Анотация |
Dance is esthetically subordinated to illusion. Dancers show
artistically created elements - a kind of virtual realities -
vehemence of moving in the space, rhythmic life etc. Their whole
presence aims at creating the perfect symbol. The stage
manifestations of dancing always count on a good illusion. Dance is
engaging, provoking, magnetic, freeing emotions and imagination.
But if something is a symbol or not depends on the tuning of the
awareness perceiving it. Mind which examines a real image not only
as such but also as an expression of something still unknown. The
final image is created in the spectator's mind. Such image is
limited and dependent on the emotional and esthetic experience of
the audience because it sends a message in an abstract,
non-narrative form. It's not occasional that some of the most
penetrating interpreters of the modern dance art have as a starting
position the philosophy and the psycho-analysis. During the 20-th
century the impetuous development of the dancing ideas to a great
extent are "economized" to the Bulgarian audience. In the beginning
of the last century American and European modernists elaborate
universal rules to underlie in foundations of the modern dancing
ideas. Martha Gream determines the dance as a kind of "practical
spiritual activity". "Dancing is absolute as music is". After Gream
exposes the existential drama of the "I", Merce Cunningham adopted
the principles of fortuitousness coming from the Dzen philosophy to
ease the form-creating of subjective intervention. Nearly at the
same time, Pina Bausch shows in dancing how "the influence of
external conditions on the psychic structures gets expressed in an
esthetically indirect form" and opens a new stage in the
development of the dance ideas by the dance-theater based on the
"common public structure of the affect" /Noman Servos/. Another
significant phenomenon in the dance development in the last century
is the "Buto" Japanese style which originated in the years after
the Second world war and exerted considerable influence on handling
and interpreting the body expressivity. During the
last decades the boom of ideas and technical innovations promoted
dancing into one of the leading positions in the world of the
cultural communications. The lack of linguistic barrier as well as
the universality of the expressive means place it in one of the
first-rate positions regarding number of festivals, spectators and
theoretical interest. Bulgaria too made efforts to enter the world
cultural flow although with quite retarded tradition. The years of
democracy gave a natural impulse in this respect which got
expressed in a good number of art pieces created by young
choreographers.
Key words: dance-communication, universality,
retrievals in the world - Bulgarian endeavors.
Orientation: Theatrical art- "The universal language of the
modern stage".
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