Genesis and characteristic features of the author's dance theatre of the end of nineteenth - the beginning twentieth century as a generative art form of the new directions of theatrical dance

Abstract

The turn of the nineteenth and twentieth centuries was marked by the crisis of classical ballet, which was recognized in 1908 by the World Congress of Choreographers in Berlin. It was investigated that this crisis consisted, first, in the mechanical using of conventional dance vocabulary and the virtuoso technique of the French – Italian School of Classical Dance; second, the using of outdated principles of the ballet performance. But the innovations of the artists of the New Russian Ballet, which they demonstrated during the Russian Seasons in Paris in the early of the twentieth century opened a new era in choreographic theatre. Therefore, today in the early of the twenty-first century in the era of the development of postmodern dance theatre, which feeds on the destructions of symbolic constructions and prefers not to mention that art is a way of knowing the world, exploring the concept of dance art and total theatre (Gesamthustwerh) of Russian ballet-makers of Dyaheleva antiprizes are too actual.