SPECIFICITY OF CONTEMPORARY ANIKO REKHVIASHVILI’S AUTHOR'S NEOCLASSIC STYLE

Abstract

The article analyzes the specificity of Aniko Rekhviashvili's neoclassical performances. The aim of the research is to systematically analyze the style and choreographer's work. Analyzed the specific features of the author's style domestic neoclassicism, as well as the forms of building choreographic performances by Aniko Rekhviashvili. The analysis of the work of predecessors with tangential problems in neoclassical ballet, their specificity of forms, techniques, genres is presented. The characteristics and content of the architectonics of choreographic miniatures, large forms − one-act ballets of the author are determined. The emphasis is made on the fact that contemporary domestic neoclassicism actively interacts with the latest formal and technical means of dance techniques − modern, neoclassical, jazz and street forms. Knowledge of own neoclassical school and outstanding OF samples, as well as familiarity with combinations and movements provide an opportunity for modern choreographic youth to acquire the national heritage and adequately present it at festivals and competitions. The author's neoclassical ballet style of Aniko Rekhviashvili in the genre-stylistic aspect is built according to the plot and abstract-associative principles; used stylistic techniques and visual characteristics of impressionism and expressionism, as well as jazz, modern. The decoration of the ballet is focused on the “Balanchine principle” − there are no complicated decorations and special costume attributes in the ballet. Firstly, the neoclassical ballet technique in high-heeled shoes, and this is possible only in character dances in academic ballet or folk stage dance. Secondly, the use of modern costumes − transparent mesh and trousers for men and women, as well as the use of stylized costumes from the times of baroque, empire, romanticism. The costumes of the performers have dark colors. In duet miniatures, female dominance over men is generally inherent, according to the principle that a woman is weak, but she is always right. Thanks to special lighting, light and shadow create a psychological mood and help to understand the emotional state of the performers