Organización estructural de dramaturgia de la danza basada en obras de pintura
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Proceso coreográfico, pintura. Pensamiento del coreógrafo.Resumen
El artículo presenta la experiencia de comprender los problemas de interacción de los comienzos coreográficos y pictóricos, diversas formas de conjugación de imágenes pictóricas y de danza en el concepto escenificado, formas de su correlación artística en el ejemplo de una serie de obras pictóricas. Se estudia la especificidad del replanteamiento artístico de las imágenes de la pintura rusa y de Europa occidental en la coreografía, su influencia en el método creativo del coreógrafo. En el proceso de análisis de las etapas del trabajo en escena del coreógrafo, se presentan las soluciones compositivas e imaginativas existentes del drama de danza, así como las nuevas oportunidades asociadas con el uso de fuentes pictóricas. Las disposiciones y pautas establecidas en el artículo están destinadas no solo a estudiantes coreográficos, sino también a especialidades creativas de universidades, academias de cultura y artes.
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Forsythe, W (2011). Choreographic Objects: Essay, http://www.williamforsythe.de/essay.html
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Karp, P. M. (1980). Ballet and drama. Leningrad: Iskusstvo.
Karp, P. M. (2010). The time and place of the ballet. The Mariinsky theatre. Saint Petersburg.
Kraus, C., Chapman, S. (1981). History of the Dance in Art and Education. New Jersey: Prentice Hall.
Kreidlin, G. E. (2002). Nonverbal semiotics: Body language and natural language. M: Novoe literaturnoe
Laban, R. (1985). Modern Educational Dance. Plymouth: Northcote House.
Linkova, L. A. (1979). On drama ballet. Music and choreography of modern ballet, 3:54-71.
Lotman, Yu. M. (1998). Stage and painting as the coding means of cultural behavior of the early nineteenth century. Saint Petersburg: Iskusstvo.
Makedonskaya, I. V. (2002). Reflections on the dramatic art in classical ballet. Moscow: MGAKh.
Maska: The Dramaturgy of Dance, Number 66-67, Ljubljana: Maska.
Melekhov, A. V. (2015). The Ballet master's art. Composition and production of dance. A work book.
Nereson, A. (2017). Dance Dramaturgy in Theory and Practice. Theatre Journal 69(1), 103-114. Johns Hopkins University Press.
Noeth, S. (2011) Protocols of Encounter. On Dance Dramaturgy. Emerging Bodies. The Performane of Worldmaking in Dance and Choreography, pp. 247-256.
Noverre, J. G. (1965). Letters about the dance. Moscow - Leningrad.
obozrenie.
Panferov, V. I. (2003). Fundamentals of dance composition. Chelyabinsk: ChGAKI.
Ryazanova, Yu. Yu. (2016). New means of expression in the art of ballet to the problems of tradition and innovation. Abstract. Moscow.
Slonimsky, I. Yu. (1997). Dramaturgy of ballet theatre of the XIXth century. Moscow: Iskusstvo.
Townsend, J. (2010): The Choreography of Modernism in France: La Danseuse, 1830-1930, Oxford: Legenda Press.
Ural State Pedagogical University: Ekaterinburg.
Uralskaya, V. I. (1980). Expressive means of contemporary choreographic art. Matters of education of a choreographer in a theatrical university. Collected articles. Moscow: GITIS.
Waks, P. (2007). Playwright of painting. An article about Repin. http://www.proza.ru/2017/05/03/1815
Zaikin. N. I. (2007). The choreographer's skill. Orel: OGIIK.
Bazanov, V. V. (1990). The stage of the XX century: A work book. Leningrad: Iskusstvo.
Berezkin, V. I. (2012). The artist's theatre. The origins and beginning. Moscow: Librokom.
Blake, S (2018). Dance and Drama in French Baroque Opera: A History. Music and Letters, Volume Advance Article (1).
Bogdanov, G. F. (2007). Composition and choreography. M: Moscow state University of culture.
Bolton, G. (1983). Drama as education. Harlow, England: Longman
Borstel, J. (2007). The Liz Lerman dance exchange: An aesthetic of inquiry, an ethos of dialogue. In P. Korza &B. Bacon (Eds.), Dialogue in artistic practice: Case studies from animating democracy (pp. 57- 91).Washington, DC: Americans for the Arts.
Dubnik, I. O. (1984). Specifics of the imagery in choreographic arts: Dissertation. Moscow.
Duncan, I. (1994). The Future Dance. My life. Memoirs of L. Schneider. Kiev: Muza.
Esaulov, I. G. (2000). Choreodramaturgy. Izhevsk: Udmurt University.
Fedorenko, O. J. (2017). Painting as a way of expressing artistic conventions in the dramaturgy of Tennessee Williams. Modern Philology: materials of the 5th international scientific conference. Samara: ASGARD.
Forsythe, W (2011). Choreographic Objects: Essay, http://www.williamforsythe.de/essay.html
Foster, S. L. (1996): Choreography and Narrative: Ballet’s Staging of Story and Desire, Bloomington: Indiana University Press.
https://spb.kassir.ru/teatr/tanets-i-jivopis
https://www.m24.ru/articles/festivali/13052015/73161?utm_source=CopyBuf
Karp, P. M. (1980). Ballet and drama. Leningrad: Iskusstvo.
Karp, P. M. (2010). The time and place of the ballet. The Mariinsky theatre. Saint Petersburg.
Kraus, C., Chapman, S. (1981). History of the Dance in Art and Education. New Jersey: Prentice Hall.
Kreidlin, G. E. (2002). Nonverbal semiotics: Body language and natural language. M: Novoe literaturnoe
Laban, R. (1985). Modern Educational Dance. Plymouth: Northcote House.
Linkova, L. A. (1979). On drama ballet. Music and choreography of modern ballet, 3:54-71.
Lotman, Yu. M. (1998). Stage and painting as the coding means of cultural behavior of the early nineteenth century. Saint Petersburg: Iskusstvo.
Makedonskaya, I. V. (2002). Reflections on the dramatic art in classical ballet. Moscow: MGAKh.
Maska: The Dramaturgy of Dance, Number 66-67, Ljubljana: Maska.
Melekhov, A. V. (2015). The Ballet master's art. Composition and production of dance. A work book.
Nereson, A. (2017). Dance Dramaturgy in Theory and Practice. Theatre Journal 69(1), 103-114. Johns Hopkins University Press.
Noeth, S. (2011) Protocols of Encounter. On Dance Dramaturgy. Emerging Bodies. The Performane of Worldmaking in Dance and Choreography, pp. 247-256.
Noverre, J. G. (1965). Letters about the dance. Moscow - Leningrad.
obozrenie.
Panferov, V. I. (2003). Fundamentals of dance composition. Chelyabinsk: ChGAKI.
Ryazanova, Yu. Yu. (2016). New means of expression in the art of ballet to the problems of tradition and innovation. Abstract. Moscow.
Slonimsky, I. Yu. (1997). Dramaturgy of ballet theatre of the XIXth century. Moscow: Iskusstvo.
Townsend, J. (2010): The Choreography of Modernism in France: La Danseuse, 1830-1930, Oxford: Legenda Press.
Ural State Pedagogical University: Ekaterinburg.
Uralskaya, V. I. (1980). Expressive means of contemporary choreographic art. Matters of education of a choreographer in a theatrical university. Collected articles. Moscow: GITIS.
Waks, P. (2007). Playwright of painting. An article about Repin. http://www.proza.ru/2017/05/03/1815
Zaikin. N. I. (2007). The choreographer's skill. Orel: OGIIK.
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Publicado
2019-06-25
Cómo citar
Portnova, T. V. (2019). Organización estructural de dramaturgia de la danza basada en obras de pintura. Amazonia Investiga, 8(20), 415–421. Recuperado a partir de https://amazoniainvestiga.info/index.php/amazonia/article/view/171
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