Felix Cherniavsky - Correspondence with Dance Collection Danse 1

Added 19th Mar 2022 by Beth Dobson (Archives and Programming Assistant, DCD) / Last update 19th Mar 2022

Maud Allan 1135b 51 2008-2-70.jpg
Maud Allan 1135b 51 2008-2-70.jpg
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Felix Cherniavsky - Correspondence with Dance Collection Danse 1

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Maud Allan Research Collection
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NOSTALGIA - NOSTALGIA OR THE PASSION secondly , the elimination of the barrier between perform aesthetic based not on mimesis but on a system of sign and spectator – the famous ' fourth wall ' – in order to discovi FOR A RETURN new possible relationships between the performers and the audience ; and finally , the rupture of the dramatic unities t NICOLA SAVARESE means of a montage of symbolic spatial and tempor sequences . Ulysses , far from Ithaca , did not suffer from nostalgia . The Actors and directors , dancers and everyone involved i word nostalgia , even though deriving from Greek ( nostos , performance , thus found themselves confronted with ne ‘ return ' , and algos , ‘ pain ' ) was first used in the eighteenth cen- examples of theatrical communication from which they coul tury , by a Dutch doctor . He coined the term to to define that draw a certain freedom : they were culturally prestigiou particular illness which afflicts people who are forced to live examples , technically perfect and yet so sufficiently foreig away from their homeland for long periods of time . The first that they could be taken up and reversed , even invente to be diagnosed as suffering from nostalgia were Swiss imm- without the anxieties which more familiar models induce . igrants who had left their mountain homes in search of work . The Commedia dell'Arte and the Oriental theatres i Until the end of the last century , the word nostalgia was particular proposed a performer's art which seemed free of a used exclusively in a medical context . It then was borrowed psychological conditioning . In addition , they were based on from the world of medicine and became part of the vocabulary meticulous body technique which was the performer's on of the aesthetes of European decadence , taking on the element and instrument , able moreover to represent emotion meaning of ' a vague desire ' , ' melancholy ' , which meaning it The Commedia dell'Arte tradition was interrupted in th kept when it entered common speech . eighteenth century , but Oriental performers were sti We will use the word nostalgia here in its original sense - a incarnating their most ancient traditions , and one can readi ! passion for a return and will enrich it with a subtle nuance understand how they could become the only models whic which the Italian poet Niccolò Tommaseo introduced in his were not only different but also living and therefore direct ! famous dictionary of the Italian language , in which he defined exportable . the term as ' the noble privilege of poor nations ' . In this sense , Obviously , this nostalgia was not without its risks an nostalgia is a characteristic of the artistic activity of the pitfalls : fads , the temptation of the exotic and novel , an twentieth century and is particularly germane when used with superficial interpretation were also facets of a Utopia of tot : respect to the theatre . theatre which dreamed of a symbiosis with its audience . Thes The study of performers of the past or of other cultures , the phenomena were often the origins of more or less fertil study of their scenic behaviour and their techniques , dates misunderstandings , many of which have influenced recen from the beginning of this century , when theatre theatre history . But we must not lose sight of the essential fac practitioners , faced with the rise of mass communication that direct contact with distant theatre cultures helpe media , began to search for new forms of theatrical language theatre artists to discover that the performer's art is th and a new identity for the theatre . keystone of performance , and that the theatre exists onl Actors , dancers , and directors looked to heritages which because performers exist . This was the beginning of a proces , were historically and geographically distant from the Europ- which directed theatre research in the Occident toward ean tradition . These were heritages which could inspire a performer pedagogy free of the demands of production and the viable alternative to the theatre of the nineteenth century , market . ( cf. Apprenticeship ) provide arguments for a new cultural strategy and , above all , The Occidental performer , who up until that time had beer more diversified and richer means for the performer's classified into different genres – mime , dancer , singer , actor - language . dreamed of unity and artistic dignity . And thus the myths of Commedia dell'Arte , ancient Greek This was one of the first historical results of nostalgia : pro theatre and Oriental theatres were born . vided that the premise , or point of departure , is alway It was natural that these extremely diverse origins , far accepted as being the actor , who beyond being someone who distant in time and space ( whence their mythical and feels , is solely someone who appears on stage ; a body in action legendary character ) inspired nostalgia in the artists ' ' Then we can better explain the surprising analogies betweer imaginations . In a time of change , they saw these distant position and gesture of actors , distant in space and time sources as ' golden ages ' of the theatre . It was less the eternal which would never be corroborated were it not for what is desire for a return to origins than technical research for a contained within these pages . Nostalgia for integrity led the point of departure ; less a vague nostalgia for the infinite than ‘ individual ' actor to become known etymologically as the ‘ indi a search beyond the limits and borders of one's own culture . visible ' actor . Not only were the Commedia dell'Arte , ancient Greek The second possible result of nostalgia took longer to theatres and Oriental theatres rediscovered , studied and become apparent . It was the need to rediscover the origins o . reinvented , but also more popular performance forms such as European Theatre , and the rough historiographical research circus and cabaret . All these discoveries enriched the to find out when the split between dancer and actor actually doctrines and practices of theatrical art and had a decisive happened . influence on Occidental performance . Recent studies confirm that the division occurred in thi These theatre forms had certain characteristics in common XVII century , when ballet and dance professionally separate which could be used both to oppose the bourgeois theatre of the actor from the dancer . In the Renaissance period , and the nineteenth century and to revitalise the then current above all in the performances of the Commedia dell'Arte , the tradition of the performer's language . It was first of all a performers sang , danced , recited , as did the actors of the question of refusing a certain naturalism in favour of an Kabuki and the Peking Opera .