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Статті в журналах з теми "Dance, pictorial works"
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Seibert, Andrei Yur'evich. "The livre partition phenomenon in J.-G. Kastner’s oeuvre." PHILHARMONICA. International Music Journal, no. 6 (June 2020): 9–19. http://dx.doi.org/10.7256/2453-613x.2020.6.34651.
Повний текст джерелаАнотація:
In the 19th century, after a two-centuries oblivion, the interest in a medieval genre “danse macabre” reappeared. Dances of Death were embodied not only in pictorial art, literature and music, but also attracted the attention of scholars. The research subject of this article is one of such scientific works - “Les Danses des Morts” by J.-G. Kastner. Its uniqueness consists in the combination of a theoretical research and practical embodiment of its results in a piece of music. The genre of the tractate is defined by scholars as “livre partition” - a sheet music book. The article contains the biographical data of the life and creative work of the French scholar, music expert and composer, little-known in Russian musicology. Based on their own translation of the original text, the authors study the structure-content components of the tractate and define its specificity. J.-G. Kastner considers the genre “danse macabre” in the historical, philosophical and aesthetic contexts; traces back the interdependence of literary, decorative, and musical versions of the dances. The tractate of the French musicologist considers in detail the range of instruments of dance macabre (based on the collection of wooden engravings of a gothic Doten Dantz printed in the late 15th century). The authors define the features of J.-G. Kastner’s ideas which differ them from the thanatological views of his predecessors H. Peino and E.-H. Langlois.
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Portnova, Tatyana V. "Peculiarities of E. Dega's creative method in the interpretation of the theme “Paris opera ballet”." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 45 (2022): 157–71. http://dx.doi.org/10.17223/22220836/45/15.
Повний текст джерелаАнотація:
The article considers methodological approaches to the interpretation of the dance subject on the example of the famous French artist E. Degas (1834-1917) in the context of understanding the school of the Paris Opera Ballet, which is the center of French cultural life and brings new forms of dialogue in the morphological sphere of interaction of related arts. The unflagging interest of researchers to the problems of the works of E. Degas throughout the history of his study, both at the level of a single country, and in the context of world artistic culture determines the undoubted relevance of our narrow topic. The works of Edouard Degas are devoted to the study of the artworks of Russian, but mainly the foreign art critics, however, they do not consider in an in-depth section of ballet themes, paying it not enough attention, despite the fact that it is the first significant experience and even a kind of experiment in the world of fine arts. The aim of the article is to trace the creative activity and special interest of E. Degas in the subject of dance. To reveal and analyze the artist's creative method on exemplary works. To prove the importance of his graphic and pictorial works in the popularization of ballet as art. To work out, clarify and supplement the methodological aspects of approaches to the interpretation of the ballet theme and trends of its development in the creative process by analyzing the specific works of E. Degas which are in museum and private collections. The complex analysis from the viewpoint of art history and theater studies enables us to reveal the genre fusion reflected in the stylistics of the romantic ballet epoch, refracted in the everyday life of dancers at rehearsals and in dance classes, as portrayed by the artist. The author refers to various works of E. Degas, which convey the peculiarities of his impressionistic creative method, accurately capturing the specifics of the French school of classical ballet. The author analyzes his method, which in many respects differs from other impressionist masters, who depicted landscape views and life of Paris and its suburbs in open spaces. It is a fragmentary and at the same time large, unrehearsed, casually seen world of dance in its most varied manifestations, enclosed within the walls of the theater. The paper shows that the searching creative thinking peculiar to Edgar Degas introduces new ways of observing and depicting in the sketches and finished works different and simultaneously canonical poses and movements of the dancers in solitary figures and ensemble groups conditioned by the specificity of classical choreography. In spite of one common theme, the artist resolves different creative compositional and coloristic tasks in depicting the backstage theatrical life. On the basis of the interdisciplinary nature of the subject the author engages with a wide range of issues, covering not only methodological, but also substantive aspects (names of the depicted, composition and dance technique, performing manner, rehearsal atmosphere, ballet costumes, interior architecture of the theater, etc.). Based on a study of a number of works, the author formulates the main visual characteristics of the ballet artistic images and their unique conceptual embodiment. The possible ways of using such artistic experience in the practice of ballet theater are outlined.
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Peremislov, Larisa G., and Igor I. Cherkassky. "ARTIST JULIA DOLGORUKOVA. PERFECT EXPRESSION OF LOVE." Arts education and science 3, no. 36 (2023): 160–65. http://dx.doi.org/10.36871/hon.202303160.
Повний текст джерелаАнотація:
The article presents an overview of the work of the famous Moscow artist Julia Dolgorukova, who works in the genres of landscape, still life and composite composition in various painting techniques. The basis of her pictorial language is Russian impressionism and the creative search of nonconformists of the 60s — 70s. Throughout her career, her paintings trace the creation of her own individual style, based on the experience of her teachers and, at the same time, transcending all existing trends. In still lifes Julia Dolgorukova creates volumes with large colored strokes both with a brush and a palette knife. In landscapes, she tends to create images of historical dachas of the Moscow region and small Russian cities, as well as seascapes of the Crimea and Antalya. The second hypostasis of Julia Dolgorukova's creativity is paintings and sketches of scenery and costumes for theater, ballet and everything related to dance. Finally, the third direction of her creativity is working with new materials and techniques.
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Kirillova, E. О. "Themes of Music and Love in Works of S. Alymov as a Representation of Spiritual and Value Orientations of Far Eastern Poetry of Silver Age." Nauchnyi dialog, no. 5 (May 28, 2021): 202–24. http://dx.doi.org/10.24224/2227-1295-2021-5-202-224.
Повний текст джерелаАнотація:
The material of S. Ya. Alymov’s poetry collection “Kiosk of Tenderness” (Harbin, 1920) and various detached poems of the author, preserved only on the pages of the press of the Far East (Vladivostok and Harbin) in the early 1920s is analyzed in the article. It is noted that access to the currently unknown works of S. Alymov is possible only in regional archives. The scientific novelty lies in the fact that for the first time the writer’s texts are used, which are stored in the materials of the collections of the Russian State Historical Archive of the Far East and the State Archives of the Primorsky Territory. It is shown that S. Alymov is perceived by the author as one of the original representatives of the Silver Age poetry. The author of the article comes to the conclusion that the creative strategy of S. Alymov, based on the desire to be a follower of famous contemporary poets, was deliberately based on various kinds of imitations and stylizations. It is argued that this is not about epigone copying — individual assimilation of the new was conditioned by the picture of the world and the culture of the writer, which were formed in the richest traditions of the Silver Age (literary, musical, dance, theatrical, pictorial).
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Krasnovа, Nataliia. "Technologies of Aesthetic Education of Personality by Means of Theatrical Art." Bulletin of Luhansk Taras Shevchenko National University 1, no. 6 (344) (2021): 78–92. http://dx.doi.org/10.12958/2227-2844-2021-6(344)-1-78-92.
Повний текст джерелаАнотація:
The article characterizes theatrical art as a combination of pictorial possibilities of different arts: literature, stage, painting, architecture, dance, etc. Characteristics, differences of types of theater are given: dramatic, musical (opera, operetta, ballet), pantomime, puppet theater, theater of small forms, which in a way influence the formation of the personality of the younger generation. It is shown that aesthetic education can be considered as a universal means of personal development based on the identification of individual abilities, diverse aesthetic needs and interests. The purpose of aesthetic education is determined, namely, on the basis of perception, interpretation of works of art and practical artistic and creative activity to form in a person a personal and valuable attitude to reality and art, to develop aesthetic consciousness, cultural and artistic competence, ability to self-realization, need for spiritual self-improvement. It is proved that artistic and pedagogical technologies are the most effective in the process of aesthetic education of personality; their structure contains: human resources (emotionally colored subject-subject interaction, a palette of forms and methods of organizing various types of artistic and creative activities), artistic and intellectual resources (works of art, artistic knowledge, ideas, meanings, values), technical resources (audiovisual, computer); types: local (specific methods for the development of certain skills and abilities), systemic (covering the holistic educational process, various arts). Forms and methods of art and game technologies (dramatization, pantomime, staging, dramatization) that contribute to the aesthetic education of the individual are presented.
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Kasianova, Olena. "Evolutionary modifications of dance scenes in the context of the genesis of the ukrainian opera." Ukrainian musicology 46 (October 27, 2020): 58–74. http://dx.doi.org/10.31318/0130-5298.2020.46.234595.
Повний текст джерелаАнотація:
The relevance of the research lies in the search for a solution to the problem of the plasticchoreographic image of the work, the peculiarities of the interpretation of dance in the process of the formation of the Ukrainian national opera school, taking into account the author's intention, its rethinking in the realities of our time. Scientific novelty lies in the definition of conceptual approaches to the genre-style interpretation of dance scenes in Ukrainian opera in accordance with the theatrical aesthetics of a particular time. The purpose of the publication is to determine the evolutionary modifications of the solution of plastic-choreographic scenes of musical and theatrical works in accordance with the aesthe-tic concepts of different stages of the formation of the Ukrainian national opera school. Research methods. In the context of an integrated intersectoral approach at the junction of philosophy, sociology, psychology, cultural studies, musicology and theatre studies, comparative and art history research methods are chosen as determinants. Their use makes it possible to determine the similarity and difference between genre-style interpretations of dance scenes in accordance with the theatrical aesthetics of a particular time. The main results and conclusions of the study. The article examines the process of formation of dance scenes in the historical context of the development of the Ukrainian opera school. The features of the use of dance at different stages of the formation of the national repertoire in various configurations of the Ukrainian musical theatre from its origins to the present day are outlined. The fundamental principles of the interpretation of dance in Ukrainian opera, laid down in the predecessors of the national musical theatre – old games, a puppet nativity scene, baroque school drama, palace theatres of Ukrainian, Polish, Russian magnates of the era of classicism, are character-rized. The evolutionary modifications of the plastic-choreographic solution of opera performances against the background of the genesis of the Ukrainian musical theatre are analyzed. The well-established key approaches to the interpretation of dance scenes in the Ukrainian opera are determined, mainly the positive role of choreography in solving the musical drama of the performance. The author highlights the differences between Ukrainian opera content and Western European and Russian traditions, where vocals as the personification of a person's soul or the image of a friend, and dance as the embodiment of temptations or the image of an enemy are quite often in opposition to each other. The specificity of the interpretation of dance in the Ukrainian opera through the prism of its historical formation is clarified: from the use of divertissement samples of the times of classicism through illustrative and pictorial eras of romanticism, efficiently expressive epochs of realism and Soviet reality to conventionally symbolic, conventionally abstract in the culture of modernity and postmodernism. Different approaches to the solution of dance in opera performances in evacuation and in the occupied territories with distinction in the East and West of Ukraine have been established. The conceptual approaches of the genre-style interpretation of dance scenes in the Ukrainian opera are revealed in accordance with the theatrical aesthetics of a particular time. Attention is focused on the prospects for the emergence of new genre-stylistic forms with the gravitation of their plastic-choreographic solution to neosyncretism.
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Guðmundsdóttir, Aðalheiður. "Om hringbrot og våbendanse i islandsk tradition." Kulturstudier 1, no. 1 (November 30, 2010): 132. http://dx.doi.org/10.7146/ks.v1i1.3886.
Повний текст джерелаАнотація:
By using those sources traditionally referred to, as well as introducing a number of new ones, the article seeks to shed light on weapon dances within the Nordic countries, placing them in a European context, the intention being to strengthen<br />the basis for further research into this area within the field of Nordic dance studies and history. Until now, the shortage of material has made it difficult for scholars to place potential Nordic weapon dances within the context of comparable<br />traditions known elsewhere in Europe. The purpose of this article is to attempt to fill this gap to some degree by presenting relevant material of a different kind.<br />In order to demonstrate that weapon dances belong to a deep-rooted tradition of dances and games in Northern Europe, some ancient pictorial sources are exhibited<br />and explained. Furthermore, Icelandic sources that shed new light on the coherence of medieval weapon dances are revealed. The Icelandic material, in other words sources which indicate that people in Iceland knew or knew of<br />weapon dances, are of two different kinds: they indicate first of all that Icelanders used to take part in a dance called hringbrot, a dance which appears to be very similar to descriptions of weapon dances of other nations. Secondly, it seems that<br />they created and preserved in their manuscripts drawings that indicate that they knew about weapon dances as early as in the fourteenth and fifteenth centuries.<br />The additional material presented here, which is substantial, is now being analyzed and has a valuable contribution to make to the debate concerning Nordic weapon dances. By putting the Icelandic material in connection with more traditional sources from Northern Europe, and in the broader context of Mid and<br />Western Europe, we should be able to increase our understanding of the context and development of weapon dances.
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Fomkin, Alexey Viktorovitch. "Peculiarities of using the demonstration principle in ballet pedagogy." Samara Journal of Science 5, no. 1 (March 1, 2016): 192–96. http://dx.doi.org/10.17816/snv20161314.
Повний текст джерелаАнотація:
Demonstration is one of the most important teaching principles. The foundation for the scientific study of this principle was laid by the outstanding pedagogue Ya.A. Komensky, who called it the golden rule of didactics. Later, Komenskys ideas were developed by J.H. Pestalozzi, K.D. Ushinsky, and other pedagogues. A special role in clarifying and specifying the functions of demonstration belongs to Russian pedagogues and psychologists developing the ideas of the unity of consciousness and activity (S.L. Rubinstein), the theory of activity (A.N. Leontyev), and the theory of gradual formation of mental actions (P.Ya. Galperin). Demonstration has been used in teaching dance since the ancient times, when various visual aids were used to illustrate the teachers words. Yet, despite the presence of extensive literature in other areas, in ballet pedagogy the study of demonstration has been limited to just a few researchers - N.I. Tarasov, E.P. Valukina, and A.A. Alferova. This paper presents the first attempt in ballet pedagogy to comprehensively analyse the use of the principle of demonstration in ballet teaching. Drawing on the historical traditions of ballet education, the author shows the leading role of demonstration in teaching professional skills to ballet artists and reveals the essence of the main types of demonstration - figural/pictorial, verbal, image-based and natural. The paper highlights the leading role of figural demonstration, in which showing of movements is traditionally the main teaching tool. The combination of the four types of demonstration - figural, verbal, image-based and natural - facilitates the visual, audial and motor perception of a movement (or its model, image) by the students allowing them to internalize movements into their psyche and body.
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Tkaczuk, Tamara. "Muzyczne inspiracje w Prawdzie starowieku – pierwszej części tetralogii Stanisława Vincenza ." Poradnik Językowy, no. 1/2022(790) (September 10, 2021): 289–99. http://dx.doi.org/10.33896/porj.2022.1.15.
Повний текст джерелаАнотація:
The works by S. Vincenz are a phenomenon from the borderline of cultures, a testimony of the expansion of Ukrainian-Polish cultural and literary connections. The tetralogy Na wysokiej połoninie (On the high meadow) presents a wide panorama of the Hutsul region, the harmony of coexistence of representatives of different ethnic groups on the background of the untouched nature, which is mythologised, becomes an active participant in the life of the inhabitants of the Carpathians. Intermediality is dominant in the tetralogy Na wysokiej połoninie, because the combination of different arts (including music and painting) facilitates a better disclosure of the unique folk customs and rituals, the ontology of life, the history of Hutsul folk instruments and the specifi c characteristics of their use, symbolism, folk dances, the role played by sounds of nature, mystical meaning of the natural phenomena that have surrounded the human being since ancient time. The paper deals with the analysis of the specifi c characteristics of the writer’s use of musical and pictorial paintings in the work, the use of linguistic means with which the author creates rhythmic prose, captures the sound vibrations of the nature of the Carpathians as a unique space existing in harmony with the human being, which was an innovative phenomenon at the beginning of the 20th century. It was established that musicality in the tetralogy Na wysokiej połoninie is constructed through onomatopoeia, mythologisation of the natural elements, is an important part of the Hutsuls’ traditions, history, life, is a manifestation of the love of nature as a source of a unique polyphony, harmony, silence, promotes the opening of space-time to the macrocosm, and emphasises the uniqueness of the greatness of the Carpathian region and its inhabitants
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Shkurko, Alla. "Medallic Art in Russia XVIII c." Scientific and analytical journal Burganov House. The space of culture 16, no. 1 (March 10, 2020): 80–99. http://dx.doi.org/10.36340/2071-6818-2020-16-1-80-99.
Повний текст джерелаАнотація:
Summary: The article is dedicated to the history of medalic art of Russia since the time of its appearance at the boundary 17–18 cc. and its further developing as a definite kind of art in the course of the century. In 1701 a new Mint began its work in Moscow in Kadashev sloboda. For some period of time it was the main Mint issuing coins and medals. Among the engravers working there the first place belongs to Fedor Alekseev who was the leading medalist since 1701. Afterwards the leading initiative was given to foreign masters who had come to work for Russia. The first foreign medalists working on Russian services were Frenchman Solomon Gouin and Saxon G. Haupt. During the whole part of the first quarter of 18 c. Russian medalic works were signed by foreign craftsmen. The series of medals in memory of the North war performed by the German medalist Ph.G. Mueller and left a noticeable trace in the development of Russian medalic art. Medals of the first quarter of 18 c. reflected the successful events of Russia in the North war most fully but very few medals were devoted to the home life of the country. Medals of the first quarter of 18 c. served as the firm foundation for further development of the Russian medalic art. In 30–40s years the leading place at the Russian Mints was occupied by foreign medalists. Chief medalist was Dane Anton Shultz who was engaged not only in cutting dies but also taught Russian masters. The main service of I.G. Waechter rendered to the Russian medalic art consists in the further widening of artistic possibilities of medals. Virtuosity of ability to use technique, the accuracy in the gradation of the relief, fine feeling of light and shade allowed the artist to create such pictorial relief that is always connected with his name in the Russian medalic art. Together with the artists already spoken about, Russian masters work professionally too. The creative work of two medalists Tymophey Ivanov and Samoilo Yudin is very important. The circle of Russian medalists of 18 c. is completed by Karl Leberecht. By his creative work he realized the transition to a new period of medalic art – classicism. In the first half of the 18 c. medals immortalized a small number of important events and ruling monarchs, but in the second half of the century the medallic art began to aspire to reflect the events in many fields of historical life of Russia much wider. This tendency became stronger in the 19 c. when medals issue increased.
Книги з теми "Dance, pictorial works"
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Sieff, Jeanloup. Dance. Washington, D.C: Smithsonian Institution Press, 1999.
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Reece, Kim Taylor. The eternal dance. Sacred Falls, Hawaii: Kim Taylor Reece Productions, 2006.
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Patricia, Tarr, and Miller J. Abbott, eds. Everybody dance now. New York, NY: Editions2wice, 2009.
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Sieff, Jeanloup. Jeanloup Sieff: Dance. Washington, DC: Smithsonian Institution Press, 1999.
Знайти повний текст джерелаЧастини книг з теми "Dance, pictorial works"
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Alonso-Minutti, Ana R. "Of Birds, Ballerinas, and Other Creatures." In Mario Lavista, 173–223. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780190212728.003.0005.
Повний текст джерелаАнотація:
Abstract This chapter focuses on a group of Lavista’s solo, chamber, and orchestral pieces that establish a connection with literary texts, pictorial works (paintings, drawings, and installations), and dance. It opens with a discussion of pieces that present intertextuality at play involving Gerhart Muench, Ezra Pound, and Jorge Luis Borges, among others. It also offers an exploration of compositions where Lavista responded to paintings or envisioned music to accompany art installations; one of these works was done in conjunction with Tambuco and Carmen Thierry for Ricardo Mazal’s exhibition, Kailash. The metaphor of mirrors—the central concept of the present volume—is useful for grasping the ways in which each intertext bounces back to another. In each bounce—or reflection—a spiral of meaning is drawn. Dance had a significant place in Lavista’s life. His connection with dance became even stronger when his only daughter, Claudia Lavista, became a dancer and choreographer. The chapter also explores the intertextual possibilities that arise by incorporating previously composed music into new compositions. In doing so, Lavista transformed the past of his previous works by giving them new meaning and a new future.
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Bullen, J. B. "The Ugliness of Early Pre-Raphaelitism." In The Pre-Raphaelite Body, 6–48. Oxford University PressOxford, 1998. http://dx.doi.org/10.1093/oso/9780198182573.003.0002.
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Abstract This was the first major clash in the British art world between the establishment and the avant-garde and it began with the summer exhibition of the Royal Academy in 1850.At that show the work of Holman Hunt, John Everett Millais, and Charles Collins, together with pictures by Dante Gabriel Rossetti at the National Institution, triggered volley after volley of ferocious attacks on what Taylor called, these ‘deplorable examples of perverted taste ‘.2 This was not the first time that London had seen painting by these artists, and unease had been expressed about their strange pictorial mannerisms, but the growing disquiet and discomfort about their unconventionality finally burst forth in 1850. But the terms of expression read strangely to modern eyes: they seem overheated and violent, and they are couched in a language which is strained and brutal.
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Kinder, Karyna. "THE ART OF DANCING OF VOLYN: THE DYNAMICS OF TRADITIONS AND INNOVATIONS." In Science, technology, and innovation: the experience of European countries and prospects for Ukraine. Publishing House “Baltija Publishing”, 2021. http://dx.doi.org/10.30525/978-9934-26-190-9-13.
Повний текст джерелаАнотація:
In the complex and contradictory process of social and ethnonational progress of Ukraine, the study of the original creative potentials of the nation becomes especially important not only in the historical and theoretical, but also in the regional aspect. In the domestic research area, we can see the appearance of studies aiming to form a special field of research – the regionics, which is designed to reveal the uniqueness and originality of the cultural environment within a particular local unit. The diverse palette of movements, gestures and poses has a strong ethnic color, reflecting national characteristics, psychological stereotypes, specific regional and local features, various perspectives of rhythmical thinking of people living in the domestic territory. The system of pictorial means is traditional and publicly available to the ethnic community as a certain sign system within the national or regional tradition. Problems and tasks of the article lie in the field of art studies, which develop issues of folk dance, the relationship between general and ethnospecific, traditional and new. In this context, the idea of relying on the historical traditions of Ukrainian spirituality as a source of self-preservation and burst for new development is increasingly put forward. All this determines the objective need for scientific analysis of authentic dance samples, which have been the bearers of certain ideas and concepts for many centuries and reflect the main features of ethnic mentality, rhythmical thinking, and «spiritual flair» of the people. On the basis of literary sources involving developments in ethnochoreology, artistic features of Volyn folk dance, its ethno-national specifics, which are manifested in both choreographic folklore and professional art, are analyzed and characterized. The aim of the work is to investigate the trends in the development of choreographic culture of Volyn and the problem of the relationship between traditions and innovations, which directly affects the creative process of the interpretation of authentic sources. The research methodology is based on the principles of an integrated approach and the application of analytical, historical, cultural and comparative-typological methods. The scientific novelty of the development is that a comprehensive art study of the original dance art of Volyn has been conducted, and its place and role in the modern spiritual and socio-cultural space has been determined. Given the dynamics of cultural and historical processes of today, it has been concluded that the choreographic art of the Volyn region continues to develop in the context of the all-Ukrainian tradition and is a part of it. The study made it possible to identify such a distinctive trend as the appeal to the original folk art and the development of newborn forms of dance on this basis. In the choreographic culture of Volyn, the abovedescribed trend reveals a complex dialectic of the interaction of tradition and innovation, with the predominance of the traditional component.
Тези доповідей конференцій з теми "Dance, pictorial works"
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Seredkina, Natalia. "PHILOSOPHIC AND ART ANALYSIS OF PICTORIAL WORKS BY E. MUNCH: MELANCHOLY, SEPARATION, THE DANCE OF LIFE." In 4th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS Proceedings. STEF92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/62/s22.005.
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