For a long time, dance scholars and the public were hardly aware that modern dance existed in this part of the world. This book, however, delves into its presence, significance and survival in this era, going to show the positive contribution Russia and later the Soviet Union made into the history of modern dance during this time.
A creation of liberal body politics, ‘free’ or ‘modern’ dance flourished in late Imperial Russia and the early Soviet Union, before the hardening of communist regimes. An ideal embodiment of emancipation, free dance attracted dancers and audiences, including a significant number of modernist artists and intellectuals.
This book looks in particular at Isadora Duncan and her impact on Stanislavsky's methods, as well as on ballet choreographer Michel Fokine. The modern dance studios of the time are discussed, their role in creating new systems of training - different from ballet - and their creation of a modern dance 'body'.
The author discusses the subsequent introduction of a 'rationalisation' of movement, aimed at controlling the body and underplaying the erotic very present in modern dance.
Finally, the book follows free dance into the years of Stalin's Cultural Revolution, where choreographers had to adapt to the new ideological environment, with modern dance choreographers now staging sport parades showcasing the ideal Soviet body - athletic, vigorous and disciplined. A far cry from the freedom of modern dance.
Introduction
Chapter 1: What is free dance?
Hypnotic dancer vs the dancing self
Liberated body, class body
Centre and flow
Effort and relaxation
Chapter 2: Free dance travels east
Artful simplicity: Duncan and Stanislavsky
Impressionism in dance: Duncan and Fokine
The music issue
> Eurhythmics
> Musical Movement
> A reflex to music
On the way to a New Woman: The Moscow Duncan School
Chapter 3: Studios of free dance
Danse plastique
> Ella Rabenek: Classes of Plastique
> Francesca Beata: Studio of Plastique
> Klavdia Isachenko: School of Plastique and Expression
> Zinaida Verbova: Studio of the Plastique Movement
> Inna Bystrenina: The Ballet Plastique
> Srboui Lisitsian: The Institute of Rhythm and Plastique
> The Proletkult’s plastique
The Art of Movement
> Lyudmila Alekseyeva: The Art of Movement and Artistic Gymnastics
> Alexander Rumnev: The Search in Dance
> Valeria Tsvetaeva: The Art of Movement School
> Bronislava Nijinska: The School of Movement
Dance Theatre
> Inna Chernetskaya: The Studio of Synthetic Dance
> The Vera Maya Dance Theatre
> Lev Lukin: The Free Ballet
> Nina Gremina: The Dramballet
> Kasyan Goleizovsky: The Chamber Ballet
> Nikolai Poznyakov: The Island of Dance
Chapter 4: Rationalising movement
(De)mystifying dance: Prof-Sid
> Choreology or kinemology?
> Recording and displaying movement
From Dance of the Future to Futurist Dance
Machine dances and biomechanics
Scientific organisation of work and dance
The Soviet Girls
Chapter 5: From dance to sport
Choreographing the masses
Taming plyaska
Partying to the Party instructions
> Wulf, the Soviet Entertainer
The Sokol and Artistic Gymnastics
Theatre of Physical Culture
Conclusions
Bibliography
Index
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