E. Kiseeva

Formation of the minimalist artistic principles in the creative work by composers and choreographers (the second half of the XXth century)

The artistic aims of musical and choreographic minimalism closely associated with each other are examined in the article. As the researcher notes these aims have become the part of the global artistic strategy of «Minimal Art», formed in the 1960s USA culture and influenced a number of currents in American and European art of the following decades. The author of the aerticle emphasizes that philosophical and creative concepts by composer (L. M. Young, T. Riley, S. Reich, F. Glass, M. Monk) and choreographers (A. Halprin, S. Forti, T. Brown, A. T. de Keersmaker) to be the basis for the congener principles embodied in languages of various arts. The question is the emancipation of sound as such, and the dip into the world of individual movement, gesture, and sprung from it new perception of time too. The mutual origins of minimalism in music and dance are retraced by the author of the article. In particular, the influence of the Second Avant-garde experiments within the creative evolution of composers and choreographers is noted. At the same time, the mentioned art dialogue is liven up owing to the purposeful interchange of ideas and productive contacts between the leading masters.

Key words

musical minimalism, choreographic performance, the Second Avant-garde art, S. Reich, F. Glass, A. Halprin, R. Morris.

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