Title: FROM PETIPA'S "THE SLEEPING BEAUTY " (19th CENTURY ) TO MATS ECK'S "THE SLEEPING BEAUTY " (20th CENTURY) AND TO MATTHEW BOURN 'S " THE SLEEPING BEAUTY " (21st CENTURY). CHANGE IN MODELS FOR BEAUTY, DRAMA, MUSIC, CHOREGRAPHY
Abstract: In the 19th century - the time of the establishment of the Russian ballet school, two phenomenal composers created a music production that set up а new, higher artistic criteria for the art of ballet and became an aesthetic measure and a pattern of good taste. Being a result of the extremely creative symbiosis between Tchaikovsky and M.Petipa, Beauty becomes a brilliant music and dance symphony in which music and choreography are completely equivalent. For Petipa, Beauty is an opportunity to embody his innovative visions of symphony in ballet. He manages to establish the aesthetics of the great academic ballet - a monumental spectacle, created according to the rules of stage drama with virtuously worked out ensembles, in which the themes of corps de ballet and solo dance are developed and compared, with collision in dance characteristics and scenes of pantomime that organically fit into the whole scene and support it.The history of Beauty goes both through the triumph of the big stages and through the innovative visions of a number of contemporary choreographers and directors.A lover of artistic provocations, the Swedish director and choreographer Mats Ek created some of the most controversial and highly praised ballet performances of the 20 century. His version of Beauty created for the Hamburg Ballet, appeared in 1996. Having a name as an intellectual in the art of dancing, Mats Ek manages to combine the classics with modern technology, the beauty of academic movements with the sharp gestures unthinkable as a combination before; a provocateur who encroaches on the generally accepted norms of beauty, often using grotesque stylistics. The constant opposition of beautiful, graceful together with ugly truncated movements and poses is a way to achieve invigorating tension, resonating in the dramatic development of images and situations.Sir Matthew Bourne is the most popular and award-winning contemporary British choreographer. In his trilogy of Tchaikovsky's ballets, including The Hazelnut Crusher (1992) and Swan Lake (1995), Bourne ended in 2012 with a lavish production of The Beauty, in which he unleashed his imagination and with incredible ingenuity and humor tells a fabulous love story in Gothic style and creates a spectacular show in which music, choreography, sets, costumes, lighting, stage effects and performers are woven into a single whole, subject to one basic requirement - beauty!This report traces the development of the choreographic thought in the original production and the two contemporary versions of the 20th and 21st centuries, which give an idea of the changes in the views of ballet dancers, the reflection of social reality and the new rethinking of beauty in art. They show that the variety of dance language is endless. The ballet performance can be a textbook on dance academism (with Petipa), to delve into socially significant and social problems (Mats Ek), to be a picturesque and fun spectacle (Matthew Bourne).In conclusion the inalienable components presented in the three considered productions of Sleeping Beauty are music and classical dance. The musical numbers, abbreviations and various accents shifted in the modern versions create new conflicts, offer new solutions and thus only prove the universality and richness of the original score. In addition the modern choreographic solutions either contain the classical dance, or even opposing it, emerge from it again.
Publication Year: 2020
Publication Date: 2020-12-16
Language: en
Type: article
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