Н. А. Костикова
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DOI:https://doi.org/10.25807/PBH.22225064.2020.58.42.51
The article is based on a comparative analysis of the works of romanti-
cism — a masterpiece of the world choreography: the “Giselle” ballet
by A. Adam, whose libretto was based on the German legend by Heine
Heine and a number of paintings by the German artist KD Friedrich. The
purpose of the study is determined, fi rst of all, by the fact that it is the fi rst
time when the “Giselle” ballet and the paintings of K. Friedrich have
been jointly analyzed. They are described from the holistic standpoint
of mystical beauty, refl ected within the boundaries of the romantic trend
in 19th century art. The main line of their mutual consideration was the
single direction that developed in the 19th century, within the boundaries
of which similar creations were born, belonging to different types of art.
The author draws attention to the innovations in the ballet theater and
in painting of that time, which found a natural balance in the principles
of the spatial organization between all the components of the dance and
the canvas. It is shown that they work at the junction of the fi gurative
romantic idea as a powerful psychological tool.
Keywords: “Giselle” ballet, K. Friedrich, stage interpretation, painting, style of romanticism, landscapepainting system, mystical beauty.
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