Musical and stage space of the ballet “The Moor`s Pavane” set to the music of Henry Purcell
The article raises the question of the uniqueness of the musical and stage composition of “The Moor`s Pavane”. Based on the so-called ‘Limón technique’, the ballet choreography demonstrated a new way of communication between the creator and the audience. The author believes that the choreographer communicates with the audience through the language of the stage space, which affects the audience visually and emotionally thanks to the energy and rhythm of the movement of the characters. The technique of depersonalization of heroes is marked as a way to make the audience focuses on the choreography itself and the abstract psychological states of the characters than on their individual characteristics. The article notes the catchy associations with the visual and musical range of the Renaissance artistic images that arise in the audience`s mind thanks to the typical costumes of the characters and the rhythms of Pavane dance. The author gives the quotes, confirming the unusual process of creating the performance itself, namely, the choreographer`s desire to move away from the stereotype of staging the ballet on the plot of a literary work, choosing the music post factum after creating the dance itself. In musical dramaturgy the leading principle of contrast and the presence of external and internal figurative and thematic arches are noted. The author notes that some tempo and textural changes of Purcell`s music, emerged as a result of the arrangement, allowed the creators of the performance to strengthen the tragic in lyrical images, and the lyrical and heroic in dance ones. From the author`s point of view, the decision of using Purcell`s music in the ballet was determined by a number of reasons, the leading one of which was the common world vision of the two creators.
Henry Purcell, José Limón, “The Moor`s Pavane”, “Abdelazer”, “The Gordian Knot Untied”, a pavane.
Duda N. Musical and stage space of the ballet “The Moor`s Pavane” set to the music of Henry Purcell // South-Russian Musical Anthology. 2020. No. 3. Pp. 15–20.