MODERN DANCE ON THE PATH TO PERFORMANCE : A REFLECTIVE COMPONENT

Abstract

The role of reflection in the development of choreographic styles of the Modern Age is determined. The
reflective component in the formation of the performative qualities of modern dance is highlighted from the point of
view of philosophical and psychological reflection. The role of O. Schlemmer's work in the renewal of choreographic
language, its subordination to the tasks of theatrical performativity is shown. The figure of O. Schlemmer is interpreted
as unique in European culture and has not yet been sufficiently studied in the context of the direction of the historical
progress of art towards synthetism. It is emphasized that in the work of O. Schlemmer, reflection on the nature of
movement led to its separation from anthropomorphic corporeality and its projection in physical forms endowed not
only with the qualities of volume, but also with color symbolism.
Analysis of the artist's biographical data proves his high reflexivity, which successively passed through the
stages of elementary, scientific and philosophical. The achievement of philosophical reflection led to the
systematization of O. Schlemmer's innovative interpretation of choreography as a visual and performative art. It has
been observed that for the urbanized modern art of Europe, the acute problem was the correlation between the «nonvitality» and «vitality» of art based on mechanics. The solution to this problem was proposed by the creative center
«Bauhaus», whose aesthetics guided the reflection of O. Schlemmer. The differences between the aesthetic positions of
Bauhaus and Futurism are characterized, primarily in terms of constructive accuracy and intellectual abstraction from
everyday realities. The transformation of ideas about the syntheticism of dance from musical orientation to maximum
visualization of movement is specially emphasized. The rhythmic order of dance, traditionally organized by means of
music, was now achieved by the coordination of color forms. An analysis of O. Schlemmer's «Triad Ballet» is presented
in the context of identifying the qualities of performativity in it. It is summarized that in the work of O. Schlemmer, the
practice of interpreting dance as a physical phenomenon was implemented, which strengthened the foundation of the
synthesis of arts on the principles of technological visuality.