Temat: балет - Katalog OPAC zbiorów

Skocz do pozycji: 1.

Tytuł:: ВАРИАНТ ИСТОРИИ ДОН ЖУАНА В УКРАИНСКОЙ КУЛЬТУРЕ (АРХЕТИП ЛЕСИ-ДОЛОРЕС В БАЛЕТЕ КАМЕННЫЙ ВЛАСТЕЛИН ВИТАЛИЯ ГУБАРЕНКО ПО ДРАМЕ ЛЕСИ УКРАИНКИ)
THE VERSION OF DON JUAN’S HISTORY IN UKRAINIAN CULTURE (LESYA-DOLORES ARCHETYPE IN THE STONE PROPRIETOR BALLET BY VITALY HUBARENKO AT LESYA UKRAINKA’S DRAMA)
Autorzy:: Драганчук, Виктория
Powiązania:: https://bibliotekanauki.pl/articles/566568.pdf
Data publikacji:: 2017
Wydawca:: Akademia Pomorska w Słupsku
Tematy:: музыкальный дискурс
архетип
балет
драма
фемин-персонализм
musical discourse
archetype
ballet
drama
Femin-personalism
Opis:: Lesya Ukrainka created a version of Don Juan’s history in Ukrainian culture. The poet introduced in the drama the Dolores image who loves Don Juan. Dolores became a symbol of the love archetype in the art work. Vitaly Hubarenko’s work in great academic ballet genre is one of best artistic interpre-tations of this drama. Ballet style is an allusion to S. Prokofiev’s style. Dolores image gets characteristic by genres of lullaby and prayer. Tenderness of character is embodied by penetrating sound of violins in the high register. The transformation of love theme shows us another facet of the Dolores personality who committed a self-sacrifice act for the sake of a loved one. Dolores in the ballet represents the female essence of love as a creation, thus the term „Femin-personalism” is offered in this article. The understanding of the term is defined by analogy with the philosophy. P. Bowne, E. Mounier, N. Berdyaev and other thinkers have shown an archetype of personality as a person which has a divine source.
Źródło:: Ars inter Culturas; 2016, 5; 63-74
2083-1226
Pojawia się w:: Ars inter Culturas
Dostawca treści:: Biblioteka Nauki

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Tytuł:: АРХЕТИП ЛЮБВИ В ДУХОВНОЙ ВИЗИИ ЛЕСИ УКРАИНКИ И ЕГО МУЗЫКАЛЬНЫЙ ДИСКУРС
THE LOVE ARCHETYPE IN LESYA UKRAINKA’S SPIRITUAL VISION AND IT’S MUSICAL DISCOURSE
Autorzy:: Драганчук-Кашаюк, Виктория
Powiązania:: https://bibliotekanauki.pl/articles/566536.pdf
Data publikacji:: 2018-12-14
Wydawca:: Akademia Pomorska w Słupsku
Tematy:: творчество Леси Украинки
архетип Любви
опера
балет
вокальная лирика
музыкальный дискурс
Эго-концепт
фемин-персонализм
Lesja Ukrainka’s creation
Love archetype
opera, ballet
vocal lyric
musical discourse
Ego-concept
Femin-personalism
Opis:: The discourse of the Ukrainian musical culture is contains numerous appeals to the poetic legacy by Lesya Ukrainka. Therefore, understanding the musical-theatrical, choral, chamber- vocal works by M. Lysenko, K. Stetsenko, Y. Stepovy, S. Lyudkevych, M. Skorulsky, S. Turkevych-Lukiyanovych, V. Kyreiko, I. Shamo, Y. Stankovych, L. Dychko, O. Kozarenko, V. Tymozhinsky and other composers who entered into a musical and poetic dialogue with the poetess, is provides an understanding the key positions of the poet’s philosophy. In our opinion, a new spiritual vision was born in the Lesya Ukrainka’s creative matrix, which embodied the Ukrainian mental Ego in the female image of a spiritual knight and presented it as a weighty component of world culture. More than a hundred years ago, the poet showed a woman’s personality as a com-creator, which has a divine beginning, and therefore we interpret its philosophy in the vein of Femin-personalism (the term is proposed). The three Love types which were shown in Lesya Ukrainka’s works and in her musical discourse are as follows: Ancient Greek “agape. (in variants Love-Spirit, Love-Soul, Love-Eros), Love as a component of national Ego-concept, Love as an immortal divine spirit. The musical discourse expects the interpretation of the drama “Obsessed. and others from the “Blue Rose. to “Cassandra., “In the Catacombs., “Rufin and Priscilla. and others.
Źródło:: Ars inter Culturas; 2018, 7; 111-120
2083-1226
Pojawia się w:: Ars inter Culturas
Dostawca treści:: Biblioteka Nauki

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Tytuł:: Оперы Генделя в контексте современной режиссуры: к вопросу о претворении приёмов современных медиа
Handels Operas in the Context of Contemporary Directing: on the Implementation of Modern Media Techniques
Autorzy:: Консон, Григорий
Консон, Ирина
Powiązania:: https://bibliotekanauki.pl/articles/566512.pdf
Data publikacji:: 2020-01-10
Wydawca:: Akademia Pomorska w Słupsku
Tematy:: Гендель
Халле
город
театр
опера
режиссёр
герой
композитор
исполнитель
автор
балет
сцена,
ария
вхождение в образ наращивание смысла
слои сознания
экран
Handel
Halle
city
theater
Opera
Director
hero
composer
performer
author
ballet
stage
Aria
entering into the image
building sense
layers of consciousness
screen
Opis:: The article is based on the interaction of two genres, namely travel notes, including the author's impressions of a trip to the German cities of Halle, Bad-Lauchstedt and Bernburg, as well as reviews of modern productions of Baroque operas. Halle is famous as the birthplace of the outstanding composer Georg Friedrich Handel (1685-1759). The international Handel music festival is held here every year, which also includes an international scientific Symposium dedicated to the study of the great Saxon and his contemporaries. The concept of this year's Symposium, "Sensitive, heroic, sublime: Handel's women," was to study the female images embodied in his operas. The authors traveled to Halle as journalists to describe their impressions of both the trip and the contemporary productions of Handel's stage works. But in considering the history and cultural events of this city, we were able to go beyond ordinary observations into the sphere of scientific generalizations and come to the conclusion that the directors’ understanding of these operas through the integration of musical drama with related arts was unusually expanded. To study this phenomenon, we turned to the scientific tools developed in Russia by two Soviet researchers who have become seminal in their field. One of them was the psychologist Lev Vygotsky, who, exploring the spiritual world of the hero in fiction, revealed his psychological contradictions, expressed in the conflict of the narrative and the plot. The other, Sergei Eisenstein, who knew Vygotsky’s manuscript of his study "Psychology of Art" and, with some influence from these ideas, created his own "psychology of art", which is set out in the pages of his works of different years. The core of this concept was "the transition from the Expressive Movement to the image of a work of art... as a process of the interaction of layers of consciousness", which allowed for multiple entries into the artistic image. Such entries are also supported by some features of the cinematograph where the first among equals is the principle of intellectual editing, based on Eisenstein's montage theory. In Eisenstein's theory, other types of editing—linear, parallel, associative—have been generalized and developed into a large-scale system of the psychology of heroes in art. In this article, the identification of the essence of these processes made it possible for the authors to discern the phenomenon of increasing the meaning in the Halle directors' interpretations of Handel's operas, which arises from the merger of two seemingly irreconcilable and conflicting layers of consciousness: Baroque and eclectic modern, which developed at the turn of the last century.
Źródło:: Ars inter Culturas; 2019, 8; 259-278
2083-1226
Pojawia się w:: Ars inter Culturas
Dostawca treści:: Biblioteka Nauki

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