СПЕЦИФІКА ТЕОРІЇ ТА ПРАКТИКИ БАЛЬНОЇ ХОРЕОГРАФІЇ (XV – XVIІ ст.)

Abstract

The purpose of the article is to study rare editions on the theory and practice of ballroom choreography of the 15th – early 17th century; analyze choreographic traditions, evolution trends, varieties of choreographic techniques, peculiarities of techniques and manners of performance, and changes in choreographic vocabulary and forms of ballroom dance. The research methodology consisted in the organic set of basic principles of research: objectivity, historicism, multifactorness, systematicity, complexity, development and pluralism; to fulfill the research purpose, the following methods of scientific knowledge were used: problem-chronological, concrete-historical, statistical, descriptive, and logical-analytical. The scientific novelty of the article lies in the historiographical analysis of rare editions on the theory and practice of ballroom choreography of the 15th – 17th century in the context of art critical investigation of the trends of ballroom dance evolution; the influence of literary sources of the 15th – 17th century on the development of ballroom dance and changes in choreographic vocabulary were revealed. Conclusions. As a result of the detailed study and conducted art critical analysis of rare sources of English, Spanish, Italian, German and French literature of the 15th – early 17th century, the following features and tendencies of the development of ballroom dance of this period can be established: the widespread and popularization of the ballo and basse danse in the 15th century not only at the court but also among wealthy suburbanite; there was a noticeable tendency towards a more virtuous performance of male dance steps; the choreographic tradition of the 15th century was characteristic of the penchant for asymmetrical ballroom dance compositions; however, at the end of the 16th century the transition to the harmonization of structure and spatial pattern became noticeable; the main principles of performing ballroom dances of the 16th century were improvisation and variability, while the artistic-production and techno-performing part remained the predominant component; the distinction among folk and court dances consisted in the emphasis on elegance, technique and style of execution; the existence of a canon of dance figures as an important element of English and French choreographic art of the 16th – early 17th century; widespread occurence and preservation of the Italian dance tradition of the mid-fifteenth century at least to the first third of the sixteenth century.