Choreography as a unique and synthetic art form
Introduction
Medieval dances are a reflection of the dark period of the Middle Ages. Court dances and their historical significance.
4. Folk and court dances of the Renaissance. The emergence of Ballet and its influence on social and political life. Artistic design of Medici era ballets
5. Dance art of the 17th-18th centuries. Louis XIV and ballet. The emergence of ballet music and story ballets. Court dances at the assemblies under Peter 1. Dancers-reformers Maria Camargo and Auguste Vestris. J.J. Nover and his reforms.
The era of romantic ballets of the 19th century and its representatives. Ballets of Arthur Saint-Leon, and their historical significance. Marius Petipa and Pyotr Ilyich Tchaikovsky are the creators of masterpieces of classical ballet. New trends in dance art of the late 19th century
The development of dance art from the beginning of the 20th century to the present day.
Conclusion
Introduction
Choreography and dance have their own centuries-old history, described by historians and theater experts based on the memories of eyewitnesses and contemporaries, images of artists and numerous legends about dance and dance art. Dance art is unique because it reflected and reflects the life, morals and customs of people through the mysterious language of plasticity and gestures. The uniqueness of choreography also lies in the fact that it combines the art of dance, theater, music and fine arts, if we are talking about a dance performance.
Subject and object of research. Choreography as a unique and synthetic art form that closely interacts with music and visual arts.
Purpose of the study. Determine the uniqueness and significance of dance art at each stage of historical development, and also analyze the relationship of choreography with other forms of art.
The relevance of research. The art of choreography is of interest even now, in our time. Therefore, the question of the uniqueness of choreography, its significance in people’s lives and in history, and its relationship with other forms of art cannot but be relevant.
My research reveals the essence and meaning of dance over a huge period of time - from the ancient Greek period to the present day. The dance accompanied the magnificent celebrations and holidays of Ancient Greece and Rome, medieval balls and knightly tournaments, luxurious theatrical performances during the reign of the French kings, and, finally, turns into a separate and special form of art - the art of choreography.
Also during the study, you can notice how important historical events influenced the art of dance, and the art of dance influenced fashion, culture, customs and even the political life of a certain period in history. This was especially noticeable during the reign of Catherine de Medici and King Louis 14.
The origin and significance of dance in history. Dance art as an important component of the theater of Ancient Greece and the life of the ancient Greeks
The roots of dance art go back to the distant past and originate from the era of primitive communal times, when dance and gestures played a significant role in the life of ancient man, as methods of communicative communication before the appearance and development of sound speech.
Later, the dance acquired ritual significance - people turned to dancing during weddings and religious ceremonies, military rituals, rites of the change of seasons, the birth of children or funerals. Dancing united people and was not only a way of communicating with each other and entertainment, but also a means of expressing their state of mind, thoughts and emotions. Under the influence of changing historical events, in connection with the advent of new spiritual and cultural values and new aesthetics, the meaning of dance and its main functions are gradually changing.
Let's start our excursion into history by studying dance in Ancient Greece. What was unique about the dance art of Ancient Greece? And what importance did dance play in the life of the Greeks?
It is known that the Ancient Greeks left their tangible mark on the history of world art and culture. We know the names of the great ancient Greek playwrights - Aeschylus, Sophocles, Euripides, Aristophanes. We admire the majestic arches and columns, caryatids, statues of gods and heroes of ancient Greece. It was then, in those distant times, that special attention was paid to the beauty and aesthetics of the human body, movements and poses, and, of course, dance.
Dances in Ancient Greece were divided into ritual (sacred, ceremonial), social, stage and military. Thus, stage ancient Greek dances were part of theatrical performances. All Greek youths were required to learn the art of military dance.
In Greece, everyone danced, regardless of age and social status, and loved holidays and entertainment, which were often accompanied by theatrical performances, songs, dances and playing musical instruments.
The holiday in honor of the god Dionysus or Great Dionysia was celebrated several times a year in Athens. The holiday lasted several days: the temple of Dionysus was decorated, large processions were organized, songs of praise were sung, and theatrical competitions were organized for the authors of drama, tragedy and comedy. Author-poets were also directors, choreographers and even, not rarely, actors in their works.
Dance in the sanctuary of Dionysus. Attic vase of the 5th century. BC.
"There are young men and blooming maidens, desired by many,
They dance in a circular choir, kindly intertwining their hands.
Virgins in linen and light clothes, youths in vestments
They are lightly dressed, and their purity, like oil, shines;
Those - lovely wreaths of flowers decorate everyone;
These are golden knives, on silver belts over the shoulder.
They dance and spin with their skillful feet,
As easy as turning a wheel under the experienced hand,
If a poor person tests him to see if he can spin easily;
Then they will develop and dance in rows, one after another.
(Homer "Iliad", translation by N.I. Gnedich)
The theatrical dances of ancient Greece include emmelia, cordac and sikkinida. Dance as part of a tragedy ( emmelia) was quite slow and majestic, and the gestures in it ( chironomy) - wide, large. The kordak consisted of inserted comic scenes, a kind of choreographic buffoonery. This dance was quite obscene, performed at a rapid pace, with squats, jumps and “heels in the sky.” The chorus in Aristophanes' comedy "Wasps" accompanies this violent, unbridled dance with these words:
Spin faster and faster!
Phrynic's dance!
Throw your feet higher!
Let the audience gasp: “ah, ah!”
Seeing heels in the sky.
Spin, somersault and hit yourself in the belly!
Throw your legs forward, spin like a top...
Kordak. Vase painting, 5th century. BC e.
The dance of satirical drama - Sikinnis, which was oriented towards the tastes of ordinary people and often represented a parody of many aspects of public life, had much in common with it.
Dance of two satyrs. Vase painting, first half of the 5th century. BC e.
Complex dances, with acrobatic elements and tricks, were performed by professional dancers, acrobats, and jugglers. They were accompanied by playing musical instruments. Lucian described in his treatise: “And on Delos, even ordinary sacrifices could not be done without dancing, but were accompanied by it and performed to music. The youths, gathered in a round dance, performed rhythmically in a circle to the sounds of the flute and cithara, and the dance itself was performed by the best dancers selected from among them. Therefore, the songs written for these round dances were called “dance choruses,” and all lyric poetry is full of them.”
Once every four years, a holiday was celebrated in honor of the goddess Athena - the patroness of the city of Athens - Greater Panathenaea. The holiday consisted of a torchlight procession to the statue of Athena, offering numerous and rich gifts to the beloved goddess: clothes, works of art, sacrificial animals, flowers, and was also accompanied by war dances. Pyrrhiha belongs to the most striking military dances.
Pyrrha, warrior dance
According to one legend, the first performer of the pyrrhic dance was Pallas Athena. She danced it in honor of the victory over the Titans. Another legend claims that it was invented by King Pyrrhus. Most researchers are inclined to think that the name comes from the word “pira” - “bonfire”, around which Achilles danced at the funeral of Patroclus. For the pyrrhic dance, the dancers wore warrior costumes. In their hands they had a bow, shield, arrows or other weapons. They galloped forward, jumping from one leg to the other; then various military movements and combinations were carried out - they attacked each other in straight ranks, closed in a common circle, jumped in groups, knelt, etc.
A Greek wedding was also accompanied by dancing, singing and certain rituals. Here is how Homer describes the wedding process: “There, brides are escorted from the palaces, bright lamps with brilliance, wedding songs with clicks, through the city’s hundred squares. The young men dance in choruses, cheerful sounds of lyres and pipes are heard among them; respectable wives look at them and marvel, standing on the gate porches. The bride's mother lit a torch from her hearth and followed the cart along with relatives and guests. Some carried torches to illuminate the road, others carried gifts, as well as a special type of tripod, lutrophor and kalpides for wedding rituals, many sang wedding songs and danced to the accompaniment of aulos and lyres, exclamations addressed to Hymen sounded all the way to the groom’s house.” .
Dance in ancient Greece was complex, virtuosic, and certainly aesthetically developed. This is evidenced by ancient Greek frescoes and drawings, which depict pronounced movements and poses, emphasizing the beauty of the lines of the human body and the “turnout” of the legs.
Ariball painting, Jumping dancers, late 6th century. BC e.
Dancers and acrobats. Work of the circle master Polygnotus, ca. 430 BC e.
The high level of development of ancient Greek dance is also evidenced by the reasoning of philosophers about dance. And this was not surprising, because dance in Ancient Greece was part of the philosophical sciences - it was studied in gymnasiums, along with music, philosophy and other subjects. Numerous treatises were written about the connection between dance and philosophy by ancient Greek philosophers - Plato, Plutarch, Xenophon, Lucian and others. Philosophers were not only interested in the art of dance, but also loved to dance themselves. Xenophon wrote: “Even the wise Socrates loved the dance of Memphida, and often when His acquaintances saw him dancing, he told them that dancing is an exercise for every part of the body.”
The beauty of ancient Greek dance, its meaning, history of development and relationship with music is described by Lucian in his treatise: “I will say that dance not only delights, but also benefits the audience, educates them well, and teaches them a lot. The dance brings harmony and measure into the soul of the beholder, delighting the eyes with the most beautiful sights, captivating the ears with the most beautiful sounds and revealing the beautiful unity of mental and physical beauty. And if, in conjunction with music and rhythm, dancing achieves all this, then for this it deserves not censure, but rather praise... Dancing is not a new activity, it did not begin yesterday or the third day... For example, from the time of our ancestors or from their parents - no: people who provide the most reliable information about the pedigree of the dance will be able to tell you that simultaneously with the origin of the first principles of the universe, the dance also arose, which was born along with it, the ancient Eros. Namely: the round dance of the stars, the interweaving of the wandering luminaries with the fixed ones, their harmonious community and the measured order of movements are manifestations of the primordial dance. Afterwards, little by little, developing continuously and improving, the dance now seems to have reached its final heights and has become a diverse and harmonious blessing, combining the gifts of many Muses... But since the dancer’s art is imitative, since he undertakes to depict the content of the song with his movements, “The dancer must, like orators, practice, achieving the greatest clarity, so that everything he depicts is understandable, without requiring any interpreter.”
In general, dance and the dance art of Ancient Greece played an important role in the life of the Greeks. Filling and enriching life in a spiritual and aesthetic sense, dance becomes an integral part of religious holidays and rituals, wedding ceremonies and military rituals, as well as part of the culture and art of Ancient Greece. The beauty and aesthetics of ancient Greek movements, poses and gestures are confirmed by numerous drawings of Ancient Greece, the impressions of contemporaries and treatises of philosophical thinkers. The dance art of Ancient Greece, like other forms of art, undoubtedly influenced the development of world culture and art, theater and ballet. Many directors, dancers and choreographers turn to ancient dances and ancient culture. The great American dancer Isadora Duncan borrows ancient Greek poses and gestures for her improvisations, and also uses the ancient Greek tunic as the main type of costume for her performances. Choreographers J. J. Nover, M. Graham, G. Aleksidze, Y. Posokhov and others turn to the plot of the ancient Greek legend about Jason and Medea.
Evidence is in sculpture and vase painting, in the works of poets, writers, and artists. Division into participants and spectators, free in their desire - to dance or not to dance, to watch or not to watch. The ritual began to be replaced by the physical and entertainment. The whole life of Greece is permeated with eurythmy. Dancing was one of the educational disciplines, and adults and full-fledged citizens continued to study. Dancing is for spectators, not for the pleasure of jumping and not for your own entertainment. All citizens possessed some dance technique. Five groups: war dances - ritual and educational; cult moderate ones - emmelia, dance of the veils and dances of the caryatids, as well as dances at birth, wedding and funeral; orgiastic dancing; public dances and theatrical dances; dancing in everyday life. Sacred dances reflected certain days of the working calendar year. There are two main dance cults: “light” in honor of the god Apollo and “dark” in honor of the god Dionysus. Military dances in Ancient Greece played a big role in instilling courage, patriotism, and a sense of duty in youth ("pyrrhichion", "pyrrhich") Social and everyday dances (home, city, rural) accompanied family and personal celebrations, city and national holidays. Stage dances Dr.Gr. were part of theatrical performances, and each genre had its own dances: emmelia is characteristic of tragedy, cordak is characteristic of comedy, and sikkanida is characteristic of satirical drama. Dance of the veils and dance of the caryatids. Sikkanida Kubiki - acrobatic dances. Mina mima.
Dance technique of H. Limon.
Jose Arcadio Limon was born on January 12, 1908 in the Mexican city of Culiacan and was the eldest of twelve children in the family. In 1915, at the age of 7, he emigrated with his parents to the United States, to Los Angeles.
After graduating from Lincoln High School, Limon entered the University of California at Los Angeles to study fine arts. In 1928 he moved to New York, where he began studying at the New York School of Design. In 1929, after seeing Rudolf von Laban's students Harold Kretzberg and Yvonne Giorgi perform, Limón became interested in dance.
Having started studying at the school of Doris Humphrey] and Charles Weidman], a year later he made his debut on Broadway. At the same time, Limon first tried his hand as a choreographer: he staged “Etude in D Minor” for himself and Laetitia Ide; the “extras” were his classmates Eleanor King and Ernestina Stoddel.
Throughout the 1930s, Lemon danced with the Humphrey-Weidman troupe, participating in productions by Doris Humphrey and Charles Weidman, and also worked on Broadway: in 1932-1933 he performed in the revue Americana and in the musical by Irving Berlin As Thousands Cheer(choreography by Charles Weidman), collaborated as a choreographer with the New Amsterdam Theater.
In 1937, Lemon participated in the Bennington Dance Festival program. At the 1939 festival, held at Mills College, he created his first major choreographic work, Mexican Dances ( Danzas Mexicanas).
The following year, Lemon performed as a soloist in the revue “Don’t Walk on Lawns” (choreography by George Balanchine).
In 1941, he left the Humphrey-Weidman troupe to collaborate with May O'Donnell]. Together they staged works such as War Lyrics And Curtain Riser, however, he then returned to Humphrey and Weidman. Around this time he met Pauline Lawrence and they married on October 3, 1942. That same year, together with Mary-Ellen Moylan, Lemon danced in the musical Rosalind (choreographed by George Balanchine), which became the last show on Broadway with his participation.
Then he created numbers on classical music and on folklore themes at the Studio Theater, until in April 1943 he was drafted into the US Army Special Service], created in 1940 specifically to maintain the soldier’s spirit during the war. During his service, he collaborated with composers such as Frank Loesser and Alex North], and created several productions, the most famous of which is Concert Grasso.
After completing his military service in 1946, Limón received American citizenship.
In 1947, Limón created his own troupe, the José Limón Dance Company ( José Limón Dance Company), the artistic direction of which he offered to Doris Humphrey (thus, Limon's troupe became the first US modern dance company whose artistic director was not at the same time its founder). The troupe, whose dancers included Paolina Kohner, Lucas Howing, Betty Jones, Ruth Carrier and Limón José himself, made their Bennington College Festival debut in productions by Doris Humphrey Lament And The Story of Mankind.
Dancer and choreographer Louis Falco also danced with the company between 1960-1970, and in 1974-1975. performed in "The Moor's Pavan" directed by Jose Limon together with Rudolf Nureyev. While working with Humphrey, Lemon developed a repertoire and laid down the principles of his own style. In 1947, the troupe made its debut at New York's Belasco Theater with Humphrey's production of Day on Earth. In 1948, the troupe first performed at the Connecticut College American Dance Festival, and subsequently took part in it for many years. After staging "The Moor's Pavane", Limón received Dance Magazine's annual award for outstanding choreography. In the spring of 1950, Limon and his troupe performed in Paris with Page Ruth, becoming the first representatives of American modern dance in Europe. During Limon's life, his troupe toured the whole world and continued its activities after his death.
In 1951, Limon joined the faculty of the Juilliard School, where a new direction of dance was created. He also accepted an invitation from the National Institute of Fine Arts of Mexico City, for which he created six productions. Between 1953 and 1956, Limón choreographed and performed the roles in the show Ruins and Visions And Ritmo Jondo Doris Humphrey. In 1954, Limón's troupe became one of the first to take advantage of the US State Department's International Student Exchange Program and toured South America. They soon embarked on a five-month tour of Europe, the Middle East, and, again, South and Central America. During this time, Lemon received his second Dance Magazine Award.
In 1958, Doris Humphrey, who had been the artistic director of the troupe for all these years, died, and Jose Limon had to take his place himself. Between 1958 and 1960 there were joint productions with Poalina Koner. During this time, Lemon received an honorary doctorate from Wesleyan University. In 1962, the troupe performed in Central Park to open the New York Shakespeare Festival. The following year, under the auspices of the US State Department, the troupe made a twelve-week trip to the Far East, performing in the production The Deamon, the musical accompaniment of which belonged to the composer Paul Hindemith. Hindemith personally conducted the premiere.
In 1964, Limón received the company's award Capezio and was appointed artistic director of the American Dance Theater at Lincoln Center. The following year, Limón appeared on a national educational television program called José Limón Dance Theatre. A few years later, he founded the Jose Limon Dance Foundation, and received another honorary doctorate from the University of North Carolina. In 1966, after performing with the troupe at the Washington Cathedral, Limón received a government grant of $23,000 from the National Endowment for the Arts. The following year, Limón worked on choreography for the production Psalm, which earned him an honorary doctorate from Colby College. He and his troupe were also invited to perform at the White House for President Lyndon Johnson and King Hassan II of Morocco. José Limón's last stage appearance as a dancer was in 1969, when he performed in the Brooklyn Academy of Music productions of The Traitor and The Moor's Pavane. That same year, he completed two more works and received an honorary doctorate from Oberlin College.
Choreography as a unique and synthetic art form
Introduction
Medieval dances are a reflection of the dark period of the Middle Ages. Court dances and their historical significance.
Folk and court dances of the Renaissance. The emergence of Ballet and its influence on social and political life. Artistic design of Medici era ballets
5. Dance art of the 17th-18th centuries. Louis XIV and ballet. The emergence of ballet music and story ballets. Court dances at the assemblies under Peter 1. Dancers-reformers Maria Camargo and Auguste Vestris. J.J. Nover and his reforms.
The era of romantic ballets of the 19th century and its representatives. Ballets of Arthur Saint-Leon, and their historical significance. Marius Petipa and Pyotr Ilyich Tchaikovsky are the creators of masterpieces of classical ballet. New trends in dance art of the late 19th century
The development of dance art from the beginning of the 20th century to the present day.
Conclusion
Introduction
Choreography and dance have their own centuries-old history, described by historians and theater experts based on the memories of eyewitnesses and contemporaries, images of artists and numerous legends about dance and dance art. Dance art is unique because it reflected and reflects the life, morals and customs of people through the mysterious language of plasticity and gestures. The uniqueness of choreography also lies in the fact that it combines the art of dance, theater, music and fine arts, if we are talking about a dance performance.
Subject and object of research. Choreography as a unique and synthetic art form that closely interacts with music and visual arts.
Purpose of the study. Determine the uniqueness and significance of dance art at each stage of historical development, and also analyze the relationship of choreography with other forms of art.
The relevance of research. The art of choreography is of interest even now, in our time. Therefore, the question of the uniqueness of choreography, its significance in people’s lives and in history, and its relationship with other forms of art cannot but be relevant.
My research reveals the essence and meaning of dance over a huge period of time - from the ancient Greek period to the present day. The dance accompanied the magnificent celebrations and holidays of Ancient Greece and Rome, medieval balls and knightly tournaments, luxurious theatrical performances during the reign of the French kings, and, finally, turns into a separate and special form of art - the art of choreography.
Also during the study, you can notice how important historical events influenced the art of dance, and the art of dance influenced fashion, culture, customs and even the political life of a certain period in history. This was especially noticeable during the reign of Catherine de Medici and King Louis 14.
The origin and significance of dance in history. Dance art as an important component of the theater of Ancient Greece and the life of the ancient Greeks
The roots of dance art go back to the distant past and originate from the era of primitive communal times, when dance and gestures played a significant role in the life of ancient man, as methods of communicative communication before the appearance and development of sound speech.
Later, the dance acquired ritual significance - people turned to dancing during weddings and religious ceremonies, military rituals, rites of the change of seasons, the birth of children or funerals. Dancing united people and was not only a way of communicating with each other and entertainment, but also a means of expressing their state of mind, thoughts and emotions. Under the influence of changing historical events, in connection with the advent of new spiritual and cultural values and new aesthetics, the meaning of dance and its main functions are gradually changing.
Let's start our excursion into history by studying dance in Ancient Greece. What was unique about the dance art of Ancient Greece? And what importance did dance play in the life of the Greeks?
It is known that the Ancient Greeks left their tangible mark on the history of world art and culture. We know the names of the great ancient Greek playwrights - Aeschylus, Sophocles, Euripides, Aristophanes. We admire the majestic arches and columns, caryatids, statues of gods and heroes of ancient Greece. It was then, in those distant times, that special attention was paid to the beauty and aesthetics of the human body, movements and poses, and, of course, dance.
Dances in Ancient Greece were divided into ritual (sacred, ceremonial), social, stage and military. Thus, stage ancient Greek dances were part of theatrical performances. All Greek youths were required to learn the art of military dance.
In Greece, everyone danced, regardless of age and social status, and loved holidays and entertainment, which were often accompanied by theatrical performances, songs, dances and playing musical instruments.
The holiday in honor of the god Dionysus or Great Dionysia was celebrated several times a year in Athens. The holiday lasted several days: the temple of Dionysus was decorated, large processions were organized, songs of praise were sung, and theatrical competitions were organized for the authors of drama, tragedy and comedy. Author-poets were also directors, choreographers and even, not rarely, actors in their works.
Dance in the sanctuary of Dionysus. Attic vase of the 5th century. BC.
"There are young men and blooming maidens, desired by many,
They dance in a circular choir, kindly intertwining their hands.
Virgins in linen and light clothes, youths in vestments
They are lightly dressed, and their purity, like oil, shines;
Those - lovely wreaths of flowers decorate everyone;
These are golden knives, on silver belts over the shoulder.
They dance and spin with their skillful feet,
As easy as turning a wheel under the experienced hand,
If a poor person tests him to see if he can spin easily;
Then they will develop and dance in rows, one after another.
(Homer "Iliad", translation by N.I. Gnedich)
The theatrical dances of ancient Greece include emmelia, cordac and sikkinida. Dance as part of a tragedy ( emmelia) was quite slow and majestic, and the gestures in it ( chironomy) - wide, large. The kordak consisted of inserted comic scenes, a kind of choreographic buffoonery. This dance was quite obscene, performed at a rapid pace, with squats, jumps and “heels in the sky.” The chorus in Aristophanes' comedy "Wasps" accompanies this violent, unbridled dance with these words:
Spin faster and faster!
Phrynic's dance!
Throw your feet higher!
Let the audience gasp: “ah, ah!”
Seeing heels in the sky.
Spin, somersault and hit yourself in the belly!
Throw your legs forward, spin like a top...
Kordak. Vase painting, 5th century. BC e.
The dance of satirical drama - Sikinnis, which was oriented towards the tastes of ordinary people and often represented a parody of many aspects of public life, had much in common with it.
Dance of two satyrs. Vase painting, first half of the 5th century. BC e.
Complex dances, with acrobatic elements and tricks, were performed by professional dancers, acrobats, and jugglers. They were accompanied by playing musical instruments. Lucian described in his treatise: “And on Delos, even ordinary sacrifices could not be done without dancing, but were accompanied by it and performed to music. The youths, gathered in a round dance, performed rhythmically in a circle to the sounds of the flute and cithara, and the dance itself was performed by the best dancers selected from among them. Therefore, the songs written for these round dances were called “dance choruses,” and all lyric poetry is full of them.”
Once every four years, a holiday was celebrated in honor of the goddess Athena - the patroness of the city of Athens - Greater Panathenaea. The holiday consisted of a torchlight procession to the statue of Athena, offering numerous and rich gifts to the beloved goddess: clothes, works of art, sacrificial animals, flowers, and was also accompanied by war dances. Pyrrhiha belongs to the most striking military dances.
Pyrrha, warrior dance
According to one legend, the first performer of the pyrrhic dance was Pallas Athena. She danced it in honor of the victory over the Titans. Another legend claims that it was invented by King Pyrrhus. Most researchers are inclined to think that the name comes from the word “pira” - “bonfire”, around which Achilles danced at the funeral of Patroclus. For the pyrrhic dance, the dancers wore warrior costumes. In their hands they had a bow, shield, arrows or other weapons. They galloped forward, jumping from one leg to the other; then various military movements and combinations were carried out - they attacked each other in straight ranks, closed in a common circle, jumped in groups, knelt, etc.
A Greek wedding was also accompanied by dancing, singing and certain rituals. Here is how Homer describes the wedding process: “There, brides are escorted from the palaces, bright lamps with brilliance, wedding songs with clicks, through the city’s hundred squares. The young men dance in choruses, cheerful sounds of lyres and pipes are heard among them; respectable wives look at them and marvel, standing on the gate porches. The bride's mother lit a torch from her hearth and followed the cart along with relatives and guests. Some carried torches to illuminate the road, others carried gifts, as well as a special type of tripod, lutrophor and kalpides for wedding rituals, many sang wedding songs and danced to the accompaniment of aulos and lyres, exclamations addressed to Hymen sounded all the way to the groom’s house.” .
Dance in ancient Greece was complex, virtuosic, and certainly aesthetically developed. This is evidenced by ancient Greek frescoes and drawings, which depict pronounced movements and poses, emphasizing the beauty of the lines of the human body and the “turnout” of the legs.
Ariball painting, Jumping dancers, late 6th century. BC e.
Dancers and acrobats. Work of the circle master Polygnotus, ca. 430 BC e.
The high level of development of ancient Greek dance is also evidenced by the reasoning of philosophers about dance. And this was not surprising, because dance in Ancient Greece was part of the philosophical sciences - it was studied in gymnasiums, along with music, philosophy and other subjects. Numerous treatises were written about the connection between dance and philosophy by ancient Greek philosophers - Plato, Plutarch, Xenophon, Lucian and others. Philosophers were not only interested in the art of dance, but also loved to dance themselves. Xenophon wrote: “Even the wise Socrates loved the dance of Memphida, and often when His acquaintances saw him dancing, he told them that dancing is an exercise for every part of the body.”
The beauty of ancient Greek dance, its meaning, history of development and relationship with music is described by Lucian in his treatise: “I will say that dance not only delights, but also benefits the audience, educates them well, and teaches them a lot. The dance brings harmony and measure into the soul of the beholder, delighting the eyes with the most beautiful sights, captivating the ears with the most beautiful sounds and revealing the beautiful unity of mental and physical beauty. And if, in conjunction with music and rhythm, dancing achieves all this, then for this it deserves not censure, but rather praise... Dancing is not a new activity, it did not begin yesterday or the third day... For example, from the time of our ancestors or from their parents - no: people who provide the most reliable information about the pedigree of the dance will be able to tell you that simultaneously with the origin of the first principles of the universe, the dance also arose, which was born along with it, the ancient Eros. Namely: the round dance of the stars, the interweaving of the wandering luminaries with the fixed ones, their harmonious community and the measured order of movements are manifestations of the primordial dance. Afterwards, little by little, developing continuously and improving, the dance now seems to have reached its final heights and has become a diverse and harmonious blessing, combining the gifts of many Muses... But since the dancer’s art is imitative, since he undertakes to depict the content of the song with his movements, “The dancer must, like orators, practice, achieving the greatest clarity, so that everything he depicts is understandable, without requiring any interpreter.”
In general, dance and the dance art of Ancient Greece played an important role in the life of the Greeks. Filling and enriching life in a spiritual and aesthetic sense, dance becomes an integral part of religious holidays and rituals, wedding ceremonies and military rituals, as well as part of the culture and art of Ancient Greece. The beauty and aesthetics of ancient Greek movements, poses and gestures are confirmed by numerous drawings of Ancient Greece, the impressions of contemporaries and treatises of philosophical thinkers. The dance art of Ancient Greece, like other forms of art, undoubtedly influenced the development of world culture and art, theater and ballet. Many directors, dancers and choreographers turn to ancient dances and ancient culture. The great American dancer Isadora Duncan borrows ancient Greek poses and gestures for her improvisations, and also uses the ancient Greek tunic as the main type of costume for her performances. Choreographers J. J. Nover, M. Graham, G. Aleksidze, Y. Posokhov and others turn to the plot of the ancient Greek legend about Jason and Medea.
"There are young men and blooming maidens, desired by many,
They dance in a circular choir, kindly intertwining their hands.
Virgins in linen and light clothes, youths in vestments
They are lightly dressed, and their purity, like oil, shines;
Those - lovely wreaths of flowers decorate everyone;
These are golden knives, on silver belts over the shoulder.
They dance and spin with their skillful feet,
As easy as turning a wheel under the experienced hand,
If a poor person tests him to see if he can spin easily;
Then they will develop and dance in rows, one after another.
(Homer "Iliad", translation by N.I. Gnedich)
Types of dances
The dances of antiquity were divided into military and civilian. Later there was a division into theatrical dancing, religious dances and other elements of worship rituals, war dances, dances at symposiums, dances of sorrow etc. Each type of performance - tragedies, comedies, and satirical plays - had its own characteristic dances, some calm and solemn, and some featuring obscene acts using objects of phallic symbolism. The following dances were quoted in ancient texts:
Pyrrhic was best known among military dances, and was part of mainstream military education in both Athens and Sparta. The name "pyrrhic" is believed to come from the word "pyra", meaning the fire around which Achilles allegedly danced at the funeral of Patroclus.
Relief with dancing warriors.
Marble. Roman copy of the late Republic from a Greek model from the classical era.
Inv. No. 321. Rome, Vatican Museums, Pius-Clementine Museum
Epilinium was a "Dionic" dance performed on vats while crushing grapes with one's feet.
Emelia is originally a round dance of a cult purpose (often at the bedside of a dying person), of a solemn, majestic and sublime character, at a slow or measured pace. Unlike pyrrhic dances, it was performed by women and was distinguished by the beauty of its forms and grace of plasticity. The movements of the dancers' hands were especially expressive - complex in pattern and expressive in character, while his legs and body were relatively motionless. Having originated as a religious dance, emmelia subsequently became an integral part of ancient Greek tragedy.
Kordak was a comedy dance, it was danced by actors. The dance movements included a variety of spins and jumps at a frantic pace. Although it was related to the content of the play, it was still not a simple illustration of the action. Most likely, the kordak consisted of inserted comic scenes, a kind of choreographic buffoonery. Interestingly, this dance was considered unworthy of serious men.
The dance of satirical drama - Sikinnis, which is oriented towards the tastes of ordinary people and often represents a parody of many aspects of public life, had much in common with it.
Estates was a wedding dance. Performed by the bride, her mother and friends. It was distinguished by its impetuous character, fast pace and the presence of many turns.
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The ancient Greeks believed that dances were sent to people by the gods and therefore associated them with religious and worship ceremonies. They believed that the Gods passed on the gift of the ability to dance only to selected mortals, who in turn taught it to others.
The oldest historical sources can be found on the island of Crete, where from 3000 to 1400 centuries BC. The ancient Minoan civilization flourished. The people of Crete developed music, song and dance as part of their religious life as well as entertainment.
The main feature of ancient Greek dance is that the dancers form a circle or semicircle and dance while maintaining it. As a rule, men and women danced separately. Musical accompaniment played a huge role in dancing. It is known that ancient instruments were pieces of wood, metal cymbals, bells, and shells, which were used to beat out rhythm. The Minoans used stringed instruments: the cithara and the lyre.
The ancient Greeks danced in an open or narrow circle, usually around a tree, altar or mystical objects in order to free themselves from evil spirits. Subsequently, this rule turned into the tradition of dancing around a singer or musician. Cretan sculptures depict dancing around a musician playing the lyre, couples dancing, and women dancing in a circle with a large number of dancers. Similar sculptures were found in Greece and Cyprus and date back to the 2nd -1st centuries. BC.
It is unknown exactly how the ancient Greeks danced. Antique vases and drawings on dishes help restore the picture of the dance, clothes and jewelry worn by the performers. For example, one of these items depicted a dance of men and women holding spoons in their hands. These objects and the way the dancers held them are very reminiscent of the spoon dance that is danced in Asia Minor to this day. Here and there in ancient texts it is said that dance was held in high esteem, especially due to its educational qualities. Like music, writing and physical development, dance was part of the educational system, and many ancient authors point out its benefits for the development of soul and body. For example, the Spartans danced mainly war dances to marches and danced before battles. In other parts of Greece, it was customary for wealthy families to send their children to private schools, where famous teachers taught them dance, music and poetry.
Cult dances in Greek culture.
Greek dances in ancient times were divided intoreligious and military, theatrical and social.
It is known that women and men were forbidden to dance together. But boys and girls could participate together, for example, in chain dances.
Among the military dances they mentionpyrrhic and prillium
. Precise information about these dances, the nature of their movements, performers, and the place where they were usually performed has not been preserved.Prilius
usually performed by Amazons. Perhaps we see this stormy and warlike dance (usually performed without weapons) on painted vases of the 5th-4th centuries. BC. Received the greatest famepyrrhic
, which was performed wearing a helmet with a shield and spear in hands. The pyrrhic was performed by both boys and girls and included various steps imitating the movements of a warrior during battle - sharp lunges, manipulations with a shield and spear.The Greeks were very sensitive to this dance and believed that their military success depended on the speed and dexterity in its performance.
Bacchic dances have several specific movements that are not found in others - sharp tilts of the body and head back and forth, which were supposed to cause dizziness and contribute to entering a trance.
The category of peaceful dances includes various ritual dances dedicated to the ancient Greek gods: Hera, Demeter, Apollo. These are usually round dances in which the dancers, holding hands, move in small, sliding steps. One of the curious dances popular in the 4th-3rd centuries. BC. - dance with a cloak. According to some researchers, the dance is associated with the cult of Demeter, with the cult of fertility. It was danced by girls preparing for marriage during the rituals preceding the marriage ceremony. The performer (one or two) made smooth turns and steps left and right and forward and backward, sometimes wrapping herself in a cloak, sometimes opening it.
Dances as spectacular entertainment were led by mimes - buffoons, clowns, acrobats, jugglers - of low social status, usually runaway slaves or foreigners. But not a single feast of rich and respectable citizens was complete without them - the feasts of antiquity are inextricably linked with dancing. Theatrical dances were directly related to the type of theatrical performance - emmelia is characteristic of tragedy, and cordac is characteristic of comedy.
Emmelia(Emmeleia) - a round dance, often performed at the bedside of a dying person. Of a solemn, majestic and sublime character, at a slow or measured pace. Unlike pyrrhic dances, it was performed by women and was distinguished by the beauty of its forms and grace of plasticity. The movements of the dancers' hands were especially expressive - complex in pattern and expressive in character, while his legs and body were relatively motionless. Having originated as a religious dance, emmelia subsequently became an integral part of ancient Greek tragedy.
The main dance genre of comedy wascordak(Kordax), whose movements included various spins and jumps at a frantic pace. Although it was related to the content of the play, it was still not a simple illustration of the action. Most likely, the kordak represented inserted comic scenes. Interestingly, this dance was considered unworthy of serious men.
Stage dancing was part of theatrical performances. Each genre had its own dances. During the dances, the performers beat time with their feet. To do this, they wore special wooden or iron sandals, and sometimes beat time with their hands using peculiar castanets - oyster shells - placed on their middle fingers.
Christian cultural traditions .
During the period of the emergence of Christianity in Greece, the formation of Christian musical culture began. The church introduced a ban on instrumental music and any dancing. However, on the walls of ancient Orthodox churches and monasteries you can see paintings depicting various dances, surprisingly similar to the ancient ones. Christian and pagan culture lived side by side, and dances that date back to ancient times have been preserved in folk life.
Ancient paintings in temples sometimes depict dancers performing wild dances, accompanying themselves with percussion instruments. These are images of Bacchic dances.
In ancient manuscripts there are dated testimonies that describe an event that occurred in Northern Thrace in 1257. A fire suddenly broke out in the small church of St. Constantine. As the flames gradually engulfed the building, the villagers heard strange sounds coming from inside that sounded like people screaming. There was no one in the church, so the inhabitants of the village decided that the sounds came from the icons remaining in the church. Several people who decided to save the icons threw themselves into the fire. They took 8 icons out of the flames and did not receive any burns. Legend has it that these people have since gained immunity from burns, which they could even pass on to their children.
This ritual came to Bulgaria from Greece and has been preserved almost unchanged. His Bulgarian witness Svyatoslav Slavchev wrote that on the evening before the ceremony, several adult women locked themselves in the church to pray there all night. In the evening, the men slowly raked the coals, forming a large flaming circle. When the church doors opened, the women walked barefoot across the coals, approaching the center of the site in quick short steps. None of the women received any wounds or burns. It is characteristic that such frantic dances are common in the territory of ancient Thrace, which even in ancient times was distinguished by ritual rituals and ceremonies, including Bacchic dances.
In Crimea, fire walking was practiced in the Greek community, whose ancestors moved here for permanent residence in 1830 from ancient Thrace. This phenomenon is described by ethnographers from the words of witnesses and performers of this ritual. So, Greek dances carry traditions of deep antiquity, relics of archaic cult rituals, but this does not prevent their popularity. Thanks to the tradition that has preserved them over many centuries, they, although in a modified form, have survived to this day and are an integral part of the modern culture of the Greek people.
Basic Greek dances
Among the huge variety of dances of the ancient Hellenes, researchers call syrtos one of the most common.
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Syrtos
Danced throughout Greece. Dancers, men and women, dance in an open circle, joining their hands at shoulder level. The steps are slow, the movements simple and restrained. Its light version is sirtaki.(translated from - touch). Often the leader, whether male or female, holds a handkerchief in his hand and waves it as he dances. What is noteworthy is that only relatives or spouses could hold hands. Friends, acquaintances or strangers held on to the scarf.
Tsakonikos
The most famous labyrinth dance. There are many labyrinth dances in Greece, but they differ not in steps, but in the way they “twist” and “unwind” the labyrinth.
Regional features of Greek dances
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Although Greek dances are similar in many ways, there are regional differences in steps and dance style.
The character and local characteristics of the dance were influenced by climatic conditions. In general, “dragging” dances are danced in the flat parts of the country, while “jumping” dances are characteristic of mountainous regions. The style, manner and movements of dance are influenced differently by the character of people, their social life, costumes, etc. For example, cold weather, high mountains, and uneven ground forced people to wear heavy clothes and shoes, which caused people to take small steps and drag their feet while moving. Dance is greatly influenced by shoes: heavy shoes did not allow dancers to raise their legs high, but shoes and slippers provided this opportunity, because... were much lighter and ideal for sirtos.
General characteristics of Greek dances T 08 /19/10
Traditional Greek dances are divided into two categories: dragging dances and bouncing dances. “Dragging” dances are called so because of the manner of performance: dancers move to the right or left with light steps, without jumping. They are very diverse with many figures, names, melodies, rhythms, steps, and also seem to be the oldest. The most famous “dragging” dance is Syrtos.
Bouncing dances originated from mountainous Greece and got their name due to the nature of the performance. The dancers are required to have strong, flexible movements and are usually danced by men, although women also participate. Most Greek dances are simple: side steps, jumping, dangling legs. The leader of the circle decorates the dance with other steps, jumps, sometimes speeding up, sometimes slowing down the dance.
One of the main rules of “ethical” rules in dance is respect for the leader of the circle or line. As a rule, the figures that the leader makes are more complex and varied than those danced by the rest, and he, as the most skillful and confident dancer, has the right to stand out in this way.
A circle or line has its own hierarchy. For example, previously a woman could not be a leader; until recently, this privilege remained only for men. Also in some dances you can see that women danced either separately, forming their circles inside the men's circle, or near it. In other dances, men and women dance together, but first there is a line of men followed by a line of women. Now, while dancing, men and women alternate.
Conclusion.
For centuries, the classical culture of Ancient Greece has captured the imagination of people. It became the cradle of European culture and had a huge influence on the development of European civilization.
The achievements of Greek art partially formed the basis for the aesthetic ideas of subsequent eras. After almost twelve centuries, they will become the ideal of beauty and harmony, to which they will strive, reviving ancient traditions.
The term "antiquity" comes from the Latin word antiquus - ancient. It is customary to refer to a special period in the development of ancient Greece and Rome, as well as those lands and peoples that were under their cultural influence. The chronological framework of this period, like any other cultural and historical phenomenon, cannot be precisely determined, but coincides with the time of existence of the ancient states themselves: from the 11th to the 9th centuries. BC, the time of the formation of ancient society in Greece and until the 5th AD. - the death of the Roman Empire under the blows of the barbarians.
