Artistic Time in the Productions of Postmodern Dance
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Abstract
The article is devoted to understanding the artistic principles of postmodern dance. Presenting itself as a borderline phenomenon, it was formed in the context of experimental art of the 1950s and 1960s and developed during the course of the entire second half of the 20th century within the frameworks of conceptualism. The postmodern dance possessed a genetic duality, which determined its aesthetics, artistic strategies and methods. The leading form of presentation of the postmodern dance, expressed by its performances, rejected the traditional materials and means of expressivity and the concept of expressivity as such. The musical choreographic performance became one of the most vivid forms of expression of the materialization of artistic concepts – which manifested the idea cultivated by various forms of art of the indicated period. At the focus of the author’s attention lies the issue of artistic time – one of the chief concepts for dance performance. Composers, choreographers and video-artists researched the possibilities of broadening the boundaries of art and accentuated the role of the recipient and the possibility of passing into the sphere of the personal visual experience of the audience, thereby provoking an understanding of artistic work as a means of living activities. The concept of time became one of the leading concepts of musical choreographic performance, and the comprehension of its artistic possibilities opened up the broad sphere for experimentation. The idea of refutation of the linearity and absolute nature of time shattered the traditional perception of the art of choreography, whereas the new conceptions of time, which were formed in dance under the influence of musical innovations, changed its semantic content.
Keywords: postmodern dance, musical choreographic performance, conceptual art, artistic time
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