Characteristic dance. N

Characteristic dance is a type of stage dance. In different eras it changed its meaning. In the XVI and XVII centuries the dance took on the character of a genre, everyday image. In the 19th century, this term began to be applied to stage adaptations of folk dances. Post-spenpo, an academic form of individual national dances was developed. The characteristic dance of the ospovai is based on the classical dance system. These are the dances in many of M. Petiat’s productions: suites of national dances in Act III of the ballet “Swan Lake”, in Acts II and III of the ballet “Raymonda”. By that time, the understanding of the term “characteristic dance” had developed, which has survived to this day.

It's either national dance, subjected to processing according to the requirements of the stage, or a dance that carries a “characteristic” beginning: a sailor dance, a dance that imitates the habits of an animal, etc. The reforms of M. Fokin and L. Gorsky served further development characteristic dance. Numerous varieties have been created. In some cases, there was a fusion of classical and characteristic dance forms (“Polovtsian dances”, etc.), in others the dance was built on folklore foundations (Aragonese jota).

In modern ballet thanks to the exceptional interest of choreographers in folk art characteristic dance took one of the first places in the row expressive means dance performance. Great merit in this belongs to F. Lopukhov, K. Golsizoveky, V. Vainonen, V. Chabukiani, L. Ermolaev, as well as choreographers working in national republics, where the characteristic slipper is used especially widely. Over the past half century, the characteristic dance has acquired new stylistic features.

In Russian ballet- this is a true nationality, an effective role in the dramaturgy of the performance, a virtuoso technique with the help of which the performer can convey in dance the whole variety of human experiences. Particularly noteworthy is the ability of characteristic dance to recreate revolutionary romance and the heroic pathos of popular uprisings (N. Stukolkina).

Characteristic clothing dancers differs significantly from the classic ones: it reflects the national flavor of the people whose dance is performed; the feet have completely different shoes - boots, boots or low shoes. All this leaves an imprint on the nature of the injury.

Folk dance is a dance created by the people and widespread in their culture. The dance of each ethnic group is unique and has national characteristics, just like folk songs and folk music, with which the dance is closely connected. These features were formed, shaped, and modified under the influence of the living conditions of the people. Folk dance is one of oldest species folklore

Early stage of dance development was associated with religion and served as a means of magical spells. Military dances became widespread. Gradually, along the sea of ​​growth in the culture of peoples, dance moved into the sphere of festivals, amusements and celebrations. Each new era contributed to dance folklore.
This process continues now: dances appear that reflect the life, appearance and character of modern man.

People's dance was the basis on which classical dance grew. Classical dance is now enriched by folklore. Folk dance played a big role in the formation of national ballet theaters. These dances are widely used by amateur artists.

Over the past years, the people's people have achieved remarkable success choreography. There are now more than 80 professional and about 150 amateur song and dance ensembles in the country. Many productions of these ensembles have now become classic examples of modern folk choreography (I. Moiseev, N. Nadezhdina, T. Tkachenko). Folk dance in these groups acquired a high professional level, was enriched by the creative invention of choreographers, without losing its originality and spontaneity.

The dancers injuries are associated with the temperament of their dances, sudden movements, jumps, deep squats, and the performance of such elements of folk dance as “sliders”; The most common injury they have is the knee joint. For dancers, the slippers are slow, calmer, without sudden movements.

Dance " modern", so widespread in Western bourgeois ballet, cannot do without a professional classical school. Modern dance performers preach pessimism, unhealthy symbolism, mysticism, and sex. Soviet art rightly rejected and condemns this style of dance, because it lacks expressiveness. Yu. Slonimsky wrote that if there is no expressiveness of the dance, “the soul flies away” from the performance; figures of living dolls remain on the stage, performing a series of memorized movements.

In conclusion, it should be said that the type dance, manner of performance, clothes and shoes of dancers influence the nature and location of the injury, as well as the occurrence of disease in one or another part of the musculoskeletal system.

Characteristic dance one of the expressive means of ballet theater, a type of stage dance. Originally the term "H. T." served as the definition of dance in character, in image (in interludes, dances of artisans, peasants, robbers). Later, the choreographer K. Blazis began to call all folk dances introduced into a ballet performance “H. t.” This meaning of the term continues into the 20th century. Choreographers and dancers of the classical school of dance built choreography on the basis of this school, using professional techniques. At the end of the 19th century. was created exercise Choreography (later approved as an academic discipline in choreographic schools).

In a modern ballet performance, the ballet can be an episode, become a means of revealing the image, creating an entire performance.

Lit.: Lopukhov A.V., Shiryaev A.V., Bocharov A.I., Fundamentals of character dance, L. - M., 1939; Dobrovolskaya G.N., Dance. Pantomime. Ballet, L., 1975.

G. N. Dobrovolskaya.

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One of the expressive means of ballet theater, a type of stage dance. In the beginning 19th century the term served as a definition of dance in character, in image. Used preim. in interludes in which the characters were artisans, peasants, sailors, beggars, robbers, etc. The dances were based on movements that characterize a given character, and everyday gestures were often included; the composition was less strict than in the classical one. dance. In the beginning 19th century K. Blasis began to call H. t. any people. dance staged in a ballet performance. This meaning of the term continues into the 20th century. In Russia there is interest in performing dance on stage. folklore increased in the beginning. 19th century in connection with the events of the Fatherland. war of 1812. In the divertissements of I. M. Abletz, I. I. Valberkh, A. P. Glushkovsky, I. K. Lobanov Russian. the dance became the leader. The process of turning people The characteristic dance intensified during the heyday of the romantic. ballet in performances by F. Taglioni, J. Perrot, C. Didelot, where the aesthetics of romanticism determined the national. coloring, and H. t. either recreated life, opposed to the unreal world of sylphs and naiads, or was romanticized. In the ballet of this period, ch. will express. The grotesque becomes the medium of the performers of art. National character, national image of H. t. in classic. ballets remained authentic and reliable. Samples of art created by M. I. Petipa and L. I. Ivanov preserved the mood and coloring necessary for the development of the plot of the play. Choreographers and dancers of the classical dance school built their theater on the basis of this school. In con. 19th century the exercise of art was created (later approved as an academic discipline), where various. people's movements dances were performed within the strict framework of the classical dance school. This made it possible to use choreographic laws when staging choreography. symphonism - the creation of certain plastic. themes, counterpoint, etc.

A stage in the development of chemical art was the work of M. M. Fokin, who created an expression based on this. means of performances and managed to establish the principles of symphonism in them ("Polovtsian Dances"; "Aragonese Jota" to the music of Glinka). In "Polovtsian Dances", relying on the music of A.P. Borodin and following the laws of choreographic. composition, Fokin created in dance the image of a people who long ago disappeared from the face of the earth, whose plasticity. folklore has not survived. Dance F.V. Lopukhov also studied folklore. He introduced new movements, combinations, national movements into ballet use. dance images, especially in the ballets “The Ice Maiden”, “Coppelia”; "Bright Stream" by Shostakovich: The search for Fokin was continued by K. Ya. Goleizovsky, V. I. Vainonen, V. M. Chabukiani.

In ballet art of the 1930s-60s. many performances appeared at the national. topics where each episode, solved by classical means. dance, was permeated with national color and interspersed with art ("Heart of the Mountains"; "Taras Bulba" by Solovyov-Sedoy, "Spring Tale" by Asafiev based on musical materials by P.I. Tchaikovsky, "Shurale", " Stone flower", etc.). Classical dance was enriched thanks to X. t., having adopted some of its means of expression. At the same time, the concept of "X. "t." expanded to include the original meaning - dance in the image. In the ballet of the 70s, dance can be an episode, can become a means of revealing the image, creating an entire performance, often being the engine of the plot.

Ballet. Encyclopedia, SE, 1981

Characteristic dance CHARACTERISTIC DANCE(French danse de caractère, danse caractéristique), one of the expressions. funds ballet dance, a type of stage dance. In the beginning 19th century the term served as a definition of dance in character, in image. Used preim. in interludes, in which the characters were artisans, peasants, sailors, beggars, robbers and others. The dances were based on movements that characterize a given character, and everyday gestures were often included; the composition was less strict than in the classical one. dance. In the beginning 19th century K. Blasis began to call H. t. any people. dance staged in a ballet performance. This meaning of the term continues into the 20th century. In Russia there is interest in performing dance on stage. folklore increased in the beginning. 19th century in connection with the events of the Fatherland. war of 1812. In the divertissements of I. M. Abletz, I. I. Valberkh, A. P. Glushkovsky, I. K. Lobanov Russian. the dance became the leader. The process of turning people The characteristic dance intensified during the heyday of the romantic. ballet in performances by F. Taglioni, J. Perrot, C. Didelot, where the aesthetics of romanticism determined the national. coloring, and H. t. either recreated life, opposed to the unreal world of sylphs and naiads, or was romanticized. In the ballet of this period, ch. will express. The grotesque becomes the medium of the performers of art. National character, national image of H. t. in classic. ballets remained authentic and reliable. Samples of art created by M. I. Petipa and L. I. Ivanov preserved the mood and coloring necessary for the development of the plot of the play. Choreographers and dancers of the classical school. Dance culture was built on the basis of this school. In con. 19th century the exercise of art was created (later approved as an academic discipline), where various. people's movements dances were performed within the strict framework of the classical school. dance. This made it possible to use the laws of choreography when staging choreography. symphony creation of certain plastic. themes, counterpoint and others.

A stage in the development of chemical art was the work of M. M. Fokin, who created an expression based on this. means of performances and managed to establish the principles of symphonism in them ("Polovtsian Dances"; "Aragonese Jota" to the music of Glinka). In "Polovtsian Dances", relying on the music of A.P. Borodin and following the laws of choreographic. composition, Fokin created in dance the image of a people who long ago disappeared from the face of the earth, whose plasticity. folklore has not survived. Dance F.V. Lopukhov also studied folklore. He introduced new movements, combinations, national movements into ballet use. dance images, especially in the ballets “The Ice Maiden”, “Coppelia”; "Bright Stream" by Shostakovich: The search for Fokin was continued by K. Ya. Goleizovsky, V. I. Vainonen, V. M. Chabukiani.

In ballet art of the 1930-60s. many performances appeared at the national. topics where each episode, solved by classical means. dance, was permeated with national color and interspersed with artistic works ("Heart of the Mountains"; "Taras Bulba" by Solovyov-Sedoy, "Spring Tale" by Asafiev based on musical materials by P. I. Tchaikovsky, "Shurale", "Stone Flower" and others.). Classic the dance was enriched thanks to Kh. t., having learned some of its expressions. funds. At the same time, the concept of "H. t." expanded to include the original meaning of dance in character. In the ballet of the 70s. Art can be an episode, it can become a means of revealing an image, creating an entire performance, often being the engine of the plot.

Lit.: Lopukhov A., Shiryaev A., Bocharov A., Fundamentals of character dance, intro. Art. Yu. Slonimsky, L.M., 1939; Krasovskaya V., Russian ballet theater from its origins to the middle. XIX century, L.M., 1958; hers, Russian Ballet Theater second floor. XIX century, L.M., 1963; hers, Russian Ballet Theater of the early 20th century, [part] 1 Choreographers, L., 1971; Stukolkina N., Four exercises, M., 1972; Dobrovolskaya G., Dance. Pantomime. Ballet, L., 1975.

G. N. Dobrovolskaya.

Ballet. Encyclopedia. - M.:. Editor-in-Chief Yu.N. Grigorovich. 1981 .

See what “Characteristic dance” is in other dictionaries:

CHARACTER DANCE- a type of stage dance. It is based on folk dance (or everyday dance), processed by a choreographer for a ballet performance... Big Encyclopedic Dictionary

CHARACTER DANCE- Characteristic of any people, expressing its character. Dictionary foreign words, included in the Russian language. Chudinov A.N., 1910 ... Dictionary of foreign words of the Russian language

character dance- a type of stage dance. It is based on folk dance (or everyday dance), which has been processed by a choreographer for a ballet performance. * * * CHARACTER DANCE CHARACTER DANCE, a type of stage dance. It is based on folk dance (or everyday dance),... ... Encyclopedic Dictionary

Characteristic dance- one of the varieties of choreography. vocabulary. Until the 19th century Kh. T., also called comic, served to create national, genre or exotic. character. Narrative features coexisted in him. dance and grotesque movements of the square dancers. By means... ... Russian humanitarian encyclopedic dictionary

Characteristic dance- one of the expressive means of ballet theater, a type of stage dance. Originally the term "H. T." served as the definition of dance in character, in image (in interludes, dances of artisans, peasants, robbers). Later... ... Great Soviet Encyclopedia

dance- noun, m., used. often Morphology: (no) what? dance, what? dance, (see) what? dance, what? dancing, about what? about dance; pl. What? dancing, (no) what? dancing, what? dancing, (see) what? dancing, what? dancing, about what? about dancing 1. Dance is a form of... ... Dictionary Dmitrieva

dance- ta/ntsa, m. 1) A type of art, the reproduction of artistic images using expressive body movements. Dance theory. Expressive means of dance. Theatricalization of dance. I studied at the plastic dance studio at the school of Isadora Duncan (Panova).... ... Popular dictionary of the Russian language

DANCE (Polish taniec, from German Tanz), a type of art in which a means of creating art. images are movements and positions human body. T. arose from a variety of movements and gestures associated with labor processes and emotional... ... Ballet. Encyclopedia

characteristic- I hara/kterny aya, oe; ren, rna, rno. 1) only full. IN performing arts: characteristic of a certain people, era, social environment; expressing a certain psychological type. Xth role. Xth genre figure. Character actor, artist; ... ... Dictionary of many expressions

Dance- (Polish taniec, from German Tanz) a type of art in which the means of creating artistic image are the movements, gestures of the dancer and the position of his body. T. arose from a variety of movements and gestures associated with labor processes and... ... Great Soviet Encyclopedia

Books

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one of the expressive means of ballet theater, a type of stage dance. Originally the term "H. T." served as the definition of dance in character, in image (in interludes, dances of artisans, peasants, robbers). Later, the choreographer K. Blazis began to call all folk dances introduced into a ballet performance “H. t.” This meaning of the term continues into the 20th century. Choreographers and dancers of the classical school of dance built choreography on the basis of this school, using professional techniques. At the end of the 19th century. Exercise choreography was created (later approved as an academic discipline in choreographic schools).

In a modern ballet performance, the ballet can be an episode, become a means of revealing the image, creating an entire performance.

Lit.: Lopukhov A.V., Shiryaev A.V., Bocharov A.I., Fundamentals of character dance, L. - M., 1939; Dobrovolskaya G.N., Dance. Pantomime. Ballet, L., 1975.

G. N. Dobrovolskaya.

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• - a type of stage dance. It is based on folk dance, which has been processed by a choreographer for a ballet performance...

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• - for someone or something. This trait is characteristic of him. Climate typical for the north. Having taken a closer look and getting used to Voropaev, Lena already loved him with that timid and silent love that is so characteristic of a Russian woman...

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• - I characteristic A/A pr; 109 cm. _Appendix II characteristic characteristic more characteristic 260 cm. _Appendix II II characteristic A/A pr...

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• - I hara/kterny cr.f. hara/kteren, hara/kterna, -rno, -rny; hara/kterne II characteristic cr.f. character/ren, character/rna, -rno, -rny...

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• Ozhegov's Explanatory Dictionary

• - CHARACTER, -aya, -oe; -ren, -rna. 1. Stubborn, loves to do things his own way, with a difficult, capricious character. X. man. 2. characteristic role is the same as characteristic role. II. CHARACTERISTIC, -aya, -oe; -ren, -rna. 1...

  Ozhegov's Explanatory Dictionary

• - CHARACTERISTIC, characteristic, characteristic; characteristic, characteristic, typical. 1. . Possessing sharply expressed, very noticeable features and traits. Characteristic figure. Characteristic clothes. 2. ...

  Ushakov's Explanatory Dictionary

• Explanatory Dictionary by Efremova

• - characteristic I characteristic adj. 1. ratio with noun character I 3., associated with it 2. Expressing a certain psychological type. II characteristic adj. decomposition 1. ratio with noun character I 1., associated with it 2...

  Explanatory Dictionary by Efremova

• - characteristic adj., used. compare often Morphology: characteristic, characteristic, characteristic, characteristic; more typical 1...

  Dmitriev's Explanatory Dictionary

• - character actor; briefly...

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• - I. CHARACTERISTIC I oh, oh. CHARACTER oh, oh. caractère avoir du caractère. outdated and vernacular Powerful, strong-willed, stubborn. BAS-1. - Baba is good, reasonable, ....

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• - having its own distinctive features; colloquially: wayward, stubborn...
• - Characteristic of a nation, expressing its character...

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• - 1. characteristic; character actor; characteristic role; characteristic dance 2. characteristic, -ren, -rna, -rno, -rny; compare art. -her; characteristic person 3. characteristic, -ren, -rna, -rno, -rny; compare art. -her...

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"Characteristic dance" in books

Characteristic color