Ideological and philosophical principles of thematization of ballet criticism by Akim Volynsky

Abstract

The purpose of the article is to identify the main ideological and philosophical principles of thematization of ballet criticism by Akim Volynsky. Methodology. The research was carried out on the basis of theoretical generalizations, systematization, comparison, using the chronological principle and culturological approach. Scientific novelty. For the first time, the main ideological and philosophical principles of thematization of the ballet criticism of Akim Volynsky are revealed. Conclusions. For А. Volynsky, the concepts of "mind" and "spirit" were synonymous, which testifies to the effectiveness and productivity of his critical academic modernist (symbolist) ballet discourse, educational, focused on the harmony of rational and spiritual principles of intention. Unlike many contemporaries who professed the cult of Dionysus, Volynsky considered Apollo the highest symbol of spirituality and intellectuality in man. But he argued that the "Apollonian" revival in the culture of that time was opposed by a too strong and all-pervading chaotic "Dionysian" principle. Volynsky traces the evolution of classical ballet from ancient cults and seeks to comprehend its psychological content. He believed that criticism should be non-ideological, artistic, based on absolute idealistic values, which caused a wide range of opinions of theorists and practitioners of ballet art: from harsh condemnation (A. Gvozdev, A. Piotrovsky, I. Sollertinsky) to recognizing the importance of the critic's theoretical intentions for in its time (V. Gaevsky, R. Zakharov). A. Volynsky contributed to the institutionalization of ballet criticism in the Russian Empire and in the Soviet Union, differentiating it into professional and amateurish.