Naturalism

French naturalisme, from lat. naturalis – natural, natural

1) the reduction of art to the depiction of the external side of reality without penetrating into its essence. In ballet, it is expressed in the superficial following of the action after the plot side of the events without deep penetration into the characters and drama. conflicts, as well as in the predominance of external credibility in the choreographic. vocabulary. N. has as its consequence the impoverishment of dances. language, the rejection of developed (in particular, ensemble) dances. forms, the dominance of pantomime over dance (in general, images over expression), the construction of a performance on the principle of alternating pantomime and divertissement (with a lack of effective dance), the desire for a plot-everyday justification for any dance (everyday dances in the course of action instead of expressing action in dance), etc. N. tendencies were characteristic of individual owls. performances of the 1930-50s. (“Lost Illusions” by Asafiev, ballet by R. V. Zakharov, “The Tale of the Stone Flower” by Prokofiev, ballet by L. M. Lavrovsky, “Native Fields” by Chervinsky, ballet by A. L. Andreev).

2) Concrete-historical direction in the literature of the last quarter. 19 – beg. 20 centuries, which proclaimed the basis of its creativity. programs the principle of documentary descriptiveness, which replaced the social essence of a person with a biological one. In the ballet of that time, N. did not have a manifestation, but his features in this sense are characteristic of those productions. decadent bourgeoisie. choreography of the 20th century, where a person is depicted as a base creature, biological cultures are cultivated. instincts etc.

Ballet. Encyclopedia, SE, 1981