Ausdruсkstanz та стилістика балетмейстерської творчості в Німеччині ХХ століття
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Дата
2018
Назва журналу
Номер ISSN
Назва тому
Видавець
ФОП Цьома С. П.
Анотація
У статті розглянуто ґенезу вільного (за іншою термінологією експресивного або виражального) танцю в Німеччині з огляду на тенденції розвитку хореографічного мистецтва в минулому столітті. Презентовано спробу узагальнення значного масиву естетичних і мистецьких завдань, які стоять перед дослідниками проблеми змістовності хореографічного твору. Висвітлено особливості становлення хореографічного мистецтва та стилістики балетмейстерської творчості в Німеччині між двома світовими війнами. Визначено основні художні чинники означеного процесу, зокрема ідеї вільного танцю, які розвивались у країні під впливом експресіонізму. Доведено, що в Німеччині 20-х років минулого століття танець став головним мистецьким жанром, у якому суголосні тогочасному суспільству ідеї тілесності пропагувалися невербальними хореографічними засобами.
The article describes the process of development of German free, in another terminology - expressionist dance (Ausdruckstanz) in connection with general trends of choreographic art of the XX century. It is indicated that this study has a debatable character and is an attempt to generalize a large layer of aesthetic and artistic problems associated with scientific understanding of the issues of the content of the choreographic work. It is determined that German choreographic art of the XX century was formed in a very difficult period between the two world wars. Its main artistic factors were the ideas of free dance, characteristic of this period in general. However, in Germany they developed under the influence of expressionism. It is proved that dance in Germany of the 1920s became the main artistic genre, in which actualized ideas of the cult of the body were expressed through non-verbal means. This is confirmed by solo, heroic-dramatic compositions by M. Wigman, and group dances staged by Rudolf von Laban, and later by Kurt Jooss, who found in plastics paints and forms of social satire similar to the poster genre in visual arts. The ideology of the Third Reich did not recognize the leading role for Ausdruckstanz in artistic search and, as in Soviet state, prevented any manifestations of “modernism ’’ in art. After the World War II, if choreographers and other figures in the field of artistic culture (G. Palukka, T. Schilling and others) chose GDR as a place of residence, they simultaneously proclaimed social and artistic laws that regulated the socialist part of Germany. Thanks to such pioneers of Ausdrmkstanz as K. Jooss, H. Holm, G. Bodenweiser, German free dance spread in South America, the USA, and Australia respectively. In its turn, Germany, which did not have academic dance traditions, did not know the cult of ballet neoclassicism. Some modern German choreographers used experience of expressive dance by indirect means (D. Neumayer), some, like P. Bausch, found common ground between Ausdruckstanz and the aesthetics of late postmodernism.
The article describes the process of development of German free, in another terminology - expressionist dance (Ausdruckstanz) in connection with general trends of choreographic art of the XX century. It is indicated that this study has a debatable character and is an attempt to generalize a large layer of aesthetic and artistic problems associated with scientific understanding of the issues of the content of the choreographic work. It is determined that German choreographic art of the XX century was formed in a very difficult period between the two world wars. Its main artistic factors were the ideas of free dance, characteristic of this period in general. However, in Germany they developed under the influence of expressionism. It is proved that dance in Germany of the 1920s became the main artistic genre, in which actualized ideas of the cult of the body were expressed through non-verbal means. This is confirmed by solo, heroic-dramatic compositions by M. Wigman, and group dances staged by Rudolf von Laban, and later by Kurt Jooss, who found in plastics paints and forms of social satire similar to the poster genre in visual arts. The ideology of the Third Reich did not recognize the leading role for Ausdruckstanz in artistic search and, as in Soviet state, prevented any manifestations of “modernism ’’ in art. After the World War II, if choreographers and other figures in the field of artistic culture (G. Palukka, T. Schilling and others) chose GDR as a place of residence, they simultaneously proclaimed social and artistic laws that regulated the socialist part of Germany. Thanks to such pioneers of Ausdrmkstanz as K. Jooss, H. Holm, G. Bodenweiser, German free dance spread in South America, the USA, and Australia respectively. In its turn, Germany, which did not have academic dance traditions, did not know the cult of ballet neoclassicism. Some modern German choreographers used experience of expressive dance by indirect means (D. Neumayer), some, like P. Bausch, found common ground between Ausdruckstanz and the aesthetics of late postmodernism.
Опис
Ключові слова
Ausdruckstanz, вільний танець, хореографічне мистецтво, балетмейстерська творчість, експресіонізм, Німеччина, free dance, choreographic art, choreographic creativity, expressionism, Germany
Бібліографічний опис
Чепалов, О. І. Ausdruсkstanz та стилістика балетмейстерської творчості в Німеччині ХХ століття [Текст] / О. І. Чепалов // Актуальні питання мистецької освіти та виховання : наукове видання / МОН України, Сумський державний педагогічний ун-т ім. А. С. Макаренка ; [редкол.: Г. Ю. Ніколаї, А. Валюга, Н. П. Гуральник та ін.]. – Суми : [ФОП Цьома С. П.], 2019. – Вип. 1 (12). – С. 46–57.