Nationality |
An aesthetic concept denoting the connection of art with the people, the conditionality of artistic creativity by life, struggle, ideas, feelings and aspirations of people. masses, expression in art of their psychology, interests and ideals. N. is the most important principle of socialist realism. Its essence was formulated by V. I. Lenin: “Art belongs to the people. It must have its deepest roots in the very depths of the broad working masses. It must be understood by these masses and loved by them. It must unite the feeling, thought and will of these masses, raise them. It should awaken artists in them and develop them” (Zetkin K., Memories of Lenin, 1959, p. 11). These provisions, which determine the policy of the Communist. parties in the field of art, refer to all kinds of arts. creativity, including choreography.
In ballet, N. is expressed in many ways: in truthfulness and the progressive nature of ideology, in the creation of choreographic. images of the people and people. heroes, in connection with the ballet images of folk poetic. creativity, widely used nar. dance or in the enrichment of classical dance with folk elements, in accessibility and nat. originality of the choreographic works.
Although the ballet arose and developed for a long time within the framework of the court-aristocratic. theater, he kept in touch with Nar. dance origins, especially intensified during the heyday of ballet art. In the history of ballet, N. was expressed in the embodiment of ideas of universal significance (the victory of good over evil, fortitude and fidelity to duty in trials, the tragic death of love in cruel living conditions, the dream of a beautiful and perfect world, etc.), in the implementation of images of a fabulous, folk -poetic. fantasies, in the creation of the stage. options for nar. dance, etc.
In the owls In the ballet, the importance of N. has increased; from the very beginning, there has been a desire to embody the revolutionary. ideas and reflection of people. life. After the Great October Socialist revolution, ballet, like all forms of art, became available to the people. A new democratic character has come to the ballet theater. viewer. Responding to his requests and demands, the figures of the choreography sought to identify truly Nar. content of the classic heritage, the creation of new performances, reflecting Nar. life. N. was expressed in the successful appeal of owls. ballet to modern theme (The Red Poppy, ballet by L. A. Lashchilin and V. D. Tikhomirov, 1927; Petrov’s Shore of Hope, ballet by I. D. Belsky, 1959; Goryanka by Kazhlaev, ballet by O. M. Vinogradov, 1967; Eshpay’s Angara, ballet dancer Yu. life (The Flames of Paris, ballet by V. I. Vainonen, 1976; The Fountain of Bakhchisarai, ballet by R. V. Zakharov, 1932; Laurencia, 1934, La Gorda, 1939, ballet by V. M. Chabukiani, “Ivan the Terrible” to music by S. S. Prokofiev, ballet Grigorovich, 1949, etc.), in the development of Nar. dance art and the development of diverse forms of its combination with prof. art and its implementation in classical dance (especially in the performances of Vainonen, Chabukiani, Grigorovich, etc.).
Choreographic products, characterized by N., express the spirit and soul of the people that gave birth to them, bear the features of nat. peculiarities of his life. Therefore, they are understandable and accessible to the widest audience, win his recognition and love. One of the features of N. art is its accessibility to the broad working masses. In contrast to the elite bourgeois art, designed for a select few, owls. ballet is addressed to the whole people, expressing their aspirations and interests, participating in the formation of their spiritual world and moral and aesthetic. ideals.
Ballet. Encyclopedia, SE, 1981
