DOI: 10.7256/2453-613X.2024.1.69863

EDN: HJZCYP

Abstract: The article is devoted to the study of the evolution of the forms of literary works on classical dance technique of the second half of the 15th – first half of the 20th century, among which are educational and methodological manuals, dance notations, theoretical, historical and critical works, and classical dance curriculums. The creation of the first theoretical works on the art of choreography determines the upper temporal boundary of the chronological framework of the research. The development of the first classical dance curriculums determines the lower chronological limit. Until now, curriculums have not been regarded as an autonomous source, allowing to objectively assess the level of performing skills in their historical development. The research is aimed to identify the prerequisites for the emergence of this form of explanation and description of classical dance technique. It is hypothesized that already in the earliest theoretical works, the programmatic approach of the choreographic mindset can be traced. Using the historical method, the article makes a retrospective analysis of literary sources to reveal this pattern. The novelty of the research shows the importance of the classical dance curriculum not only in the evolution of professional ballet education but also in the development of the theory of choreographic art. It is concluded that there is a conventional form of classical dance curriculum in the content of the analyzed works. It was found that the methods of many outstanding teachers (P. Beauchamp, F. Taglioni, O. Vestris, E. Cecchetti) were described by their students, as they did not leave behind any published theoretical works. Other specialists in the field of choreographic art (R. Feuillet, A. Bournonville, E. Theleur, A. J. Zorn, V. I. Stepanov), on the contrary, combined several competences at once in writing methodology, theory, curriculums, and notations.

DOI: 10.7256/2453-613X.2015.1.14015

Abstract:

DOI: 10.7256/2453-613X.2015.1.66500

Abstract: The object of the research of the article is Jules Massenet’s ballet “La Cigale,” which is examined, on the one hand, as one of the composer’s works in the indicated genre (Massenet wrote three ballets) and, on the other hand, as an example of French ballet music of the turn of the 19th and 20th centuries. A certain amount of decline in the indicated period of Western European ballet as a phenomenon related to theater, that revealed itself primarily in the sphere of production and performance, paradoxically, did not affect its musical side, which is cindicated both by the multitude of the musical scores composed and the large number of composers writing them (Gabriel Pierné, Reynaldo Hahn, Edouard Lalo, Camille Saint-Saens, André Messager, Fules Massenet and others). Upon analyzing the ballet “La Cigale” the author of the article, in light of the multifaceted aspect of the issue, used a complex approach uniting the methods of historicity, literary criticism, analytical musicology and source studies. The conclusions of the work are formed by the revealed peculiarities of interpretation and rethinking of the plot used (Jean de La Fontaine’s fable “La Cigale et la Fourmi,” known in Russia as “The Dragonfly and the Ant”), the description of the inner structure of the ballet’s music (a through development with several relatively completed dancing episodes appearing during the process), the indication of the details of the musical solution (usage of the leitmotif and recurring musical fragments, musical quotations, as well as the sound of the chorus brought into the ballet’s finale). The novelty of the work consists in the comprehensive analysis of a ballet by Massenet carried out for the first time and incorporating it into the number of the few researched ballet scores by the French composers of the turn of the 19th and 20th centuries.

DOI: 10.7256/2453-613X.2015.1.13229

Abstract:

DOI: 10.7256/2453-613X.2015.1.66501

Abstract: Предметом исследования статьи стал балет Ж. Массне «Цикада», рассматриваемый, с одной стороны, как одно из сочинений этого композитора в указанном жанре (Массне принадлежат три балета), а, с другой, как пример французской балетной партитуры рубежа XIX–XX веков. Некоторое угасание в указанный период западноевропейского балета как явления театра, проявившееся, в первую очередь, в области постановки и исполнения, парадоксальным образом не коснулось его музыкальной стороны, что доказывается как многочисленностью создаваемых партитур, так и количеством композиторов, их создававших (Г. Пьерне, Р. Ан, Э. Лало, К. Сен-Санс, А. Мессаже, Ж. Массне и пр.). При анализе балета «Цикада» автор статьи, в силу многосторонности проблемы, пользовался комплексным подходом, объединяющим методы историзма, литературоведения, аналитического музыковедения и источниковедения. Выводами работы становятся выявленные особенности трактовки и переосмысления использованного сюжета (басня Ж. де Лафонтена «Цикада», в нашей стране известная как «Стрекоза и Муравей»), описание внутренней структуры музыки балета (сквозное развитие с несколькими возникающими в процессе этого развития относительно завершенными танцевальными эпизодами), указание подробностей музыкального решения (использование лейтмотива и возвращающихся фрагментов, музыкальных цитат, введенного в финале балета звучания хора). Новизна работы состоит во впервые проведенном всестороннем анализе одного из балетов Массне и введении его в число немногочисленных изученных балетных партитур французских композиторов рубежа XIX–XX веков.