Ideology in art |
Music Terms

Ideology in art |

Dictionary categories
terms and concepts, ballet and dance

Ideology in art, a concept denoting the artist’s commitment to a certain system of ideas and the social, moral and aesthetic ideal corresponding to it, the figurative embodiment of these ideas in art. I. in each era means advanced I., expressed in the spiritual orientation of the artist to progressive societies. strength. Adherence to reactionary ideas and activity to implement them are the antipodes of genuine, progressive ideology. Advanced ideology is also opposed to lack of ideas—indifference to the spiritual meaning of societies. event, waiver of responsibility for the solution of social morals. problems.

I. in art is a criterion for evaluating art. works with socially significant issues. It is organically inherent in the content of the arts. works, including ballet. I. implies the social, philosophical, political or ethical significance of the topic, social and ideological. direction of creativity, truthfulness of arts. ideas. Arts. an idea is a figurative-emotional, generalizing thought underlying the content of art. works, including a ballet performance.

I. manifests itself in art not as an abstract thought, but in the living flesh of the arts. image, as the inner meaning of characters and events. Even in the simplest household (ballroom) dance there is an idea of ​​human beauty. In Nar. dances you can find ideas related to the approval of dec. types of labor and characteristics of national. life. In ballet, choreographic art rises to the embodiment of complex moral-philosophical and social ideas. The performance, devoid of ideological meaning, is empty and meaningless. In any artistically full-fledged performance, Ph.D. significant humanist. idea: in “Giselle” – devoted love, redeeming evil; in “Sleeping Beauty” – the triumph of good over deceit and dark forces; in “The Flames of Paris” – the victory of the revolutionaries. people over obsolete classes; in “Spartacus” – tragic. the death of a hero in the struggle for the bunk. happiness, etc.

Inherent in any genuine art, I. manifests itself in ballet in a specific way. Although there is no word in ballet, dance can express such shades of states and feelings of a person that are not accessible to the word. It expresses thought transformed into feeling, and feeling filled with thought. The idea is embodied in the ballet also through the meaningfulness of situations, conflicts, choreographic events. actions. It is, as it were, a conclusion from contrasts, comparisons, development and development of the action, from the entire figurative structure of the performance and constitutes its inner meaning. All components of the performance are subject to the embodiment of his idea. The latter can only conditionally and approximately be expressed in a brief verbal formulation (for example, the victory of good over evil, the tragic incompatibility of love and cruel living conditions, the heroic feat of the people in resisting the enemy, etc.). In essence, all its specific fullness is revealed in the figurative choreographic. performance as a whole. The paths to this are different and can be expressed through lyric. feeling (“Chopiniana”, ballet by M. M. Fokin, 1907; “Classical Symphony” to the music by S. S. Prokofiev, ballet by K. F. Boyarsky, 1961), the plot and characters of the characters [“The Fountain of Bakhchisarai” (1934) and The Bronze Horseman (1949) ballet. R. V. Zakharov], poetic. allegory – a symbol, personification, metaphor (“1905” to the music of the 11th symphony by Shostakovich, ballet by I. D. Belsky, 1966; “The Creation of the World” by Petrov, ballet by V. N. Elizariev, 1976), a complex combination lyrical-emotional, plot-narrative and allegorical-symbolic. generalizations (Stone Flower, 1957; Spartacus, 1968, ballet by Yu. N. Grigorovich). In the play The Legend of Love (1961, ballet by Grigorovich), each episode is subordinated to the revelation of the idea of ​​the greatness of a person who manifests himself in love, in self-sacrifice in the name of duty. Not only action events, but also choreographic. solution, specific dance. the plasticity of all episodes is aimed at embodying the central idea of ​​the work, which acquires in its choreographic. tissue-shaped flesh. For the decadent formalist art, widespread in many capitalist countries. West, characterized by lack of ideas, spiritual emptiness, formalism. Owls. choreographic the art of I. is characteristic to a high degree. It is one of the most important principles of socialist realism, a manifestation of the partisanship of art. If in the 19th century ballet, limited court-aristocratic. aesthetics, in terms of its level, I. lagged behind other arts, causing criticism from representatives of advanced ideology, then in owls. time in ballet, as in all arts, general ideological issues are decided. tasks put forward by the life of the people. By the richness and depth of the ideas of owls. ballet is a step forward in the development of world choreography. However, it means. ideas, although they constitute a condition for the meaningful depth of the spectacle, in themselves do not yet automatically ensure the power of its impact. Art needed. the brightness of the embodiment of these ideas, the persuasiveness of their figurative solutions in accordance with the specifics of the choreographic. art.

At the first stage of development of owls. ballet choreographers sought to embody the meaning. societies. ideas in conditional, symbolic-allegorical. forms, which often led to schematism and abstraction (the dance symphony “The Greatness of the Universe” to the music of the 4th symphony by L. Beethoven, 1923, “The Red Whirlwind” by Deshevov, 1924, ballet dancer F. V. Lopukhov). In the 30s. choreographers have reached mean. successes on the way of rapprochement of ballet with literature and drama. theater, which contributed to the strengthening of his I., and ideas were clothed in flesh and blood realistic. performance (The Fountain of Bakhchisarai, 1934, ballet by Zakharov; Romeo and Juliet, 1940, ballet by Lavrovsky). From con. 50s in owls ballet included more complex choreographic forms. decisions that synthesized the achievements of previous periods and allowed to express the meaning. philosophical and moral ideas are more specific. for ballet in the way (performances by Grigorovich, Belsky, O. M. Vinogradov, N. D. Kasatkina and V. Yu. Vasilev, etc.). In modern owls. ballet uses the whole variety of forms of embodiment means. ideological content. His I. is inseparable from artistry, from specificity. choreographic influences. art to the viewer.

Ballet. Encyclopedia, SE, 1981

Leave a Reply