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Laboratorium ciała: Kasjan Golejzowski i nowy taniec w Rosji na początku XX wieku

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Nabokina A.
Kultura Współczesna. Teoria. Interpretacje. Praktyka
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2018
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vol. 99
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issue 1
37-53
EN
The article is devoted to the role of dance seen as a laboratory of bodily culture. The idea is analysed using the example of a lesser-known area of the Russian culture from the first three decades of the 20th century – the so-called “free dance” – and the creation of Kasyan Goleizovsky. The sources of the new dance are being placed in the tradition of a Russian symbolism, as well as in an early 20th century anthropological project focusing on the change of human nature inspired by the ideas of F. Nietzsche and W. Ivanov. Drawing inspiration from the vision of theatre as a Dionysian practice, making collective spiritual revival possible, dancing becomes both a body releasing and a body restrictive practice.
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Wstęp. Pamięć gestu

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Nabokina A.
Kultura Współczesna. Teoria. Interpretacje. Praktyka
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2018
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vol. 99
|
issue 1
10-12
3
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Poetyka intymności. Psychoanalityczne inspiracje w tańcu rosyjskim na początku XX wieku

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Nabokina A.
Kultura Współczesna. Teoria. Interpretacje. Praktyka
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2020
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vol. 111
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issue 4
106-121
EN
This article examines the impact of psychoanalytical ideas on the emergence of the language for a new dance in Russia at the beginning of the 20th century. Using the archival documents concerning the works of Ella Rabeneck, Lyudmila Alexeyeva, Lev Lukin, and Alexander Rumniev, the author reconstructs the artistic methods and techniques while taking into account the historical context as well as the artists’ biographies and theoretical texts. Firstly, the analysis reveals that the new dance was placed at the centre of the Russian culture at that time, shaping a variety of artistic processes. Secondly, the reconstruction of the reception processes of psychoanalytical ideas leads to the conclusion that the artists used Sigmund Freud’s theories and applied them in a creative manner. Thirdly, the analysis shows that paying attention to subjective experiences, involuntary gestures, personal memories, and subconscious desires changed the choreographic language fundamentally, shaping the poetics of intimacy in the Russian dance. Innovations developed by the new dance choreographers were subsequently used by the reformers of the Russian theatre and the founders of the classical ballet.
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