Творче кредо С. Лифаря та його внесок у розвиток теорії танцю

Abstract

The purpose of the article is to reveal the modern aspects of Lifar’s theoretical thesis value in the light of current concepts of the dancing theory and its practical (creative) manifestations. Methodology. The use of the historical method made it possible to search for the corresponding projection on the Lifar’s theoretical conclusions at a time when there is not a single researcher of choreographic art actually engaged in the dancing theory. The comparative method made it possible to understand the correspondence of a number of phenomena to the aesthetics of ballet art and the composition of a ballet performance, which have an adequate response in the choreographic art of the 20th – early 21st centuries. Scientific novelty. An attempt has been made to abstract from Lifar’s biographical and eniclopedic studies of the Lifar’s personality and to focus on the problems that were characteristic during the search for a new choreographic language in the first half of the twentieth century, in order to link them with the birth of choreology as an independent science. Conclusions. In the S. Lifar’s theoretical thesis, as well as in the visual results of his creative practice, there are significant discrepancies. This is a consequence of the real contradictions of the dance technique with its inner essence, as well as with the excessive choreographer’s enthusiasm, who could not always adequately understand the value of his repertoire. It is important that Lifar is taking an important place in the series of iconic dance theorists and it is penetrated not only by the classics, but also by the creation of new movements that are able to express abstract ideas and normalize some metaphysical concepts in the dancing theory. The source of the search for such movements Lifar sees it in the human body, which rewards him with the highest pleasure that comes from bodily harmony of movement, and calls the concept of beauty unifying the body’s expressive possibilities, which he adores as a choreographer and dancer. These and some other thesis of Lifar’s theoretical works of harmoniously fit into the legacy of outstanding dance researchers and stimulate the study of its theoretical foundations.