Lizaveta V. LOBANVaganova Ballet Academy
2 Str. Zodchego Rossi, Saint Petersburg, 191023, Russian Federation
Postgraduate Student
Molodechno State Music College named after M. K. Oginsky
52, Velikiy Gostinets str., Molodechno, 222310, Republic of Belarus
Teacher
e-mail: lizavetalbn@gmail.com
ORCID: 0000-0002-2651-0389
Trends of Folk-Modern in Larisa Simakovich’s BalletsAbstract: The object of the research in the article is the performances of Larisa Simakovich in the genre of folk-modern ballet for the theater «Gostitsa» («Guest»), created as a synthesis of traditional national elements of Belarusian folklore and contemporary dance technique. The subject of the research is modern choreography and its interaction with folklore. The article deals with the history and forms of penetration of folk-modern dance into the ballet of Simakovich. The main features of this direction are determined, the main characteristic principles of the embodiment of folklore on the ballet stage, which are different from those that have developed and entrenched in the Soviet era, have identified. The history of the penetration of the folk-modern direction into the Belarusian choreographic art is covered. Its characteristic local features, the refraction of its principles in Belarusian choreography are described. As a striking example of work in this direction, the works of Simakovich and the Gostitsa folk theater, formed under her leadership, are considered. On the example of two works – the folk-modern ballet «Zacirka» («Grout») and modern scenes based on the poem by Y. Kolas «Symon-Muzyka» («Simon-Musician», «S-Music»), where Simakovich acted as director, choreographer and composer, the author of the article highlights the features of dramaturgy and choreography, characteristic of folk-modern dance trends. Their connection with the musical material is analyzed. The characteristic features of the individual style of Simakovich’s productions, as well as the principles for embodying the main features of folk-modern dance, are highlighted. Her works are a unique synthesis of the principles of academic and folk theater, where there is a kind of attempt to return the archaic synthesis of art forms within the theater and modern canons. A new understanding of folklore and the interest of professional culture in those layers of it that were ignored in Soviet art leads to a unique creative result. The works of Simakovich are an attempt to analyze Belarusian cultural archetypes and consciously embody them in ballet performances. This is connected both with plots taken from folklore and national literature, and with choreographic and musical material, in which archaic, folklore principles enter into synthesis with modern plastic and composing techniques. Regarding the time of foundation and flourishing, «Hostitsa» theater and its projects are partly a consequence of the reaction of art to the political events of those times – the collapse of the Soviet Union and the formation of an independent Republic Belarus, create a new national art.
Key words: contemporary dance, folk dance, folk stage dance, folk-modern dance, folk-modern ballet, folklorism, post-folklore, Larisa Simakovich, theater «Gostitsa», contemporary dance of Belarus.
References:
- Antonievich, V. (1999). Belorusskoye kompozitorskoye tvorchestvo v yego svyazyakh s fol’klorom: Istoriko-metodologicheskoye issledovaniye. [Belarusian composition in connections with folklore: Historical and methodological research]. Belorusskaya gosudarstvennaya akademiya muzyki. (In Russian).
- Buykevich, A., Vasilenya, L. (2018). Tanets folk-modern v sovremennoy belorusskoy khoreografii [Folk-modern dance in modern Belarusian choreography]. http://elib.bspu.by/handle/doc/30984 (Retrieved June 27, 2022). (In Russian).
- Churko, Y. (1990). Belorusskiy khoreograficheskiy fol’klor [Belarusian choreographic folklore]. Vysheyshaya shkola. (In Russian).
- Churko, Y. (1999). Liniya, ukhodyashchaya v beskonechnost’. Sub’’yektivnyye zametki o sovremennoy khoreografii [A line that goes to infinity. Subjective notes on contemporary choreography]. Polymya. (In Russian).
- Churko, Y. (2011). Problemy interpretaciifol’klora v otdel’nykh khoreograficheskikh iskusstvakh [Problems of folklore interpretation in contemporary choreography]. In Churko Y. Pro tanets: sbornik statey, 69–71. Chetyre chetverti. (In Russian).
- Giglauri, V. (2000). Kak ya ponimayu modern [How I understand modern dance]. In Tantseval’nyy klondayk, 2, 106–110. (In Russian).
- Menshikov,L. A. (2013). Istoki postmoderna i rol’neklassicheskoj filosofii v formirovanii intellektual’nogo prostranstva sovremennoj kul’tury [The origins of postmodernity and the role of non-classical philosophy in the formation of the intellectual space of contemporary culture], Chelovek. Kul’tura. Obrazovanie, 2.6–16.(In Russian).
- Ulanovskaya, S. (2007). Balet «Krugovert’» V. Ivanova – Y. Churko na muzyku O. Zalotneva. interpretatsiya fol’klora na baletnoy stsene [Ballet «The Whirlwind» by V. Ivanov – Y. Churko to the music of O. Zaletnev. Modern interpretation of folklore on the ballet stage]. In Autentychny fol’klor: problemy bytovannya, vyuchennya, peraymannya: materyyaly navukova-metadychnay kanferentsyi (15–16 sakavika 2007 g.), 120–124. (In Russian).
- Ustyakhin, S. (2007). Fenomen folk-modern tantsa v sovremennoy khoreografii: Avtoref. dis. … kand. kulturol. [The phenomenon of folk-modern dance in contemporary choreography: Thesis… PhD]. Ogarev Mordovia State University. (In Russian).
For Citation: Loban, L. Trends of Folk-Modern in Larisa Simakovich’s Ballets. International Journal of Cultural Research, 4 (49). 95–105. DOI: 10.52173/2079-1100_2022_4_95
DOI: 10.52173/2079-1100_2022_4_95