D. G. Samylov
Price: 50 руб.
Galina Ulanova entirely apprehended the sense of the choreo-dramatic reform of the
1930–1950s introduced in ballet by such performances as “The Fountain of Bakhchisarai”
and “Romeo and Juliette”. But the particular feature of her personal method was that the
psychological concreteness and realistic reliability, that she approved, did not contradict
the nature of ballet theatre. She interpreted in dance all simplest movements, turned into
dance any jogs, poses and mise-en-scènes. She pulled together ballet with the nature of
drama theatre, without breaking the harmony of the dance itself. She selected only the
most essential traits of character and brought them to dance. That was the originality of
her psychologism.
Key words: performing art, choreo-dramatic reform, acting technique, psychologism,
cross-cutting action, subtext, grain of an image, plastic pause, dancing and scenic image.
References
1. Lopukhov F. V. Shest’desyat let v balete. M.: «Iskusstvo», 1966. 424 s.
2. L’vov-Anokhin B. A. Ulanova Galina. M.: «Iskusstvo», 1870. 280 s.
3. Ulanova G. S. Otello // Pravda. 1958. 30 marta.
