FORMATION AND DEVELOPMENT OF TECHNIQUES OF EXECUTION ON POINTE SHOES IN CLASSICAL DANCE

Abstract

Purpose of the article is to identify the main stages of the formation and development of dance technique on pointe shoes in classical dance. Мethodology. Based on the analysis of the scientific literature, the use of the historical chronological approach, the method of systematization, it was possible to conduct a scientifically objective study. Scientific novelty. In the article the periodization of the development of dance technique on pointe shoes as a component of the evolution of classical dance Conclusions. It is sufficiently conditional to distinguish periods in the process of evolution of the technique of dance on pointe shoes. The origins of the technique of dance on pointe shoes reach antiquity and the Middle Ages. The decisive significance for the appearance of dance on fingers was the reform of theatrical costume of the second half of the eighteenth century. The count of the history of dance on fingers can be traced from the first fixed case of1796 in London during the presentation of Ch. Diedlo, «Zephyr and Flora». However, only in the era of romanticism artistically completed the dance on the fingers (M. Talioni, the twenties of the ХІХ century). M. Petipa in the late XIX – early XX century complicated the technique of dance on pointe shoes (in particular, movements requiring aplomb – stability), and increased its amount. Changes in the design features of the pointe shoes in the early twentieth century (the toe became square and solid) allowed the dancer to dance freely on his fingers. The fingers technique evolved in J. Balanchine's neo-classical dance mid-twentieth century: the rejection of the «spring» rise of the St. Petersburg school, the introduction of a boot on the poets «rolled up» or «squeezing out», which expanded the dance skills of the ballerina. Choreographers of modern choreography at the end of the ХХth and beginning of the ХХІst century did not abandon pointe shoes, continue to search for the expansion of expressive artistic possibilities of dancing on the fingers. The study does not pretend to be complete, presented in the aspect of conceptualizing the development of finger technology as a composite evolution of classical dance.