No 6 (2016)
VAGANOVA BALLET ACADEMY: EXPERIENCES, TRADITIONS, PRACTICE
7-12 729
Abstract
The paper constitutes a review of some archival notes and comments on classes characterizing A. Vaganova’s pedagogical laboratory. It is also about the problem of pedagogical support for the educational process in classical dance classes.
THEORY AND HISTORY OF CHOREOGRAPHIC ART
13-22 387
Abstract
The article is devoted to musical variation technique as a genre or form of a classical ballet theatre. The history of ballet variations in a context of art music creative composer’s process is reconstructed. The historical interaction between the musical and choreographic content is also traced. It is manifested in a dialog comprehension and an intertextual reference to the context of the plastic arts. Synthetic qualities of variation that were formed in the era of M. Petipa and P. Tchaikovsky are revealed in addition to its typical characteristics.
23-31 270
Abstract
This article is dedicated to the Bolshoy and the Mariinsky theatres artists’ guest tours to Voronezh in the turn the 19th and the 20th centuries. The development of local musical and choreographic arts under the guest tour activity is evaluated by the author.
32-38 328
Abstract
This article focuses on a famous St. Petersburg artist Vasily Bratanyuk’s works. One of the primary themes of his creative output is a ballet art. A cycle of paintings and sketches dedicated to young female students of Vaganova Ballet Academy is analyzed.
39-43 514
Abstract
This article is devoted to the fate and long artistic path of the Russian dancer and choreographer Nikolay Yavorsky who became the first teacher of classical dance in the Cuban ballet school in Havana. It contains memories of events that took place in school, the first of his best students: Alicia and Fernando Alonso, who later together with Alberto Alonso became the founders of the National Ballet of Cuba and the Cuban National Ballet School
PEDAGOGY AND METHODS OF TEACHING
44-49 413
Abstract
The article tells about how to build a piano repertoire for children. The author offers to use so-called “play-devotion” in the process of teaching, which might give students some “clues” of mastering different musical styles. Particular attention is paid to a comparative performing analysis of some compositions of E. Sati and C. Debussy and also the significance of repertoire is shown.
THEORY AND PRACTICE OF MODERN ART
50-58 379
Abstract
The article is about instrumental musical forms of passacaglia and chaconne at the turn of the 20th and the 21st centuries in Russia. The author believes that polyphonic forms and genres receive a new interpretation as well as new structural models form in the works of St. Petersburg composers. The connection of several genres and the destroying of tonality are observed. A new status of polyphonic theme is considered. An attempt is made to analyze the ability of contemporary compositional techniques to develop the polyphonic form as well as the relationship between musical traditions and innovations.
59-68 433
Abstract
The article aims to look at the conception of ‘muscular bounding’ - experience of human beings moving in unison - in relation to dance practice ranging mass dance at the beginning of the XX century as a possibility of creating a new form of communities, a new aesthetic experience of spectatorships starting in the middle of the XX centuries and new forms of collectiveness suggested by practice of social choreography and even more by social movement.
69-79 487
Abstract
The article is dedicated to the centenary of the beginning of Dadaism in Switzerland in 1916. It identifies a theatre aspect in a variety of Dada artist’s activity. This is about Hugo Ball, Emmy Hennings, Т. Tzara and J. Arp. Dadaist groups that organized theatrical performances appeared in Germany and France. They acted their events since 1918. The Mute Canary play by G. Ribemont-Dessaignes is analyzed as the example of Dadaist playwriting
80-86 396
Abstract
The article explores de Keersmaeker‘s choreographic reading of an example of the spectral music (viz. Vortex Temporum) by a French composer G. Grisey. The author analyzes the reasons why de Kersmaker, known for her preference for American musical minimalism, refers to a sample of new French Spectral music. The author comes to conclusion that, being absolutely incommensurable in aesthetic terms, minimalism and spectralism, nevertheless demonstrate some similarity in repetition, also in the ratio of micro- and macro spaces and temporal statics in general and in G. Grisey’s Vortex Temporum in particular.
87-96 283
Abstract
The article tracks the intersection between the history of the Fluxus group and the movement, on the one hand, and a biography of George Maciunas, the movement’s founder, on the other. The main facts of the last period connected with the Lithuanian born American artist’s life in New York are highlighted. It is made a conclusion that Fluxus aesthetics in the 1960s and 1970s were influenced by Maciunas’s ideas and biography. The unity of Maciunas’ biography and the Fluxus group history is proved by essential facts. The most characteristic features in Machiunas’s activity for the fluxus style are described.
97-106 260
Abstract
The article is devoted to the instrumental theater which is one of the leading music-theatre genres today. The main object of the analysis is the simulation of game processes by means of instrumentalists moving in the space of a stage. Musical opuses written by O. Bochikhina, F. Karaev, S. Zhukov, J. Xenakis, D. Brecht, V. Suslin, H. Pousseur, R. Erickson, K. Wulff are considered as examples.
PROKOFIEV AND SHOSTAKOVICH: IN MEMORY OF THE GREAT MUSICIANS
107-115 470
Abstract
The analysis of art poetics of Prokofiev’s Fifth Symphony (1944) in a context of a typical composer’s professional strategy of the first ‘Soviet’ decade is made in the article. The strategy was peculiar because of its one-time double focus. It has adopted ‘Grand style’ standards of socialist realism, on the one hand, and aimed to achieve a foreign audience success, on the other hand.
116-126 363
Abstract
The article is devoted to the greatest soviet composers, namely S. Prokofiev and D. Shostakovich and their attitude toward a ballet genre. The composer’s comments focused on figurative and substantial specifics of the ballet, also nuances of musical and dramaturgic work and the relationship between a composer and a ballet master are analyzed.
127-136 364
Abstract
The article is devoted to phenomenon of a new piano style in the 20th century which is connected with graphic drawing of a piano writing. The presence of a new way of notating music is demonstrated in S. Prokofiev’s creativity. Sources of this direction have begun to be formed in performing and composer style of the head of a New Russian school, in particular, in Balakirev’s Islamey.
137-147 375
Abstract
Within the framework of receptive studies some principles and mechanics relevant to a scientific biography genre that were characteristic of a soviet museology are analyzed in an article. The biographies of S. Prokofiev, created in the Soviet period, are reviewed. The influence of ideology both on methods and manner of interpretation of facts about the life and creative work of the composer is explored. Written by I. Nestiev, an unparalleled Prokifiev’s biography is in a focus is of this paper. Three editions of the Great Soviet Encyclopedia, then the Music Encyclopedia and popular scientific monographs from the ‘ZhZL’ series by S. Morozov and I. Vishnevetsky were also under review.
148-161 342
Abstract
The article analyzes a wide public and professional discussion unfolded in the media after the premiere of the second version of Shostakovich’s opera, viz. Katerina Izmaylova ,had took place at the Bolshoi Theater (February 2016). The methodology of historical and textual analysis is applied. It is revealed that, while criticizing Shostakovich, the modern musical community is trying to build its own positive identity, operating with the logic of binary thinking which is a characteristic of the Soviet era. It is concluded that the image of a dissident composer was an information pre-setting quite useful for a negative evaluation of the Bolshoi Theater’s production.
CURRENT ISSUES OF BIOMEDICAL SUPPORT OF CHOREOGRAPHY
162-168 903
Abstract
The article is devoted to the peculiarities of the joints, muscles and arches of foot encountered in students of the Ballet School. The choreographic exercises that can cause changes in the joints as well as arches of the foot and, as a result, lead to injuries and deformity of the musculoskeletal system are examined from anatomical and biomechanical points of view. The results of a study conducted in Samara Ballet School by the Laboratory of Biomechanics clinics of Samara State Medical University are represented. They confirm that such violations as flat foot and hallux valgus deformity are widespread among students.
169-177 496
Abstract
The article describes a variety of modern diagnostic methods, also the ways of prevention and selection of technologies for sport dancer’s recovery and rehabilitation after micro traumatic injuries and diseases. A special attention is given to homotoxicology.
178-184 614
Abstract
The article is devoted to the analysis of the daily diet and health status of the girls of the reference group engaged in rhythmic gymnastics during the one-year cycle of basic training. Significant deviations in the diet and regime of diet of gymnasts from the recommended standards have been revealed, and as a consequence: almost 100% of the musculoskeletal system (flat feet, scoliosis, posture disorder), high frequency of pathological changes in the gastrointestinal tract and myopiaMany of these defects can be a particular manifestation of the connective tissue dysplasia syndrome.
TRANSLATIONS
185-192 241
Abstract
The aim of this article is to show that Leonardo’s remarks about the discipline of art are an important aspect of his thought and an important feature of its modernity, to suggest that his overall approach to art needs to be seen, not only in terms of an emerging scientifi c mentality, but also against a background of new economic and social pressures equally characteristic of the modern world. The translation is made from: Williams R. The Spiritual Exercises of Leonardo da Vinci // A Companion to Art Theory. Blackwell Publishing, 2002. pp. 75-87. Article is published with the kind permission of the author.
CHRONICLE OF EVENTS
197-200 266
Abstract
The article is devoted to the jubilee of the St. Petersburg State Academic Ballet Theater named after Leonid Yakobson. The author traces the way traversed by the troupe, marks the features of each of the four stages, briefly characterizes the activity of the company’s leaders - L. V. Yakobson, A. A. Makarov, Yu. N. Petukhov and A. G. Fadeev. The emphasis is on the repertoire policy of the leaders, in particular, on the problem of preserving the masterpieces of the founder of the Jacobson troupe.
ISSN 1681-8962 (Print)
