DOI: 10.36871/hon.202003014
Authors
E. O. Tsvetkova
Russian State Specialized Academy of Arts, Moscow, Russian Federation
Abstract
The article analyzes two versions of choreographic interpretation of S. Prokofiev's piano cycle
"Fleeting Moments". The first one belongs to the outstanding Russian ballet master
K. Ya. Goleizovsky, the second — to the German choreographer of American origin J. Neumeier.
Both compositions are considered in the context of such a trend as "plastic interpretation
of non-ballet music". There is a special demand for S. Prokofiev's works (not only ballet scores,
but also "non-ballet" opuses) among choreographers, who are attracted by the theatrical nature
of the composer's talent: brightness and sharpness of musical characteristics, reliance on "sound gesture", ability to reproduce rhythmic intonation of mood. The "Fleeting Moments" cycle as
a whole and in terms of individual pieces is analyzed from the standpoint of openness to choreographic
embodiment and compliance with canonical ballet forms and situations.
It is underlined that in Goleizovsky's ballet a deeply felt emotion is brought to the fore.
Due to the precise adherence to the logic of musical development, conceived as chamber-like
this composition embodies the prototype of choreographic symphonism. In Neumeier's ballet,
on the contrary, the dramatic plot is emphasized. The choreographer achieves an extraordinary
impact by combining classical and modern elements in choreographic vocabulary, supplementing
them with movements of free plasticity.
Keywords
plastic interpretation, canonical musical and choreographic forms and situations, choreographic production, ballet, non-ballet music
