The French Ballet Theater of the Early 20th Century: On the Path Towards a New Synthesis
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Abstract
The article is devoted to the issue of a scholarly understanding
of the condition of the French ballet theater at the beginning of
the 20th century. It examines the interaction of the respective
constituent parts of musical-choreographic performances. The
author considers the established evaluation of the French ballet
theater as a phenomenon generated from a state of cultural crisis
as an unfair one. The processes of regeneration of the genre
are shown as having begun long before the arrival of Sergei
Diaghilev’s ballet troupe, with which it had been customary
to connect the reform of ballet. In the author’s opinion, the
spiritual search of the “Belle Époque”, having permeated into
the art of the ballet, formed new conceptions of the “dance of the
future” in the consciousness of the audiences. The clichés and
conditional characters, characteristic for the Romantic ballet,
gave way to a new type of beauty. Special notice is given to
the dancers Loie Fuller and Isadora Duncan. Upon an organic
interaction of all the composite parts of a ballet performance,
the predominating role is acquired by music.
Keywords: French ballet, early 20th century ballet, reform
of ballet, Belle Époque, Saisons russes in Paris, Loie Fuller,
Isadora Duncan
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