Механізми поєднання музичного і хореографічного простору в "Сплячій Красуні" П. Чайковського – М. Петіпа
Connection mechanism of musical and choreographic space in "Sleeping Beauty" by P. Tchaikovsky – M. Petipa

Summary/Abstract: The article discussed effective mechanisms of the combination of music and dance space in a ballet works of Tchaikovsky – M. Petipa. The issues of musical and choreographic interactions are analyzed through the prism of spatial parameters, as the space is fundamental in the interaction of major structural elements of ballet in a single artistic field of play. The use of spatial frameworks in the study of music and dance structures helps to understand relationships between the main elements of ballet. In favor of the spatial foundation also points output study ballet components of the musicologists and donalogue: the musicological intelligence forwarded to the purely musical aspects, chorusnow – on the preservation of traditional dance forms and reform of the ballet genre. So, the spatial coordinates are the factor that not only combines audio and plastic range, but also predicts the possibility of further modifications mgprocardia in ballet work. Concerning the creative partnership between composer and choreographer in "Sleeping beauty", the author highlights the aspect of "translating" music fundamentals in dance movement, because it is the leading factor of creating a joint musical and choreographic structure. The publication indicated that attempts symphonic classical dance M. Petipa did in the times of cooperation with L. Minkus, however, the lack of continuous musical development in the score by L. Minkus predicted choreographic dramaturgy. Currently part-time music and dance images and common development plastic-sound shapes has been achieved only in the Sleeping beauty with music by Tchaikovsky. Covering the problem of combining acoustic and plastic of the series, the author puts forward the assumption of existence of mechanisms inherent in both musical and choreographic component (in addition to purely musical means simfonic). Such an effective factor in the combination of plastic and sound system there is a rhythm. It is on its soil interaction ritmonio music with choreographic movement is the primary spatial element of the synthetic musicalchoreographic space. The problem of coordinating dance movements and musical rhythm has always existed during the formation of the ballet genre. Past experience has shown that dance divertissements in the first half of the nineteenth century the preference was given to metrogramma definition dansante music (accent beats in the music retroforma), which was then used for ballet performances. Same build music by P. Tchaikovsky for a more significant change in tempo and a contrast of uranometry retroporno. An example – polyrhythm when connecting dodole theme of the dance of Aurora trialnew with the theme of the fatal premonition in the Code of the first act of "Sleeping beauty" as well as possible confirms the possibility of choreographic improvisation corresponding to this research now coexistence in musical constructions. Following a significant mechanism of musical and choreographic spatial synthesis Latrice defined characters ritmonio characteristics. Of particular importance in this sense dansant Latrice used by the composer and choreographer to characterize positive images. Rhythmic same instability (the alternation of time signatures, syncopations, quick change rhythmic formulas), which describe the negative characters. Further opposition Leitrim is condition plastic metamorphosis, organized by the choreographic dramaturgy. As you can see, the rhythm in this situation is transformed into a choreographic elements, that is, by means of a rhythm going on the same "translation" for the sound in plastic. This Alliance, according to the author, ritroverai dance forms, in particular retroporno waltz, which became the leading in the music score of "Sleeping beauty". The composer invited the choreographer to transform the choreographic build and give them another meaning, connecting them with plot development. Ballet score the composer was no longer there separate dance numbers, she became a sort of "Symphony in the ballet", which Petipa designed "programmed" the music of the plastic. Because music is based on dansette retroforma dance and choreography – extreme expressiveness of musical rhythm, the simultaneous detection of them in the space provides, according to the author, the unity of existence RSReportServer musical and dance elements, where dansants, at the same time inherent in the two main areas of ballet – instrumental and choreographic. So, dansette music presents not only the factor of the ballet movement, but also a catalyst for choreographic constructions. Dansette inherent in symphonic music, produced developed choreographic form (e.g., simultaneous participation of soloists, and corps de ballet luminaries with separate plastic motives), performing along with the rhythm of the role of "translator" for the sound in plastic expression. In conclusion, the main mechanisms of the combination of music and dance space in a ballet works of Tchaikovsky – M. Petipa recognized the musical-symphonic development, rhythm and dansette, because they will organize a joint combination of music and dance component of the ballet works.

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