Симфонізація музики і танцю у європейському балеті ХІХ століття як взаємодія мистецтв
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Дата
2023
Назва журналу
Номер ISSN
Назва тому
Видавець
СумДПУ імені А. С. Макаренка
Анотація
Розкрито специфіку музичного супроводу балетних вистав, з’ясовано, що до межі XVIII–ХІХ ст. ‐ в першій половині ХІХ ст. музика в балеті була збірною, тобто компонувалась з різних творів різних авторів. З початку ХІХ ст. опанування нової сюжетної та образної сфери романтичного мистецтва позначилось на оновленні хореографічної та музичної стилістики та сприяло єдності музики, драматичної дії і танцю в балеті. З 1840‐х років музика для балетних вистав створювалась вже спеціально, але зберігала свою «прикладну» функцію для супроводу танців і створення загального настрою у виставі. У творчості визнаних композиторів т. зв. «легкого» жанру – А. Адана, Л. Деліба, Л. Мінкуса та ін. ‐ посилення ролі музичної складової та надання оркестровому супроводу самостійного драматургічного значення вплинули на становлення симфонічного танцю в європейському балеті в другій половині ХІХ ст. Балетна творчість П. Чайковського завдяки основному акценту на драматургію музичного розвитку завершила процес симфонізації балету як взаємодії музики і танцю.
The purpose of the article is to explore the symphonization of music and dance in European ballet as a process of interaction between these arts and as an art history problem. The methodological basis. The methodology has a complex in nature, based on the involvement of: source‐based method for analyzing the materials of the article; historical and cultural approach to reflect the evolution of music and dance in European ballet; systematic approach with the priority of the integrity of the ballet performance as the interaction of music and dance; comparative analysis to compare the features of musical accompaniment of ballet performances in each historical period. Scientific novelty. The process of symphonization of music and dance in European ballet as an art history problem is considered, the historiography of the problem under study is reflected, the historical features of the interaction of music and dance in ballet art are revealed; the symphonization of music and dance in the ballet works of A. Adan, L. delib, L. Minkus, P. Tchaikovsky is analyzed. Conclusions. The specifics of the musical accompaniment of ballet performances in each historical era determined the nature of dance movements. Until the turn of the XVIII–XIX centuries and in the first half of the XIX century, music for ballet performances was combined, that is, it was composed of various works by different authors. During this period, there was a practice of creating ballet music by choreographers themselves (G. Angiolini, F. Antonolini, С. Blasis, etc.). The appeal to the new plot and imaginative sphere of romantic art affected the renewal of the choreographic and musical stylistics of ballet. In romantic ballet, the unity of music, dramatic action and dance was achieved. Starting from the 1840s, music for ballet performances was created specifically (the first ballet with specially written music was A. Adan’s “Giselle”, 1841). However, the music of most ballets of the Romantic era retained its “applied” function – it was intended to accompany dances and create a general mood in the performance. In the works of recognized composers of the so‐called “Light” genre – A. Adan, L. Delib, L. Minkus, etc., a significant role of the musical component and giving orchestral accompaniment an independent dramatic significance, that is, the symphonization of the music of ballet works, influenced the formation of symphonic dance in European ballet in the second half of the XIX century.
The purpose of the article is to explore the symphonization of music and dance in European ballet as a process of interaction between these arts and as an art history problem. The methodological basis. The methodology has a complex in nature, based on the involvement of: source‐based method for analyzing the materials of the article; historical and cultural approach to reflect the evolution of music and dance in European ballet; systematic approach with the priority of the integrity of the ballet performance as the interaction of music and dance; comparative analysis to compare the features of musical accompaniment of ballet performances in each historical period. Scientific novelty. The process of symphonization of music and dance in European ballet as an art history problem is considered, the historiography of the problem under study is reflected, the historical features of the interaction of music and dance in ballet art are revealed; the symphonization of music and dance in the ballet works of A. Adan, L. delib, L. Minkus, P. Tchaikovsky is analyzed. Conclusions. The specifics of the musical accompaniment of ballet performances in each historical era determined the nature of dance movements. Until the turn of the XVIII–XIX centuries and in the first half of the XIX century, music for ballet performances was combined, that is, it was composed of various works by different authors. During this period, there was a practice of creating ballet music by choreographers themselves (G. Angiolini, F. Antonolini, С. Blasis, etc.). The appeal to the new plot and imaginative sphere of romantic art affected the renewal of the choreographic and musical stylistics of ballet. In romantic ballet, the unity of music, dramatic action and dance was achieved. Starting from the 1840s, music for ballet performances was created specifically (the first ballet with specially written music was A. Adan’s “Giselle”, 1841). However, the music of most ballets of the Romantic era retained its “applied” function – it was intended to accompany dances and create a general mood in the performance. In the works of recognized composers of the so‐called “Light” genre – A. Adan, L. Delib, L. Minkus, etc., a significant role of the musical component and giving orchestral accompaniment an independent dramatic significance, that is, the symphonization of the music of ballet works, influenced the formation of symphonic dance in European ballet in the second half of the XIX century.
Опис
Ключові слова
європейський балет, балетна творчість, взаємодія музики і танцю, симфонізація балетної музики, симфонічний танець, синтез мистецтв, European ballet, interaction of music and dance, symphonization of ballet music, symphonic dance, synthesis of Arts
Бібліографічний опис
Зав’ялова, О. Симфонізація музики і танцю у європейському балеті ХІХ століття як взаємодія мистецтв [Текст] / О. Зав’ялова, О. Стахевич // Педагогічні науки: теорія, історія, інноваційні технології : науковий журнал / МОН України, Сумський державний педагогічний ун-т ім. А. С. Макаренка ; [редкол.: А. А. Сбруєва, М. А. Бойченко, О. А. Біда та ін.]. – Суми : СумДПУ ім. А. С. Макаренка, 2023. – № 2 (126). – С. 320–329. – DOI 10.24139/2312‐5993/2023.02/320‐329