THE AVENGARDIAN IMAGE OF THE PERSON IN CHOREOGRAPHY OF THE EARLY XX CENTURY

Abstract

Formulation of the problem. The relevance of the article is due to the appeal to the work of two Ukrainian ballet dancers, choreographers of Polish origin, Vaclav and Bronislava Nezhinsky, who were avant-garde reformers of the stage image of the tank in the space of choreographic synthesis of the early twentieth century. The problematic field of interpretation of the philosophy of the act of the brother and sister Nezhinsky in choreography is metaphorically described as “cubism”, requiring a separate stylistic and morphological analysis as an aesthetic phenomenon. The purpose of the article is to determine the aesthetic features of the philosophical reflection of innovative choreographers in the context of the synthesis of the arts. The research methodology is determined by phenomenological and dialectical methods, which allows us to determine the image of a human artist in the context of the transformation of choreographic culture, the integrity of the phenomenon of play, tanka and the dialectics of stylistic transformations of theatrical synthesis of arts. The novelty of the article. V. Nizhinsky transformed the classical tanka system, created a polysystemic whole of choreography, where discrete elements of poses acquire signs of a continual weaving of “cubism”. Sister Bronislava, like her brother, also grew up on the platforms of Diaghilev’s seasons, became a peculiar, rather extravagant choreographer. They entered the world culture not by surprise, choreographers comprehend and reflect in their work what exists around them as an aesthetic synthesis. Conclusions. V. Nezhinskaya and B. Nezhinskaya formed a certain “anti-system” in the space of the classical tank, began the avant-garde transformation of choreographic culture, which brought choreography closer to modern painting, and encouraged the emergence of the latest stage syntheses. Vaclav was an avant-garde choreographer. Sometimes they look for confirmation of avant-garde in Dalcroze’s theory of rhythm, it is believed that Dalcroze seemed to have influenced him – Diaghilev provided Dalcroze’s assistant to Nezhinsky to help. Nevertheless, V. Nezhinsky did not know the artsy logistics of the French master. And if he knew, he was not a logician, he was a more intuitive actor of the large theater of the Tank.