве Кристал Пайт.</p></abstract><trans-abstract xml:lang="en"><p>The article analyzes the work of the Canadian choreographer Crystal Pite from the perspective of the artistic opposition «I and the Other». Analyzed are the performances «Dark Matters», «The Tempest Replica» (2011), and «Trauma» (2015) and «The Inspector General». Self-reflection, an attempt to cognize oneself through the opposition of «I» and «Other» is one of the most important features of postmodern dance in general. The metaphysics of relativity, in which you define yourself through another person, cognizing life through the reflection of the movements of an individual who expresses himself through dance, broadcasting his life experience, was characteristic of the work of Pina Bausch, and many other choreographers, found its expression in the work of Crystal Pite.</p></trans-abstract><kwd-group xml:lang="ru"><kwd>современный танец</kwd><kwd>Кристал Пайт</kwd><kwd>постмодерн-танец</kwd><kwd>текст</kwd><kwd>пластика</kwd><kwd>движение</kwd></kwd-group><kwd-group xml:lang="en"><kwd>modern dance</kwd><kwd>Crystal Pite</kwd><kwd>postmodern dance</kwd><kwd>text</kwd><kwd>plastic</kwd><kwd>movement</kwd></kwd-group></article-meta></front><back><ref-list><title>References</title><ref id="cit1"><label>1</label><citation-alternatives><mixed-citation xml:lang="ru">Постмодернизм: энциклопедия. 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