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Genesis: Historical research
Reference:

Manifestation of attributes of American culture in the works of George Balanchine

Fugina Ol'ga

Senior Educator, the department of Classical Dance, Moscow State Institute of Culture

141406, Russia, Moskovskaya oblast', g. Moscow, ul. Bibliotechnaya, 7, of. 110

temple_dance@mail.ru

DOI:

10.25136/2409-868X.2019.11.31262

Review date:

04-11-2019


Publish date:

02-12-2019


Abstract.

The object of this research is the works of the Russian-American ballet master George Balanchine, viewed through the prism of dominant features of American culture, which in turn, were determined and formulated by the author (duality, permanent transformation, strive for innovation, American communicative behavior, “special” treatment of women, mass culture). In the course of this study, the author analyzes the cultural phenomena and processes common to the American society, as well as assesses the level of Balanchine’s integration into American culture as a creative individual and generator of ideas. The novelty of this research lies in the first ever culturological analysis of the work of George Balanchine; previously, his heritage was viewed from the perspective of art or ballet studies. It is concluded that despite the 50-year stay of George Balanchine in the United States, the nature of his creative thought remained Russian, while the means of realization leant on the American reality. Therefore, namely such cultural diffusion generated the new ballet aesthetics – neoclassical, which became traditional for the American ballet theatre. The conducted analysis allows to more profoundly understand Balanchine’s ballet heritage by the theoreticians and practitioners of ballet.  

Keywords: attitude towards women, intention for innovation, permanent transformation, duality, the features of the American culture, American ballet, Gorge Balanchine, mass culture, American communicative behavior, cultural diffusion
This article written in Russian. You can find full text of article in Russian here .

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