"ISLAND ONTOLOGY" OF CHOREOGRAPHY IN EUROPEAN CULTURE AT THE BEGINNING OF THE 20TH CENTURY

Abstract

The problem of the ontological implications of stage synthesis in the European culture of the beginning of the 20th century, the epicenter of which was the Diaghilev seasons in Paris, is presented. The purpose of the article is to determine the phenomenon of the marginalization of classical culture in the context of the evolution of choreography of the 20th century. The methodology of the study is a systematic, comparative approach, a method of cultural-historical reconstruction, which makes it possible to analyze the author's models of choreography, which realized the intentions of traditionalism and resistance to the destruction of the classical language of the ballet. The scientific novelty of the article is that the dispositif of classics and neoclassics is defined as a certain y-topos, an island ontology of the classical and neoclassical dance, which preserves the cultural-historical potential of the choreographic culture of the 20th century. The work of leading choreographers who preserved and reconstructed traditional folk, folklore, and mythological motifs of the dance is characterized. If we talk about the counterposition, or the The eccentricity of their choreographic poetics comes from the cinema, from Charlie Chaplin, which testifies to the through-and-through reality of the synthesis of neoclassicism in art.