Holdings: Choreografski podchodi i žanrovi preobrazjavanija v baleti ot klasičeskija repertoar

Choreografski podchodi i žanrovi preobrazjavanija v baleti ot klasičeskija repertoar:

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Bibliographic Details
Main Author:	Janeva, Anelija D. (Author)
Format:	Book
Language:	Bulgarian
Published:	Sofija Bălgarska Akad. na Naukite, Inst. za Izkustvoznanie 2009
Edition:	1. izd.
Subjects:	Ballett Choreografie Repertoire
Online Access:	Inhaltsverzeichnis Abstract
Item Description:	In kyrill. Schr., bulg. - Zsfassung in engl. Sprache u.d.T.: Choreographic approaches and genre transformations in ballets of the classical repertoire
Physical Description:	433 S.
ISBN:	9789548594172

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Record in the Search Index

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adam_text	Съдържание НАМЕРЕНИЯ ......................................................7 Класически танц, класически балет и класически репертоар? .............10 Модерен танц, модерен балет и съвременен репертоар? .................12 И някои уточнения ..................................................13 Глава I. . ВРЪЗКИ С ЛИТЕРАТУРАТА И С ДРАМАТИЧНИЯ ТЕАТЪР Въведение .........................................................15 А/. Под влияние на литературни първоизточници ......................22 1. „Бахчисарайски фонтан — поема, драма или балет? ..............23 „Бахчисарайски фонтан — на Александър Пушкин и на Ростислав Захаров ..............................................25 2. „Ромео и Жулиета от Шекспир и балетните интерпретации ....................................... 33 Трагедията на Шекспир и прочитът на либретисти и композитор .........33 „Ромео и Жулиета на Прокофиев — Лавровски ........................37 „Ромео и Жулиета в музиката на Ламберт, Берлиоз, Чайковски и в хореографските решения на Бронислава Нижинска и Морис Бежар ........49 „Уестсайдска история на Бърстейн — Робинс .........................54 Б/. Преходът литературни първоизточници — оперни либрета — балетни творби .....................................................65 1. „А щастието беше тъй възможно, тъй близко — в роман, опера, балет ..............................................66 „Евгений Онегин — на Александър Пушкин и на Пьотр Чайковски ...............................................66 Операта на Пьотр Чайковски и балетът на Джон Кранко ................69 2. За опасната любов и предупреждението Ако аз те обичам — пази се ти .......................................................82 Кармен в представите на Проспер Мериме и на Жорж Бизе ...............82 „Кармен в решенията на Ролан Пти, Карлос Саура и Антонио Гадес, Алберто Алонсо, Мате Ек ...........................91 Версии, отдалечаващи се от новелата на Мериме ......................111 з „The Car Man на Матю Борн .......................................112 „Car Man на Иржи Килиан ........................................117 „Вариант К на Стоян Георгиев .....................................119 3. Как Дамата с камелиите от безпътна се превърна в улично цвете ........................................124 Романът „Дамата с камелиите от Александър Дюма-син ..............124 „Травиата от Джузепе Верди .......................................129 „Дамата с камелиите на Пиер Лакот ................................137 „Улично цвете (по „Травиата ) на Мариана Крънчева .................142 „Дамата с камелиите на Джон Ноймайер ...·..■.......................146 Заключение .......................................................159 Глава II. ВРЪЗКИ С МУЗИКАЛНИТЕ ФОРМИ Въведение ........................................................167 1. Вариация и монолог ............................................ 168 Вариация от „Дон Кихот на Минкус — Петипа ........................ 170 „Умиращият лебед на Сен-Сане — Фокин ........................-----174 2. Тема с вариации ................................................177 „Тема с вариации на Чайковски — Баланчйн .........................181 „Болеро от Морис Равел ..........................................191 „Болеро на Морис Бежар ..................... .....................194 „Болеро на Маргарита Арнаудова ..................................200 3. Сюита ........................................................206 Grand pas de quatre на Жул Перо .............................·......210 „Шопениана на Михаил Фокин .....................................213 4. Сонатна форма (Сонатно алегро) ...............................221 „Половецки танци на Бородин — Фокин ...........................· · 222 „Ленинградска симфония на Шостакович — Белски ...................230 5. Сонатно -симфоничен цикъл .....................................236 ¡Идеята за танцсимфония и нейните реализации ........................236 ¡„Величието на мирозданието на Лопухов ι(πο Симфония № 4 от Бетовен) ......................................240 „Симфония in D на Иржи Килиан (по Симфония № 101 от Хайдн) .....................................247 „Серенада на Чайковски — Баланчйн ....................· ■ · ·........259 Заключение ........................................... ·..........· 273 4 Глава III. РОМАНТИЧНИ СЮЖЕТИ И РАЗЛИЧИЯ В ПРОЧИТА Въведение ........................................................279 1. Предшественици на същинския балетен романтизъм ..............282 Зле опазеното момиче на Жан Добервал ............................282 Прометей на Салваторе Вигано ....................................290 2. „Силфида като начало (и предпоставен край) на романтичния балет ............................................291 „Силфида на Филип Тальони .......................................292 „Силфида на Август Бурнонвил ....................................297 3. За трансформациите на „Жизел , или чия любов се оказва измамена? .................................304 Промени в тълкуванията ...........................................312 Съвременен прочит на Мате Ек ..................................... 313 „Жизел на Асен Манолов и „Защо сега? (по „Жизел ) на Анна Пампулова ....................................315 4. Класически прочит на романтичните сюжети. „ Сънищата на Петипа ..........................................322 „Дон Кихот ......................................................324 „Баядерка .......................................................335 „Раймонда ....................................................... 343 5. „ Спящата красавица — приказка без край ......................353 Следващи промени .. .............................................365 Съвременен прочит на Мате Ек .....................................367 6. „Лешникотрошачката в опит да съчетае Хофман и Чайковски ..............................................380 Хореографски решения на Лев Иванов, Александър Горски, Феодор Лопухов, Василий Вайнонен, Игор Белски, Юрий Григорович, Ролан Пти .......................................384 Съвременен прочит на Морис Бежар .................................391 7. За имитацията в „Лебедово езеро ..............................399 Следващи промени в постановките на Александър Горски, Агрипина Ваганова, Феодор Лопухов, Константин Сергеев, Владимир Бурмейстер, Юрий Григорович ............................412 Съвременното решение на Мате Ек ..................................414 Нов прочит на Матю Борн ..........................................421 Заключение .......................................................436 ПОСЛЕСЛОВ ИЛИ ДОКЪДЕ СТИГНАХМЕ? I. Тенденции .....................................................442 А/. Между театъра и музиката .......................................442 Б/. Между чистия и действения танц ................................. 443 В/. Между подходи и зависимости ...................................444 Г/. Периоди и жанрови разграничения ................................448 II. Посоки ........................................................452 Постмодерен балет ................................................452 Тотален театър ....................................................456 Преход към виртуална реалност .....................................464 III. Докъде стигнахме? ............................................470 ПРИЛОЖЕНИЯ Кратки биографични данни за споменаваните в изследването хореографи ..........................................476 Кратки биографични данни за композитори, артисти, либретисти и други личности, споменавани в изследването .............518 Балетни термини, използвани в изследването .......................... 533 Движения от класическия танц, включени в изследването ...............545 Библиография ..................................................... 553 Summary .........................................................566 Choreographie Approaches and Genre Transformations in Ballets of the Classical Repertoire Summary The research study Choreographic Approaches and Genre Transformations in Ballets of the Classical Repertoire examines the possibilities of interpreting one type of art into another and from one genre into another when the ideas of the author are interpreted by the next authors-interpreters — librettists, composers, choreographers, actors; when different means of expression are used that modify the structure of the art work, its continuity and duration of the different features, messages. Treated are the possibilities for interpretation of a literary source as a ballet work; of a musical piece into ballet; of one ballet form /performance/ into another. The aim is to seek the interrelations between plot — music — choreography and after the changes in the idea of the work is traced following the plot transforma¬ tions, the author s music and the established at that time choreography, to point out the most common choreographic approaches and their influence on the gen¬ re definition of the work. The text examines ballets famous and indisputable étalons for their time from the classical repertoire and their interpretations in the 20th century that have changed the genre characteristics of the initial model. They are grouped not ac¬ cording to the chronology of their creation but in accordance with their com¬ mon plot lines. In this way most clearly can be seen the changes that have taken place. Compare are the structures of the plot, music and choreography and the changes that have undergone in later interpretations. But it should be borne in mind that the description of the stage work (according to scenes, pictures, ac¬ tions, chorographic themes, relations between ensemble and soloists; music-cho¬ reography) is also a kind of interpretation of the three-dimensional scene on the two-dimensional peace of paper and as such could not escape the risks of interpretation. Aspiring to dress the dance movements and the scenic solutions with words, the author of the present text offers the readers her impressions of the performance and her interpretation and in this undertaking relies to a gre¬ at extent on her knowledge and experience as a ballet performer and choreo¬ grapher. The study is divided in three chapters that comment on three general choreo¬ graphic approaches that have influenced the creation of different genres. Chapter one examines the ties of ballet art with literature and theatrical dra¬ ma. As a model of interpretation of a literary source into a ballet Pushkin s po¬ em The Fountain of Bakhchisaray and its ballet realization by the choreograph- 566 er Rostislav Zakharov (music by Boris Asafiev) are compared. And also some works influenced by Shakespeare s tragedy Romeo and Juliet — the ballet by Le¬ onid Lavrovsky (music by Sergey Prokofiev); the ballet by Maurice Béjart on the symphony by the same name by Berlioz; and the musical West Side Story (music by Leonard Bernstein, choreography by Jerome Robbins). To what extent is the attempt to literally copy the structure of Shakespeare s drama useful for these newly created works. The second part of chapter one presents works, less influenced by literary sources and more by the opera libretto of the originals. It seems that this is a mo¬ re successful version, because the action has already been synthesized in the ope¬ ra performance and a detailed retelling is not that necessary. The author exami¬ nes three plots that offer different interrelations between the literary original — the opera — the ballet. In the first one — Eugene Onegin — the ties between the novel in verse by Pushkin, the opera by Piotr Tchaikovsky and the ballet by John Cranko are clos¬ est. Tchaikovsky uses almost without change large portions of Pushkin s novel in verse but in spite of that, through the music, Tchaikovsky achieves a different in¬ terpretation and motivation of the heroes actions. Cranko literally duplicates the order of the opera scenes in his ballet, but it is based on different music by Tcha¬ ikovsky, where there cannot be found the themes hinting the actions of the ope¬ ra Eugene Onegin. The greatest changes here can be found in the image of On¬ egin. The interpretations of the next story — Carmen — are most numerous. Possi¬ bly also due to the existence of two quite different musical sources — George Biz¬ et s opera and Rodion Shchedrin s suite, perceived as a ballet on themes and mo¬ tives of Bizet s opera. In these cases a direct concurrence with the opera actions is not sought. Besides Mérimée s novel and Bizet s opera additional six dance versions are analyzed that treat in a different way not only the main protagonists but also the music themes. Roland Petit s ballet is conceived in the stylistic of classical dan¬ ce with a detailed retelling of the plot, based on Bizet s opera music. Alberto Alonso s ballet is also in the stylistic of classical dance but with much more synthesized actions, based on the music of the suite by Bizet-Shchedrin. Carmen by Mats Ek is created through modern dance and the methods of dance theater and is based on Bizet-Shchedrin s suite. Examined are also the film-ballet by An¬ tonio Gades and Carlos Saura and two modern versions on music by Bizet- Shchedrin — in Matthew Bourne s version the hero is a man with the nickname Car Man; in the second (by Jiri Kylian) the action is also connected with the cars, but the hero stays a woman. In the third analyzed story - The Lady of the Camellias - is observed the gre¬ atest detachment from the opera structure and a return to the structure of the li¬ terary source. The Lady of the Camellias first comes out as a novel and is later 567 transformed by its author Alexander Dumas, fils, into a play. A year later the ope¬ ra La Traviatta is by GiuseppeVerdi was born. Numerous ballet versions exist and the text examines three of them, different in the interrelation music-choreo¬ graphy-author s interpretation. The first one — choreography by Pierre Lacotte — is virtually a copy of the opera. The only difference being — that it looses the main theme — about the sacrificed but forgiving love, while the music themes do not find an adequate choreographic themes. The next version — Street Flower by Mariana Krancheva — also uses Verdi s music but adds concrete noises, themes from the opera, performed in an electronic version and some additional scenes without music. New protagonists also emerge — the Composer and his wife — Muse, which before the public s eyes create the opera La Traviatta while at the end the Composer (he is also Alfredo s father) is forced to kill his heroine (Vio¬ letta) in order to save the Muse s love. The third ballet version is by John Neu- meier. It is very close to the novel by Dumas, fils, and quite detached from the opera La Traviatta. It is based on music by Frederic Chopin. Restored is the ima¬ ge of Olympia — the girl with which Alfredo entertains himself after his separa¬ tion with Marguerite. Heroes from Abate Prévost work Manon Lescaut are intro¬ duced. The action takes place at three time levels (at the auction — the selling off the Marguerite s bellongings; in the past — scens from the life of Marguerite; in the novel Manon Lescaut), while the differentiation between the time levels is ac¬ complished through the selection of choreographic lexic: classical dance for the central personages of The Lady of the Camellias; ancient style dance with ove¬ rexposed jests — for Manon and Des Grieux; jests, poses, pauses and regular pa¬ ce but without dance — for the fragments at the auction. With the inclusion of the parallel stories, Neumeier s work can be interpreted as a kind of postmodern dance reading of The Lady of the Camellias. In spite of this, the work is closest to the Duma s novel. In Chapter Two the author directs our attention at another specific interpre¬ tation — the attempt of ballet art to adopt and reflect in a specific way different musical forms. The similarities and differences in the structuring of music and dance are examined; the correlation and interaction between soloist (solo instru¬ ment) and ensemble (in the orchestra and in the choreography); when and to what extent the possibilities for development of a specific musical theme on sta¬ ge is exhausted; and how to bodily reflect musical tonality, timbre, sound. But it should not be forgotten that when one theme in music is replaced by another the listener hears them in their succession while the audience sees on stage the per¬ formers of both chorographical themes. In this way the successive action in mus¬ ic turns on the stage into simultaneous. And the choreographer is obliged to find such a solution so that the carrier of the music theme that has already faded away to be excluded , if the plot requires so, or (even if this is not heard in the music) 568 to continue to speak on the stage but pianissimo , if his presence is required by the storyline. Difference can be found also at a lower level. For example in a musical pe¬ riod which has a repetitive construction, containing an even number of elements, (two complementary phases, ending with a cadenea), the choreography replies with an uneven number (three combinations and a transition). Moreover, that in choreography following each three combination (situated in a period) there fol¬ lows a regular pace which is the transition from one place to another. For a non- professional this pace-transition would look as a kind of refrain in a rondo form, although in reality it does not have any meaning for the choreography — a kind of specific dance modulation, preparing the change of place of the dancers and the graphic line which he draws on the stage by the performed triple combina¬ tions. In music the period is part of more complex and larger forms and builds the duple meter music form (consequence of two periods), triple meter music form (consequence of three periods) etc. The musical period in dance is called part. This sometimes leads to confusion since according to musical terminology part is a completed musical piece in a series of parts .1 In order to be terminologi- cally precise when speaking about musical piece we should use musical termino¬ logy (for example, duple meter music form; triple meter music form, etc.), but when we talk about choreographic decisions — we should use the dance designa¬ tions triple-part variation (on a triple meter musical material), duple-part mono¬ logue (on duple meter musical material), etc. And to a large extent this confuses the musicians as well as the choreographers. Different at a structural level are also terms, such as musical and choreo¬ graphic theme. As already defined, usually the choreographic combinations are repeated three times (without any change), followed by a normal pace-transition from one place on the stage to another. But accepted as choreographic theme is not the triple repetion but the single presentation of the combination. Quite of¬ ten over a single presentation of a musical theme extend a triple repetition of a choreographic combination-theme. The term variation also greatly differs in its musical and dance perception. Ac¬ cording to the terminology of classical ballet variation does not at all mean va¬ riation development of a given theme (as is its meaning in musical terminology). In choreography the dance variation is more close to the opera aria — a solo presentation by the artist, where he/she can demonstrate technical mastership; or to express certain feeling, showing different emotional stages. When we speak about the musical form theme with variations and its choreo- 1 See Михелс, У. Атлас Музика . С, Летера, 2000, p. 107 569 graphie reflection, than we can state that the choreographic theme is nor just a combination of movements (Pas) adequate to the musical phrase or a period, but a complete (usually compound triple) form (A-B-A), corresponding to the cho¬ reographic notions of ballet variation. In these cases the musical form theme with variations should be denoted in the choreographic language as a variation with variations (which is an obvious tautology). We should note that in choreo¬ graphy variation of the whole choreographic theme is not always achieved. The¬ re also exists a variation development of specific fragment of the theme; of cer¬ tain movements. However, not always in the case of part /A/ in the following va¬ riations the artists change part /A/ of the theme. There exist cases of parallel de¬ positing of the choreographic theme and its variation, or of parts of two different variations, performed by different groups of participants, as is the case in the ana¬ lyzed Theme with Variations by Balanchine (music by Tchaikovsky). Differences can be observed regarding the suite. Even though the dance suite gave birth to the form of the musical suite, for equivalent to the ancient musical suite in dance is considered the later classical form - Grand pas d ensemble. The new musical suite gets a dance treatment in the characteristic dance divertisse¬ ment. Both lack a story but can be successfully inserted in the dramaturgic con¬ struction of the classical ballet with a story. The examined in the text dance su¬ ites ( Grand pas de quatre by Jules Perrot and Les Sylphides by Mikhail Fo- kine) leave the framework of the ballet with a plot into works without a story. By using developing (four) dance themes, they began to resemble the development in a Sonata allegro and came closer to the form of the choreographic symphony po¬ em, in spite of the fact that the music sustains the form of musical suite. Some researchers find a connection between the new musical suite and its con¬ sequent development and transformation into a sonata-symphony cycle. In bal¬ let it is the more older dance suite (Grand pas d ensemble) that gets more pos¬ sibilities for development. Classical Grandpas d ensemble it does not become the forerunner of the choreographic sonata-symphony cycle, but of the one-part form of Sonata allegro. At that time the ballet Adagio is thought of as an Expo¬ sition, the soloists Variations — as a Development, while the ballet Coda — as a combination of musical Recapitulation /Reprise/ and Coda. Nevertheless, we ha¬ ve to note, that the classical Grand pas d ensemble endures the limitations of the unified tonality of classical dance. That is why the purposeful displacement of choreographic material in the form of a musical Sonata allegro first starts in the character dances which offers more possibilities for differentiated as dance to¬ nality themes. Examined along these lines are Polovtsian Dances from the opera Prince Igor by Borodin, the choreography of Mikhail Fokine and Lenin¬ grad Symphony (Part one of Shostakovich s Seventh Symphony), choreograph¬ er Igor Belski. The idea to create a dance composition adequate to the musical symphony be¬ longs to Fyodor Lopukhov who initially theoretically, and later in practice draws 570 out the main objective laws about the new form, called by him dance sympho¬ ny . Lopukhov staged his dance symphony The Greatness of the Universe ba¬ sed on music from the Fourth Symphony — В dur by Ludwig van Beethoven. He wanted to present dance as an interrupted process of introduction1 of one and the passing away of other choreographic themes; interpreted the change of musical major tonalities with minor by changing the viewpoint of the performed move¬ ments — from Effacé to Croisé, while the signs of dynamics (Crescendo, Diminu¬ endo, Forte, Pianissimo) he achieved by increasing or decreasing the number of participants in the dance and also by increasing and decreasing the dynamics of the performed movements. Since Lopukhov s dance symphony did not get the necessary recognition in Russia, the idea about the dance symphony became popular in the West. It was transferred by Georgii Balanchivadze (or as he is popular in the West — George Balanchine). On the basis of the already accumulated experience we could for¬ mulate some different choreographic approaches regarding the genre characteri¬ stics of the dance symphony. One of them is that of Lopukhov, Balanchine, Bel- ski, and it aims at a unique visualization of musical structures. In their case for each musical theme (or even sound) there are an adequate choreographic themes (or movement). Later Lopukhov himself corrected his initial requirements for full correspondence between the musical and the dance graphic and confirmed that such a literal copy only slowed down the choreographic decision since the vi¬ ewer anyway hears the music . According to another approach (Matthœus Pas¬ sion by Bach-Neumeier, Ninth Symphony by Beethoven — Bejárt, Romeo and Ju¬ liet by Berlioz-Béjart, etc.) the concurrence of the musical and choreographic form is only a means to understand the program-story basis. There also exist dan¬ ce symphonies where the choreographic thematic gives way and turns into a kind of background for comparison between dance solutions from the 19th and 20th century. Such is Symphony in D staged by Jiri Kylian based on music from Symphony 101, D dur by Joseph Haydn. Later the principles of the dance symphony were applied in the stage productions of ballet with story-line, with a music that was not connected with the rules of the sonata cycle. In those cases the main protagonists were treated as carriers of a specific theme — musical and choreographic. While through the development and interaction between the the¬ mes were presented the changes in the story-line and in the relationships betwe¬ en the heroes. This is also one of the directions in modern ballet theater. * The examined chapters of the study discuss two major (and extreme) choreo¬ graphic approaches to the story and to the music. The first one seeks maximum similarity with the structure of the literary source. The composition is realized as a theater performance although lacking spoken words. This is especially true for action ballets by Jean-Georges Noverre and Gasparo Angiolini, the dance pan- 571 tomimes by Mikhail Fokine, the mime-dramas by Alexander Gorsky, drama-bal¬ lets by Rostislav Zakharov and Leonid Lavrovsky. The connections with the the¬ ater are visible also in the dance-theater of Mary Wigman and Pina Bausch, in contemporary dance theater. Here the music is a kind of background. In the case of the second choreographic approach (analyzed in chapter two) the aim is to achieve a form close to the musical one. Then the musical form is dominant while the story-line ranks second. In this way were created the allego¬ rical ballets-divertissement of the time of Luis XIV, the classical ballet pageants by Marius Petipa and Lev Ivanov, the dance poems by Mikhail Fokine, the dan¬ ce symphonies by Fyodor Lopukhov, George Balanchine, Jiri Kylian, the chore¬ ographic forms theme with variations, suite, Sonata allegro. Chapter three focuses on something of a free translation of literary stories and musical forms. The examined romantic /classical/ ballets in most cases use stories from a literary source, sometimes — fairytales: La Sylphida was inspired by the fantasy story by Charles Nodier Trilby, ou le lutin d Argail; Giselle was in¬ fluenced by Heinrich Heine s Toward a history of philosophy and religion in Ger¬ many; by the poetic cycle Ghosts by Victor Hugo and Musseťs novel Frederick and Bergeretta; Don Quixote is a ballet based on the novel by the same name by Cervantes; The Pharaoh s Daughter is based on Le Roman de La Momie by Théophile Gautier; Corsair — based on Byron s poem; The Nutcracker based on Hoffman s fairytale; Sleeping Beauty — the fairytale by Charles Perrot; Swan La¬ ke is a combination of The Wild Swans and a Russian folk tale. Oriented towards stories based on literary sources, these ballets should have been close to stage productions, connected with the drama-ballet, dance-theater and theater of dan¬ ce. Actually this is not so. By contrast with the enumerated three genre variety (especially in drama-ballet), where the aim is to make a ballet translation of a li¬ terary source to an extent that it is easily recognizable, in the romantic /classical/ ballets the literary sources is used only as a starting point for new story lines, without having the engagement to strictly follow the source. The most vivid exam¬ ple is the ballet Don Quixote, where the center of attention are the love obstacles standing before the main heroes — Kitri and Basil, while the episodic presence of Don Quixote only assist in solving these problems. With that same — free translation — the romantic /classical/ ballets treat the musical form. Such are the numerous character dance suites or classical Grand pas d ensemble, which are the center of each act in the romantic ballets; the form of choreographic theme with variations in the ballet La Bayadere, the choreo¬ graphic Sonata allegro from the ballet Giselle, the principle of imitation in Swan Lake; the transfer of the choreographic theme from one character to another in Sleeping beauty. Quite often they emerge without any musical support. On one hand the romantic /classical/ ballets as if though have greater freedom in the choice of storylines and in the realization of the choreography regardless of the music that brought it. On the other — they are regarded as a premature hy- 572 brid and according to the representatives of the drama theater they are quite bra¬ inless (with these quite unexpected and not supported storylines); according to the point of view of the musicians they are very often out of the music — espe¬ cially when we talk about the music by Mincus, Puni, etc. Possibly due to the fact that the romantic /classical/ ballets are not that fixed to outside structures it is they that get at the end of the 20th century so many and different from the origi¬ nal rereading, where the genre characteristic, the heroes motivation and often the end of the work are changed. And here we should make the distinction between romantic and classical bal¬ lets. Even though the romantic ballets are defined by the general title classical ballets there are many differences. Romantic ballets are much closer to the bal¬ let with a storyline, while the classical ballets use the story only in a formal way — only as a cause for dancing and in this aspect are closer to the ballets not that much relying on the storyline . In the case of romantic ballets the inserted in the center of action Grand pas d ensemble develop the theme about the impossible, unreal love; in classical ballets the form of Grand pas d ensemble serves as de¬ monstration of technique. For the romantic ballets the tie real-unreal world is es¬ sential, for classical ballets — formal. In ballets, such as La Sylphida, Giselle, Sle¬ eping Beauty, Nutcracker, Swan Lake, after staying in the unreal world the hero¬ es returns back different — he looks at the real world in a different way. While in Pahita, Corsair, Pharaoh s Daughte, Don Quixote, Raimonda the heroe does not change even when he gets in touch with the irreal. The romantic ballets offer gre¬ ater freeedom in their interpretation also due to the possibility to enter another, paralel world, the understanding of which often overturns the laws of the real world; classical ballets do not have this duality, and due to this — dual/many/re¬ ason of the interpretation and for that is not subject of secondary interpretations — some of them are not performed even in their unique version, familiar from the time of Marius Petipa. That is why I suggest defining as romantic ballets La Sylphida, Giselle, Sleeping Beauty, Nutcracker, Swan Lake while as classical bal¬ lets - Pahita, Corsair, Pharaoh s Daughte, Don Quixote, Raimonda. La Bayade¬ re is a special case because eventhough third act — The Shadows — reminds us of a romantic dream and is different then all the others, second act (the marria¬ ge of Solor and Gamzati) and fourth act (continuation of the interrupted marri¬ age) show that Solomor has not changed and has not refused to marry even fol¬ lowing his sojourn in the world of shadows. In this aspect La Bayadere remains a classical ballet. Starting point for the modern interpretation of romantic ballets became those same romantic ballets. They turned into a stronghold-source, which is commen¬ ted or interpreted in a different way in the new version. It is possible also to have a kind of citations from former productions (which reminds us of the phe¬ nomena, defined as post-modern). In modern interpretations of romantic ballets visible changes can be observed - the literary source and the musical form loose 573 their vital importance. Than with music with a numerological structure, which is closer to the expressiveness of the dance-theater /Tanzteater/, the uninterrupted choreographic structure is realized. The author analyses some romantic ballet performances: La Sylphida chore¬ ography by Filippo Taglioni and the other version choreographed by August Bournonville, Giselle choreography by Coralli-Perrot-Petipa, La Bayadere, Don Quixote, Raimonda, Sleeping Beauty choreography by Marius Petipa, Nutcracker choreography by Lev Ivanov, Swan Lake choreography by Marius Petipa and Lev Ivanov. Analyzed in the text are some modern interpretations of romantic ballets: La Sylphida - choreography by Matthew Bourne; Giselle - choreography by Mats Ek and the other version choreographed by Anna Pampulova; Sleeping Beauty - choreography by Mats Ek; Swan Lake — choreography by Mats Ek and the other version choreographed by Matthew Bourne; Nutcracker — choreography by Maurice Béjart. Besides the general changes in the approach of the choreographers to the plot and music, partial changed (commented upon in the Afterward) can be observed — classical dance is replaced with modern dance; variations, as the smallest structure-forming form of classical ballet, gives way to the much more active du¬ et form; the strive towards movement and flight of classical dance is displaced by more static poses and attempts of the dancer to blend with the earth. Changed is the correlation movement-pose; ensemble-soloist; dance-pantomime. And so¬ mething else — the dance does not act anymore as ballet, it turns into a theater — very often defined as a total dance theater since it includes elements from other arts — spoken or sung words, video projections, multimedia, collage from diffe¬ rent plot elements, musical fragments, concrete sounds. The genre changes that can be observed during the last decades astonishingly remind us of the models from former centuries. In its aim to make a collage of plots from literary (ballet) sources and to express new content in comparing them, post-modern ballet is closest to romantic ballets (discussed in Chapter III). The multimedia projections, transmitted on a video screen parallel with the sta¬ ge actions and sometimes shot with the dancing on the stage actors, create a dif¬ ferent reality (denoted sometimes as virtual reality), which achieves its different suggestion and is often related to the choreography as the romantic ballets with the used as a starting point literary plot-original. In the total dance theater (clos¬ est to theatrical forms and to the versions, discussed in Chapter I), where there are mixed theatrical, opera, dance, video and architectural structures and ele¬ ments, most stable as a component (no matter how paradoxical) turns out to be the sound medium. In this sense one can find references with the ties of the dan¬ ce with musical forms (commented in Chapter II). The existing repetitions can be observed not only in the choreographic ap¬ proaches. Today s total theater is actually an inheritor of the ancient ritual festi- 574 vities and passion-plays, of the total artwork (Gesamtkunstwerk) of Richard Wa¬ gner, of the sound, light and color performances of Alexander Scriabin, of the dance-theater and the expressionist theater. The arbitrary blending of plots from different times and genres is characteristic not only of post-modern art, it can be observed in the Middle Ages and the Renaissance, and in some arts — during the Classicism. Concerning virtual reality — although being a product of the 20th cen¬ tury, through its dream of another, better reality, it strikingly reminds the realiza¬ tions of the romantic ballets. The differences lie in the means of expression and in the presentation, in the message. That is why I think that the numerous definitions that have sprung during the last few years, such as modern — post-modern ballet, dance theater — total dan¬ ce theater, avant-garde dance theater, etc., should not be perceived as final be¬ cause they are still subject to finalization. There exists the danger of under eva¬ luating or omitting the observed processes. There could be also cases where the more precise definition of a certain term might lead to its displacement — in practice, where it has already changed its essence or in the intertwining of simi¬ lar characteristics in theoretical definitions. In fact, if we trust Dahlhaus and his Esthetics of Music: There could be noth¬ ing more erroneous than to consider that one is discovering the actuality of what has passed when it is stylized as a prehistory of the present... It is much better to rationalize the rudiments and the interrupted lines in the developments that ha¬ ve been left aside by history that reaches us than to seek the pre-forms of moder¬ nity .2 2 Dahlhaus, Carl. 1982. Esthetics of music. Translated by William W. Austin. Cambridge & New York: Cambridge University Press. 575
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id	DE-604.BV036130706
illustrated	Not Illustrated
indexdate	2024-07-09T22:37:34Z
institution	BVB
isbn	9789548594172
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physical	433 S.
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spelling	Janeva, Anelija D. Verfasser aut Choreografski podchodi i žanrovi preobrazjavanija v baleti ot klasičeskija repertoar Anelija Janeva 1. izd. Sofija Bălgarska Akad. na Naukite, Inst. za Izkustvoznanie 2009 433 S. txt rdacontent n rdamedia nc rdacarrier In kyrill. Schr., bulg. - Zsfassung in engl. Sprache u.d.T.: Choreographic approaches and genre transformations in ballets of the classical repertoire Ballett (DE-588)4004351-4 gnd rswk-swf Choreografie (DE-588)4069977-8 gnd rswk-swf Repertoire (DE-588)4338256-3 gnd rswk-swf Ballett (DE-588)4004351-4 s Choreografie (DE-588)4069977-8 s Repertoire (DE-588)4338256-3 s DE-604 Digitalisierung BSBMuenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=020213014&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=020213014&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract
spellingShingle	Janeva, Anelija D. Choreografski podchodi i žanrovi preobrazjavanija v baleti ot klasičeskija repertoar Ballett (DE-588)4004351-4 gnd Choreografie (DE-588)4069977-8 gnd Repertoire (DE-588)4338256-3 gnd
subject_GND	(DE-588)4004351-4 (DE-588)4069977-8 (DE-588)4338256-3
title	Choreografski podchodi i žanrovi preobrazjavanija v baleti ot klasičeskija repertoar
title_auth	Choreografski podchodi i žanrovi preobrazjavanija v baleti ot klasičeskija repertoar
title_exact_search	Choreografski podchodi i žanrovi preobrazjavanija v baleti ot klasičeskija repertoar
title_full	Choreografski podchodi i žanrovi preobrazjavanija v baleti ot klasičeskija repertoar Anelija Janeva
title_fullStr	Choreografski podchodi i žanrovi preobrazjavanija v baleti ot klasičeskija repertoar Anelija Janeva
title_full_unstemmed	Choreografski podchodi i žanrovi preobrazjavanija v baleti ot klasičeskija repertoar Anelija Janeva
title_short	Choreografski podchodi i žanrovi preobrazjavanija v baleti ot klasičeskija repertoar
title_sort	choreografski podchodi i zanrovi preobrazjavanija v baleti ot klasiceskija repertoar
topic	Ballett (DE-588)4004351-4 gnd Choreografie (DE-588)4069977-8 gnd Repertoire (DE-588)4338256-3 gnd
topic_facet	Ballett Choreografie Repertoire
url	http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=020213014&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=020213014&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA
work_keys_str_mv	AT janevaanelijad choreografskipodchodiizanrovipreobrazjavanijavbaletiotklasiceskijarepertoar

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