Рerformative processes in the context of сontemporary artistic culture: author's aspect of stage direction in ballet, theatre and circus

Abstract

The article analyzes performative processes in the context of artistic culture using the example of specific direction in authorial stage projects. The specific features of the construction and structure of stage projects are separately determined. This topic has hardly been studied in modern art criticism. Firstly, because the theme of the authorial plot and its embodiment in the director's idea is very individual and personified. Secondly, the study of modern authorial stage projects, in which there is an interaction between different types and genres of artistic culture, as well as other visual forms of socio-cultural space, requires specialists not only practical, but also scientific substantiation of applied material. The purpose of the article is to determine the interaction between types of artistic culture: ballet, theater and circus, the details of the construction and staging of a stage project in the context of a modern authorial plot. The study analyzed the author's stage projects as a reflection of modern spectacles of today's artistic culture, namely: analysis of the ballet performance of the neoclassical ballet “Romantic Miniatures – You in My September” (directed and choreographed by Denys Sharykov); the theatrical performance "Shakespearean" (directed by Alexei Kochevenko, choreographed by Denys Sharykov); the theatrical performance "Jonathan Livingston Seagull" (directed by Nina Illina, choreographed by Denys Sharykov); the neoclassical ballet-performance "The Fall of the Fallen Angel" (directed and choreographed by Denys Sharykov); the circus ballet composition “Flower of the Soul” (directed and choreographed by Denys Sharykov). In theatrical performances, the director's eurythmic solution of the entire stage action is important, the actors clearly and qualitatively convey the content and literary text not only verbally, but also identically to rhythmoplastic language: each word is emphasized by pantomime or plastic movement. This is especially clearly noted in the mass large scenes of theatrical drama: in the play “Jonathan Livingston Seagull”, in the play “Shakespeareana”. The scenography and artistic solution of the costumes are an interesting stylization and eclecticism of modern stage costume with Renaissance costume in “Shakespeareana”, a combination of ancient Greek chitons and himatias with modern costumes in the form of birds. Important is the synthesis of the principle of “cinema-inverse”, illusionary, acrobatic forms, manipulations with fabric, which are successfully combined with the high-quality ballet vocabulary of the modern form of neoclassicism, namely the synthesis of virtuoso small technique of hands and feet with movements of a wide amplitude of the body, passing movements, which through the semiotics of choreographic language convey a clear storyline and artistic image. In the demonstration of performative action, the emphasis is placed on the individual author's content, even based on the motives of an already existing work, which interestingly synthesizes cinema, theater, ballet, circus and original forms, which necessarily have an artistic image, a clear storyline, the body of the performer and mass scenes are transformed into the transmission of psychological content in both plot and plotless action.