Cultural aspects of the study of choreographic interpretations of I. Stravinsky's ballet “The Rite of Spring”
Abstract
The study of the cognitive process of recognising images (signs) that characterise the content component or emotion is necessary for artistic communication. On the one hand, an interpreter is a representative of a specific society, ethnos, a linguistic personality, a communicant in the historical and modern aspects. On the other hand, in the centre of the ballet is a human with his actions, attitude to other characters, thoughts, feelings and peculiarities of plastic intonations. Since artistic knowledge belongs to the human personality, it has a certain historical, cultural, including social, spacious-hour context. During the “Russian period” of creativity I. Stravinsky created more than twenty works of various genres. The research area does not include the folklorebased “Tale about the Fox, the Rooster, the Cat and the Ram” (1916), “The Tale of the Fugitive Soldier and the Devil, Read, Played and Danced” (1918), in which, along with singing, there was the choreographic action. One of the criteria for selecting material for research is the opportunity to see the choreographic solution of the original versions of the ballets created at Diaghilev's theatre-enterprise. Choreographic reconstructions of “Tales ...” and “Tales of a Soldier” were not undertaken. These scores were not as much in demand by choreographers as the four compositions regarded.
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