E. DEGAS, CHRONICLER OF THE FRENCH BALLET: TO THE QUESTIONS OF THE RESEARCH OF THE ARTIST’S CREATIVITY
UDC index:
7.049.1
DOI:
Article ID in the RSCI:
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Information about authors: Portnova Tatyana Vasilyevna, Dr of Art History, Professor of Choreographer’s Art Department, Institute of Slavic Culture, Department of Art History, Russian State University named after A.N. Kosygin (Moscow, Russian Federation). E-mail: infotatiana-p@mail.ru
Annotation: The article is devoted to the interpretation of the dance theme in the work of famous French artist E. Degas (1834-1917) against the backdrop of the development of the Paris Opera’s ballet theater, which introduces new forms of dialogue and communication into the sphere of interaction of related arts. It is shown that the theme of the dance in the artist’s work was conventionally developed in two directions: academicism was more inclined towards showing dance classes, lessons and rehearsals, and romanticism was most often manifested in depicting the stage performances and was only occasionally seen in pictures fixing the production process for the birth of plays. It is established that the artist’s works, in spite of the general theme, solve various creative tasks that lie in the sphere of the Impressionist image method. In addition, they form an artistic consciousness that requires creativity, which develops search thinking in the image of the behind-the-scenes life of dancers. The interdisciplinary nature of the topic of the article focuses and aims to gain new knowledge about the visual images of performers, choreographers, the production process, rehearsals and performances in the ballet theater of the second half of the 19th century, as well as the technical equipment of the stage of the Paris Opera, decoration and stylistics of costumes. Based on the study of a number of works in museum collections, the author formulates the main dynamic characteristics of the created artistic images of the ballet and their unique identity.
Keywords: E. Degas, ballet of the Paris Opera, impressionistic method, dance image.
DOI:
Article ID in the RSCI:
Article file: Download
Information about authors: Portnova Tatyana Vasilyevna, Dr of Art History, Professor of Choreographer’s Art Department, Institute of Slavic Culture, Department of Art History, Russian State University named after A.N. Kosygin (Moscow, Russian Federation). E-mail: infotatiana-p@mail.ru
Annotation: The article is devoted to the interpretation of the dance theme in the work of famous French artist E. Degas (1834-1917) against the backdrop of the development of the Paris Opera’s ballet theater, which introduces new forms of dialogue and communication into the sphere of interaction of related arts. It is shown that the theme of the dance in the artist’s work was conventionally developed in two directions: academicism was more inclined towards showing dance classes, lessons and rehearsals, and romanticism was most often manifested in depicting the stage performances and was only occasionally seen in pictures fixing the production process for the birth of plays. It is established that the artist’s works, in spite of the general theme, solve various creative tasks that lie in the sphere of the Impressionist image method. In addition, they form an artistic consciousness that requires creativity, which develops search thinking in the image of the behind-the-scenes life of dancers. The interdisciplinary nature of the topic of the article focuses and aims to gain new knowledge about the visual images of performers, choreographers, the production process, rehearsals and performances in the ballet theater of the second half of the 19th century, as well as the technical equipment of the stage of the Paris Opera, decoration and stylistics of costumes. Based on the study of a number of works in museum collections, the author formulates the main dynamic characteristics of the created artistic images of the ballet and their unique identity.
Keywords: E. Degas, ballet of the Paris Opera, impressionistic method, dance image.
