Становлення та розвиток танцювальних моделей мислення у франції в XVII–ХІХ століттях

Abstract

У статті досліджено процес становлення та розвитку танцювальних моделей мислення у Франції в XVII–ХІХ століттях, що є підґрунтям для дослідження специфіки формування європейської хореографічної культури. Охарактеризовано феномен “хореографічна система”, соціальні та культурно-історичні принципи епохи. Висвітлено культуро-освітні й художньо-естетичні процеси, соціальні та етнографічні фактори, які впливали на еволюцію і характер танцювальних моделей мислення у Франції ХVІІ–ХІХ століть у цілісному західноєвропейському хореографічному просторі.

В статье исследуется процесс становления и развития танцевальных моделей мышления во Франции в XVII–XIX века, что является основой для исследования специфики формирования европейской хореографической культуры. Охарактеризованы феномен “хореографическая система”, социальные и культурно-исторические принципы эпохи. Освещены культуро-образовательные и художественно-эстетические процессы, социальные и этнографические факторы, которые повлияли на эволюцию и характер танцевальных моделей мышления во Франции XVII–XIX веков в целостном западноевропейском хореографическом пространстве.

The article examines the process of the formation and development of dance models of thought in France in the XVII–XIX centuries, which is the basis for the study of the specificity of the formation of the European choreographic culture. Outlining the traditions of French choreographic art, the author examines the phenomenon of “choreographic system”, the social and cultural-historical principles of the era. Particular attention is paid to the consideration of cultural-educational and artistic-aesthetic processes, social and ethnographic factors that influenced the evolution and character of dance patterns of thinking in France in the XVII–XIX centuries in the whole Western European choreographic space. Exploring the peculiarities of the development of choreographic culture in France in the XVII century, it was revealed that it is characterized by the spread of the choreographic theory of P. Boshan and R. Fey. P. Boshan created the system of academic design of the theater movement and the position of the dancer. Its main differences were the new educational guidelines for dance: position, honesty, perseverance, and so on. The structural components of his concept were the music theory of J. Ramo and the method of distribution at the pace. The purpose of the theory is to educate a professional academic dancer. Dwelling on the main transformations of choreographic art performed by P. Boshan, three main directions are singled out: the first is the theory of the dance phrase; the second is the theory of positions; the third is the theory of coordination of movements and the choreographic law of horizontality. Successor P. Boshan R. Feyе records and transfers the academic achievements of dance technology to the stage conditions. It has opened up new compositional possibilities and prospects of movement (three-dimensional space). In the XVIII century there was a gap between theory of learning and stage practice. Alongside this, there is a distinction between arts (opera ballet), dance crafts (salon dance) and professional dance vocabulary. There are a number of individual choreographic genres (R. Fossano, G. and A. Vestris, S. Didlо, etc.). The result was a new type of dancer-professional demi-caractère in the genre la dance haute. The purpose of individual practical concepts was the formation of an opera and ballet dancer – an artist. Using the data provided, the author claims that due to the dance reform, individual style and national temperament, the development of the choreographic system took place. However, it should be noted that, despite all the diversity of approaches to implementation, the problem of the “individual genre” was directly dependent on the choreographic knowledge given by P. Boshan and the Royal Academy of Dance. In the ХІХ century century a solid foundation for the emergence of new models of professional choreographic knowledge is created: the theory of expressive gesture or the model of plastic signs of F. Delsart, the theory of rhythmoplastic gesture E.-J. Dalkroz (a plastic copy of musical rhythm), the theory of free plasticity and a disheveled body A. Duncan. These concepts were not only a complete alternative to the academic system of dance, but also had a direct impact on updating the principles and forms of training of specialists in the field of choreography in the early ХХ century