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E. Kiseyeva

The features of realization of musical experimentalism principles in choreographic performances

The article considers the issues of interaction between music and dance in the productions by the major American choreographers, the founders of postmodern dance: M. Cunningham, A. Halprin and their followers L. Childs, T. Brown, C. Brown and others. A significant part of their repertoire, with dozens productions having became the history of musical choreographic theatre, involved music compositions by J. Cage and his associates D. Tudor, E. Brown, K. Wolf, G. Mamma, B. Nilsson, and others. Performances by choreographers-innovators, who deny traditional means of expression, were born and developed in the context of experimental and conceptual art of the 1950–1970s. The performances embodied the ideas reflected the features of the era and associated with the attempt to expand the boundaries of art through its connection with the realities of life. Also there has been formed the understanding of the artwork to be a creative process; the ways of emphasizing of performer’s and recipient’s roles in the stage process of the whole were found. The author of the article indicates the reasons for choreographers’ referring to the experimental direction, considers the specifics of aesthetic and art principles, compositional techniques and methods of formation, typical of musical experimentalism being reflected in dance.

Key words

musical experimentalism, postmodern choreography, interactions between music and dance, M. Cunningham, J. Cage, A. Halprin.