Daily Movement’s Poetry: Performance Space of Inside by Dimitris Papaioannou – МЕЖДУНАРОДНЫЙ ЖУРНАЛ ИССЛЕДОВАНИЙ КУЛЬТУРЫ

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Nikita E. BELYAKOV
Vaganova Ballet Academy
2 Str. Zodchego Rossi, Saint Petersburg, 191023, Russian Federation
Postgraduate Student
Oleg Tabakov Moscow Theater School
20 str. Chaplygina, b. 1, Moscow, 105062, Russian Federation
Stage Movement Teacher
e-mail: nikebelyakov@gmail.com
ORCID: 0000-0001-5070-4290

Daily Movement’s Poetry: Performance Space of Inside by Dimitris Papaioannou

Abstract: The article considers the problem of defining the boundaries of contemporary dance in the context of the evolution of performance art on the example of the play by Dimitris Papaioannu «Inside». The criteria of applicability of the concept of «performancy» of local art forms (in particular, to the theatre) are still formulated quite vaguely. This is controversial both in theoretical terms (art history, aesthetics) and in practical (a real artistic process involving the production, promotion of the art product and its reception by the professional community, critics and the audience). So, under the influence of performance in the practice of dance and physical theater two global problems have arisen: everything that basically has a dance or plastic dominant, began to get a genre definition of performance, as a result, the boundaries between dance and physical theater have blurred. The space of the play/video installation «Inside» is understood by us as a synthesis of the stage and spectator spaces, which create in the aggregate a performative effect of joint presence and communication, synchronized physical and metaphysical living. The unity of time, place, plot moves and instrumentation, which is used by the choreographer, create a complex plastic pattern, which ultimately forms the meditative effect of the participant’s involvement in the scene. The complexity of identification of what is happening in «Inside» as a choreography has led to the need to turn to the analysis of the specific artistic techniques and forms used (such as canon, synchronicity, duets) which eventually became the basis for the identification of choreographic dominance in the work of the director. Special attention is paid to the adoption of the poetry of everyday actions performed on the stage by punches. Based on the analysis of the production, distinctive features of the dance are revealed, allowing to assert that the plastic score of the perforators is a choreographic pattern. On the basis of the revealed artistic features of the play the conclusion is made about the specificity of the author’s method of work of Dimitris Papaioannu, as its main vector is distinguished performance.

Key words: physical theatre, modern dance, performance, performativity, Dimitris Papaioannu, «Inside», videoinstallation, choreographic drawing, presence, everyday life.

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For Citation:

Belyakov, N. Daily Movement’s Poetry: Performance Space of Inside by Dimitris Papaioannou. International Journal of Cultural Research, 3 (48). 100–117. DOI: 10.52173/2079-1100_2022_3_100

DOI: 10.52173/2079-1100_2022_3_100