Structural Organization of Dance Dramaturgy Based on Paintings

Тatiana Portnova

doi:doi:10.11648/j.ijla.20180605.11

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Structural Organization of Dance Dramaturgy Based on Paintings

Тatiana Portnova

Published in International Journal of Literature and Arts (Volume 6, Issue 5)

Received: 16 August 2018 Accepted: 14 September 2018 Published: 19 October 2018

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Abstract

The article presents the experience of interpretation of matters of interaction between choreographical and dance origins, various forms of conflux of art and dance imagery in the staging design, means of their artistic corellation based of a range of paintings. Constant updating of professional and General culture, skills of practical activity of creative workers throughout life becomes necessity of our era. The author sets a goal to identify methodological paradigms of interdisciplinary research of painting and choreographic arts and on this basis to understand their interaction as a holistic, developing phenomenon of scientific, creative and educational transformations. Consideration of the problems of the article goes according to the following structure; features of the plot in choreography and painting, comparative analysis of paintings and plot drama in dance, aspects of the creative work of the choreographer with the picturesque material. Specific artistic reinterpretation of images of the Russian and Western European painting in choreography is studied, as well as its influence on the creative approach of a Ballet master. Already existing compositional and artistic solutions of dance dramaturgy are listed during the analysis of the staging work of a choreographer, as well as the new possibilities associated with usage of artistic sources. The interdisciplinary nature of the research topic allows to attract a wide range of concepts covering not only formal and methodological, but also substantive aspects of the use of paintings in choreography. In conclusion, attention is drawn to the fact that in a picturesque source you need to be able not only to see the interesting, the main thing, but to be able to explore it, to generalize, a Good plot dance is always deep in its content, drawing images, the integrity of the plan and the brightness of the external form. The experience gained in the work on pictorial images, can give a lot of useful skills, will affect the subsequent plans and preferences. The obtained results allow to deepen, extend and elaborate modern understanding about the concept of "shaped the dramaturgy of the dance". Provisions and guidelines listed in the article are designed not only for students of choreography but also for creative majors of universities, academies of culture and art.

Published in	International Journal of Literature and Arts (Volume 6, Issue 5)
DOI	10.11648/j.ijla.20180605.11
Page(s)	77-82
Creative Commons	This is an Open Access article, distributed under the terms of the Creative Commons Attribution 4.0 International License (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted use, distribution and reproduction in any medium or format, provided the original work is properly cited.
Copyright	Copyright © The Author(s), 2018. Published by Science Publishing Group

Keywords

Choreographic Process, Painting, Ballet Master's Thinking

References

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[2]	Kreidlin, G. E. “Nonverbal semiotics: Body language and natural language”. M: Novoe literaturnoe obozrenie, 2002. – 581 p.
[3]	Astakhova O. A. “To the matter on the topic of choreography in classical ballet”. / Music and choreography of modern ballet.– M. - 1982., Vol. 4. P. 72-86.
[4]	Dubnik, I. O. “Specifics of the imagery in choreographic arts: Dissertation”. – Moscow: 1984 – 191 p.
[5]	Makedonskaya. I. V. “Reflections on the dramatic art in classical ballet”. – Moscow: MGAKh, 2002. – 99 p.
[6]	Bogdanov, G. F. “Composition and choreography” – M: Moscow state University of culture -2007– 216.
[7]	Zaikin. N. I. “The choreographer's skill” - Orel: OGIIK, 2007 – 248 p.
[8]	Melekhov, A. V. “The Ballet master's art. Composition and production of dance. A work book”. Ural State Pedagogical University — Ekaterinburg:2015. – 128 p.
[9]	Jean-Georges Noverre “Letters about the dance”. - Moscow - Leningrad, 1965. – 376 p.
[10]	Uralskaya, V. I. “Expressive means of contemporary choreographic art”. / Matters of education of a choreographer in a theatrical university. Collected articles. Moscow: GITIS, 1980. – P. 31.
[11]	Waks, P. “Playwright of painting”. An article about Repin. http://www.proza.ru/2017/05/03/1815.
[12]	Fedorenko. O. J. “Painting as a way of expressing artistic conventions in the dramaturgy of Tennessee Williams”./ Modern Philology: materials of the 5th international scientific conference (Samara, March 2017). – Samara: ASGARD, 2017. – P. 26-29
[13]	Esaulov, Igor Grigorevich. “Choreodramaturgy”. – Izhevsk: Udmurt University, 2000. – 318p.
[14]	Panferov, V. I. “Fundamentals of dance composition”. – Chelyabinsk: ChGAKI: 2003. -255 p.
[15]	Karp, P. M. “Ballet and drama”. - Leningrad: Iskusstvo, 1980. – 246 p.
[16]	Karp, P. M. “The time and place of the ballet”. / The Mariinsky theatre. -2010. – Saint Petersburg. – Nos. 3-4. – P. 18-19.
[17]	Slonimsky I. Yu. “Dramaturgy of ballet theatre of the XIXth century”. Moscow: Iskusstvo, 1997. – 343 p.
[18]	Bazanov, V. V. “The stage of the XX century: A work book”. - Leningrad: Iskusstvo, 1990– 238 p
[19]	Berezkin, V. I. “The artist's theatre. The origins and beginning”. – Moscow: Librokom, 2012 -296 p.
[20]	Ryazanova, Yu. Yu. “New means of expression in the art of ballet to the problems of tradition and innovation”. Abstract. Moscow, 2016. – 32 p.
[21]	Slonimsky I. Yu. “Dramaturgy of ballet theatre of the XIXth century”. Moscow: Iskusstvo, 1997. – 343 p.
[22]	Fedorenko. O. J. “Painting as a way of expressing artistic conventions in the dramaturgy of Tennessee Williams”./ Modern Philology: materials of the 5th international scientific conference (Samara, March 2017). – Samara: ASGARD, 2017. – P. 26-29.
[23]	Jean-Georges Noverre “Letters about the dance”. - Moscow - Leningrad, 1965. – 376 p.
[24]	Linkova. L. A. “On drama ballet / Music and choreography of modern ballet”. — Leningrad: Muzyka, 1979. — Vol. 3. – P. 54 – 71.
[25]	Duncan I. “The Future Dance. My life. Memoirs of L. Schneider”. - Kiev: Muza, 1994. - 349 p.
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Тatiana Portnova. (2018). Structural Organization of Dance Dramaturgy Based on Paintings. International Journal of Literature and Arts, 6(5), 77-82. https://doi.org/10.11648/j.ijla.20180605.11

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Тatiana Portnova. Structural Organization of Dance Dramaturgy Based on Paintings. Int. J. Lit. Arts 2018, 6(5), 77-82. doi: 10.11648/j.ijla.20180605.11

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Тatiana Portnova. Structural Organization of Dance Dramaturgy Based on Paintings. Int J Lit Arts. 2018;6(5):77-82. doi: 10.11648/j.ijla.20180605.11

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@article{10.11648/j.ijla.20180605.11,
  author = {Тatiana Portnova},
  title = {Structural Organization of Dance Dramaturgy Based on Paintings},
  journal = {International Journal of Literature and Arts},
  volume = {6},
  number = {5},
  pages = {77-82},
  doi = {10.11648/j.ijla.20180605.11},
  url = {https://doi.org/10.11648/j.ijla.20180605.11},
  eprint = {https://article.sciencepublishinggroup.com/pdf/10.11648.j.ijla.20180605.11},
  abstract = {The article presents the experience of interpretation of matters of interaction between choreographical and dance origins, various forms of conflux of art and dance imagery in the staging design, means of their artistic corellation based of a range of paintings. Constant updating of professional and General culture, skills of practical activity of creative workers throughout life becomes necessity of our era. The author sets a goal to identify methodological paradigms of interdisciplinary research of painting and choreographic arts and on this basis to understand their interaction as a holistic, developing phenomenon of scientific, creative and educational transformations. Consideration of the problems of the article goes according to the following structure; features of the plot in choreography and painting, comparative analysis of paintings and plot drama in dance, aspects of the creative work of the choreographer with the picturesque material. Specific artistic reinterpretation of images of the Russian and Western European painting in choreography is studied, as well as its influence on the creative approach of a Ballet master. Already existing compositional and artistic solutions of dance dramaturgy are listed during the analysis of the staging work of a choreographer, as well as the new possibilities associated with usage of artistic sources. The interdisciplinary nature of the research topic allows to attract a wide range of concepts covering not only formal and methodological, but also substantive aspects of the use of paintings in choreography. In conclusion, attention is drawn to the fact that in a picturesque source you need to be able not only to see the interesting, the main thing, but to be able to explore it, to generalize, a Good plot dance is always deep in its content, drawing images, the integrity of the plan and the brightness of the external form. The experience gained in the work on pictorial images, can give a lot of useful skills, will affect the subsequent plans and preferences. The obtained results allow to deepen, extend and elaborate modern understanding about the concept of "shaped the dramaturgy of the dance". Provisions and guidelines listed in the article are designed not only for students of choreography but also for creative majors of universities, academies of culture and art.},
 year = {2018}
}

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TY  - JOUR
T1  - Structural Organization of Dance Dramaturgy Based on Paintings
AU  - Тatiana Portnova
Y1  - 2018/10/19
PY  - 2018
N1  - https://doi.org/10.11648/j.ijla.20180605.11
DO  - 10.11648/j.ijla.20180605.11
T2  - International Journal of Literature and Arts
JF  - International Journal of Literature and Arts
JO  - International Journal of Literature and Arts
SP  - 77
EP  - 82
PB  - Science Publishing Group
SN  - 2331-057X
UR  - https://doi.org/10.11648/j.ijla.20180605.11
AB  - The article presents the experience of interpretation of matters of interaction between choreographical and dance origins, various forms of conflux of art and dance imagery in the staging design, means of their artistic corellation based of a range of paintings. Constant updating of professional and General culture, skills of practical activity of creative workers throughout life becomes necessity of our era. The author sets a goal to identify methodological paradigms of interdisciplinary research of painting and choreographic arts and on this basis to understand their interaction as a holistic, developing phenomenon of scientific, creative and educational transformations. Consideration of the problems of the article goes according to the following structure; features of the plot in choreography and painting, comparative analysis of paintings and plot drama in dance, aspects of the creative work of the choreographer with the picturesque material. Specific artistic reinterpretation of images of the Russian and Western European painting in choreography is studied, as well as its influence on the creative approach of a Ballet master. Already existing compositional and artistic solutions of dance dramaturgy are listed during the analysis of the staging work of a choreographer, as well as the new possibilities associated with usage of artistic sources. The interdisciplinary nature of the research topic allows to attract a wide range of concepts covering not only formal and methodological, but also substantive aspects of the use of paintings in choreography. In conclusion, attention is drawn to the fact that in a picturesque source you need to be able not only to see the interesting, the main thing, but to be able to explore it, to generalize, a Good plot dance is always deep in its content, drawing images, the integrity of the plan and the brightness of the external form. The experience gained in the work on pictorial images, can give a lot of useful skills, will affect the subsequent plans and preferences. The obtained results allow to deepen, extend and elaborate modern understanding about the concept of "shaped the dramaturgy of the dance". Provisions and guidelines listed in the article are designed not only for students of choreography but also for creative majors of universities, academies of culture and art.
VL  - 6
IS  - 5
ER  -

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Author Information

Тatiana Portnova

Choreography Art Department, Slavic Culture Institute, Moscow, Russia

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Тatiana Portnova. (2018). Structural Organization of Dance Dramaturgy Based on Paintings. International Journal of Literature and Arts, 6(5), 77-82. https://doi.org/10.11648/j.ijla.20180605.11

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ACS Style

Тatiana Portnova. Structural Organization of Dance Dramaturgy Based on Paintings. Int. J. Lit. Arts 2018, 6(5), 77-82. doi: 10.11648/j.ijla.20180605.11

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AMA Style

Тatiana Portnova. Structural Organization of Dance Dramaturgy Based on Paintings. Int J Lit Arts. 2018;6(5):77-82. doi: 10.11648/j.ijla.20180605.11

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@article{10.11648/j.ijla.20180605.11,
  author = {Тatiana Portnova},
  title = {Structural Organization of Dance Dramaturgy Based on Paintings},
  journal = {International Journal of Literature and Arts},
  volume = {6},
  number = {5},
  pages = {77-82},
  doi = {10.11648/j.ijla.20180605.11},
  url = {https://doi.org/10.11648/j.ijla.20180605.11},
  eprint = {https://article.sciencepublishinggroup.com/pdf/10.11648.j.ijla.20180605.11},
  abstract = {The article presents the experience of interpretation of matters of interaction between choreographical and dance origins, various forms of conflux of art and dance imagery in the staging design, means of their artistic corellation based of a range of paintings. Constant updating of professional and General culture, skills of practical activity of creative workers throughout life becomes necessity of our era. The author sets a goal to identify methodological paradigms of interdisciplinary research of painting and choreographic arts and on this basis to understand their interaction as a holistic, developing phenomenon of scientific, creative and educational transformations. Consideration of the problems of the article goes according to the following structure; features of the plot in choreography and painting, comparative analysis of paintings and plot drama in dance, aspects of the creative work of the choreographer with the picturesque material. Specific artistic reinterpretation of images of the Russian and Western European painting in choreography is studied, as well as its influence on the creative approach of a Ballet master. Already existing compositional and artistic solutions of dance dramaturgy are listed during the analysis of the staging work of a choreographer, as well as the new possibilities associated with usage of artistic sources. The interdisciplinary nature of the research topic allows to attract a wide range of concepts covering not only formal and methodological, but also substantive aspects of the use of paintings in choreography. In conclusion, attention is drawn to the fact that in a picturesque source you need to be able not only to see the interesting, the main thing, but to be able to explore it, to generalize, a Good plot dance is always deep in its content, drawing images, the integrity of the plan and the brightness of the external form. The experience gained in the work on pictorial images, can give a lot of useful skills, will affect the subsequent plans and preferences. The obtained results allow to deepen, extend and elaborate modern understanding about the concept of "shaped the dramaturgy of the dance". Provisions and guidelines listed in the article are designed not only for students of choreography but also for creative majors of universities, academies of culture and art.},
 year = {2018}
}

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TY  - JOUR
T1  - Structural Organization of Dance Dramaturgy Based on Paintings
AU  - Тatiana Portnova
Y1  - 2018/10/19
PY  - 2018
N1  - https://doi.org/10.11648/j.ijla.20180605.11
DO  - 10.11648/j.ijla.20180605.11
T2  - International Journal of Literature and Arts
JF  - International Journal of Literature and Arts
JO  - International Journal of Literature and Arts
SP  - 77
EP  - 82
PB  - Science Publishing Group
SN  - 2331-057X
UR  - https://doi.org/10.11648/j.ijla.20180605.11
AB  - The article presents the experience of interpretation of matters of interaction between choreographical and dance origins, various forms of conflux of art and dance imagery in the staging design, means of their artistic corellation based of a range of paintings. Constant updating of professional and General culture, skills of practical activity of creative workers throughout life becomes necessity of our era. The author sets a goal to identify methodological paradigms of interdisciplinary research of painting and choreographic arts and on this basis to understand their interaction as a holistic, developing phenomenon of scientific, creative and educational transformations. Consideration of the problems of the article goes according to the following structure; features of the plot in choreography and painting, comparative analysis of paintings and plot drama in dance, aspects of the creative work of the choreographer with the picturesque material. Specific artistic reinterpretation of images of the Russian and Western European painting in choreography is studied, as well as its influence on the creative approach of a Ballet master. Already existing compositional and artistic solutions of dance dramaturgy are listed during the analysis of the staging work of a choreographer, as well as the new possibilities associated with usage of artistic sources. The interdisciplinary nature of the research topic allows to attract a wide range of concepts covering not only formal and methodological, but also substantive aspects of the use of paintings in choreography. In conclusion, attention is drawn to the fact that in a picturesque source you need to be able not only to see the interesting, the main thing, but to be able to explore it, to generalize, a Good plot dance is always deep in its content, drawing images, the integrity of the plan and the brightness of the external form. The experience gained in the work on pictorial images, can give a lot of useful skills, will affect the subsequent plans and preferences. The obtained results allow to deepen, extend and elaborate modern understanding about the concept of "shaped the dramaturgy of the dance". Provisions and guidelines listed in the article are designed not only for students of choreography but also for creative majors of universities, academies of culture and art.
VL  - 6
IS  - 5
ER  -

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