Художественная коммуникация в танцевальном перформансе: Трансформация зрительского восприятия в работах Андрея Андрианова и Тараса Бурнашева

Гордеева Т.В.

doi:10.7256/2453-613X.2019.2.29630

This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.

Back to contents

PHILHARMONICA. International Music Journal

Reference:

Gordeeva T.V. — Artistic communication in dance performance: the transformation of spectators' comprehension in the works of Andrey Andrianov and Taras Burnashev // PHILHARMONICA. International Music Journal. – 2019. – № 2. – P. 55 - 62. DOI: 10.7256/2453-613X.2019.2.29630 URL: https://en.nbpublish.com/library_read_article.php?id=29630

Artistic communication in dance performance: the transformation of spectators' comprehension in the works of Andrey Andrianov and Taras Burnashev

Gordeeva Tatiana Valentinovna

Senior Lecturer at the Ballet-Master Education Department of The Vaganova Ballet Academy

191023, Russia, g. Saint Petersburg, ul. Zodchego Rossi, 2

t-gordeeva@yandex.ru

DOI:

10.7256/2453-613X.2019.2.29630

Review date:

28-04-2019

Publish date:

06-05-2019

Abstract.

The research subject is dance performance and the peculiarities of its artistic communication. Performance means that performers have no roles, they represent themselves; for dance performance, their gestures and movements have no underlying messages. The performative esthetics means that there exists a transformative range of spectators’ comprehension. The Performative Turn is described by the theatre critic E. Fischer-Lichter as manifestation of an unusual in a recognizable. The study aims to detect performative characteristics, the dichotomy of the real and the imaginative in dance performances of Moscow dance artists. The author focuses on the solo “Tants-Tants-Trants” by A. Andrianov and the “Red Square” by T. Burnashev as the examples of dance performance in which dancers represent themselves. The method of phenomenological reduction helps reveal the potential for spectators’ experience of the reality transformation in the works by Andrey Andrianov and Taras Burmashev (created together with E. Kalyuzhnaya, D.Volkov, M. Orlova). Artistic communication in dance performance hasn’t been studied sufficiently enough. The author’s conclusions can be used for the formation of criteria in critical analysis of dance performances.
Keywords: Taras Burnashev, Andrey Andrianov, contemporary dance, self-reference, performative aesthetic, artistic commincation, dance performance, Dmitry Volkov, Marina Orlova, Ekaterina Kaluzhnaya
This article written in Russian. You can find full text of article in Russian here .

References

1.	Fischer-Lichte E. The Transformative Power of Performance: A New Aesthetics. L.: Routledge, 2008. 232 p.
2.	Spangberg M. Post-dance, An Advocacy // Ed. by D. Anderson, M. Evargsen, M. Spangberg. MDT, 2017. 393 p.
3.	Gil J. Metamorphoses of the Body // Theory out of Bounds. Vol. 12. Minneapolis; L.: University of Minnesota Press, 1998. 335 p.
4.	Cantinho B. Choreographing Thought: Movement as an Image of Thought, Seen Through the Deleuzian Pure Optical and Sound Image: Dis. … Ph. D. Edinburg: The University of Edinburgh, 2012. 223 p.
5.	Delez Zh. Kino. M.: Ad Marginem, 2013. 560 s.
6.	Maklyuen G.M. Ponimanie media: Vneshnie rasshireniya cheloveka. M.: Zhukovskii: "Kanon-press-Ts", "Kuchkovo pole", 2003. 464 s.
7.	Men'shikov L. A. Iskusstvo, sozdayushchee real'nost' // Vestnik Akademii Russkogo baleta imeni A.Ya. Vaganovoi. 2016. № 1 (42). S. 169-178.

Articles

Journals

Books

Artistic communication in dance performance: the transformation of spectators' comprehension in the works of Andrey Andrianov and Taras Burnashev