Presents "The theory of a dance art" - series of research work on themes: "Analysis of some aesthetical questions of scenic dance in the aspect of materialistic and psychoanalytical explanation", "Comparative characteristic of various directions of moving preparation (connected with scenic and art expression)", "Symphonic movement", "Staging problems", "The machine for drawing of a music (MusicBrushMachine)", "The last days of the old theatre", "Psychoanalysis of pure art (Culture of pure ideas; Religion of pure aesthetic; Philosophy of duncanism as aesthetical and ethical apprehension)".
Text ü1 _ ANALYSIS OF SOME AESTHETICAL QUESTIONS OF SCENIC DANCE
IN THE ASPECT OF MATERIALISTIC AND PSYCHOANALYTICAL EXPLANATION
Text ü2 _ COMPARATIVE CHARACTERISTIC OF VARIOUS DIRECTIONS OF MOVING PREPARATION (CONNECTED WITH SCENIC AND ART EXPRESSION)
Text ü3 _ STAGING PROBLEMS
Text ü4 _ THE MACHINE FOR DRAWING OF A MUSIC (MusicBrushMachine)
Text ü5 _ THE LAST DAYS OF THE OLD THEATRE
Text ü6 _ CULTURE OF PURE IDEAS (PSYCHOANALYSIS OF PURE ART)
At present the author is working at the following scientific report: PHILOSOPHY OF DUNCANISM AS AESTHETICAL AND ETHICAL APPREHENSION (PSYCHOANALYSIS OF PURE ART)
The centre is a non-profit, non-governmental organisation which has been in
existence since 1996. The centre represents a unique and promising area in art
and culture. The Centre's activity focuses on educational work, theatre and
dance instruction, aesthetic and artistic development, cultural and
philosophical education, dancing and general physical training for children
and adults. Today, within the framework of the Cultural Centre, there is a
theatre of plastic ballet "ClassicA-Modern" in operation, a "ClassicA-Modern"
school of plastic and dance, which cooperates with other dance groups,
musicians, and artists.
In the Centre for Pure Arts we want to revive all the best that at one time was achieved by ancient civilisation. In the future, within the Centre's framework, we plan to offer complex theoretical education in several basic areas: the foundations of logic, the foundations of metaphysics, the foundations of scientific aesthetics, ancient Greek culture, symphonic musical classics, classic and antique painting and sculpture, symphonic movement, art- media. We also propose to give practical training in music, fine arts, and plastic dance.
The "ClassicA-Modern" Cultural Centre for Pure Arts welcomes the cooperation of all who are concerned about the moral and cultural degradation of modern society, those who care about the development of high art and the best cultural traditions. Devoting efforts and resources to the development of pure art and the education of children brings aesthetic and ethical satisfaction, moral and possibly financial dividends.
Leaders of the organisation:
Olga Troul, artistic director
Andrei Panov, project manager
Telephone: +7 (812) 313-9104
e-mail: Olga.Troul@p7.f382.n5030.z2.fidonet.org (text only)
THE PROJECT "ClassicA-Modern"
The project "ClassicA-Modern" in its general sense is ethical and aesthetical programme of creative search of the harmony of the world we exist. This search follows the ideas of Immanuel Kant, Sigmund Freud and Isadora Duncan not the dogmatically but as our own conscious choice. We consider creativity to be out of any national culture as high art is international and cosmopolitan. We think the art is not connected with any policy, without calls to possession or redistribution of one's material values. We take history not as the subject of blame or praise but only as the history of human aspiration and misapprehension. We take creativity out of mystical narcotic and belonging to church. We think the main god is creative intellect. The real god is creative human genius. It may be a composer, an artist, an architect or a scientist. The main moral is not in accepting violence and lies. The main belief is in love, in enjoying the beauty and life. Without worshiping aesthetic of dead nature, which seems to be not enough human. In desire to create pure aesthetic by all available to a man means of emotional expression, each of which remains a full-bodied element of polyphonic building. High elevated architecture, painting dramatic and philosophical content, symphonic music and finally scenic dance as a kind, form and means of art.
__ Text ü1 _ Andrei Panov ANALYSIS OF SOME AESTHETICAL QUESTIONS OF SCENIC DANCE IN THE ASPECT OF MATERIALISTIC AND PSYCHOANALYTICAL EXPLANATION
CONTENTS: 1. Introduction. 2. The nature of harmony and creativity. 3. The physiology of human perception. 4. Bordering conditions. 5. Qualities of aesthetic. 6. Symphonism and polyphonia. 7. About ballet. 8. Dance as a aesthetic category. 9. The project "ClassicA-Modern". 10. Circuit "Dance in the sphere of intellectual production". 11. The dictionary of notions.
INTRODUCTION: The meaning and role of dance in social cultures of human societies always differed in various stages of development. From pagan ritual dances of ancient and primitive folks till robotlike dances of industrial society. The modern spectrum of dance genre included practically all the movements in their all heterogeneous aspects. It becomes practically impossible to speak of dance generally as this notion may include absolutely different or simply contrast phenomena. How can a dance be born? What characterristics can it have? What function can it fulfill? In this investigation we try to answer different questions of art from the point of view of systematic psychoanalysis and ortodox materilism. We do not pretend to be the most universal academic and indisputably fundemental one. In this investigation we can touch problematic or well-known conceptions (only due to our ignorance). Our main purpose is to show possibilities of formalisation and classification of superdifficult phenomena in the art, in the artistic and aesthetical creative work. Simply speaking, we try to show possibility of strict scientific approach to counterbalance empirical, dogmatic, classic, mystical and other similar, pseudo-scientific theories. We'll have to begin at very begining, though it may look rather paradoxical. And not because we think someone not know this "ABC" (It would be rather strange for people dealing with the art). We are sure everybody has got his own "ABC". We think to start analysis of complicated notions without understanding simple ones would be useless. The nature of creativity will be analysed in the first turn. Then we'll try to find out the place of dance among different genres of the art. The characterristics of dance as aesthetical product will be analysed at the end of our work. Aesthetics of a video. In this connection pertinently in more detail to consider a aesthetics of a representational video. The modern industry a videoclip is characterized as break away from representational musical number. Not discussing prevailling poverty of a aesthetics of a musical number, it is necessary to notice more a large primitive of a videonumber. A perspective direction in a videofilming is system "motion control", and not in a sense of a opportunity of dynamic overlapping of object of filming and back background of support, and in a sense of dynamic programming of filming pursuant to dynamics of musical product. Videonumber should sound adequately and equally valuablly to music.
__ Text ü2 _ Andrei Panov COMPARATIVE CHARACTERISTIC OF VARIOUS DIRECTIONS OF MOVING PREPARATION (CONNECTED WITH SCENIC AND ART EXPRESSION)
Is considered 19 in essence various directions of preparation. Each of directions is evaluated till 23 in essence various characteristics. On each direction valuation under each of characteristics, - whole 437 expert valuations (on 10 scale) is given. After transformation of this grid in the internet interactive web-module at each reader will occur a opportunity to offer valuations, which will be taken into account automatically.
__ Text ü3 _ Andrei Panov STAGING PROBLEMS
A. Principles of the construction. Three main parts of initial composing of a performance demand being defined long before the rehearsal itself. In the turn of changing the structure: 1) typical movement; 2) character of movement; 3) compositional construction. B. Compositional choice. The choice of the content of these three components may contain some principles. The construction must take place from the first time, from the first listening, from the first emotional comprehention. Then comes the primary individual dancing. It can be called uncontrolled improvisation or emotional tip out. As a matter of fact this concerns peculiar brain storm. C. The compositional unity. The question of the unity of dancing product arises as a rule already in the middle of the rehearsal work. If primarily the matter is in finding the most suitable choice of structural fragments and composing them then at the concluding step it is necessary to define their mutual connecting separately. It can be: 1) dynamics of the composition; 2) compositional pause; 3) producing of zigzags.
__ Text ü4 _ Andrei Panov THE MACHINE FOR DRAWING OF A MUSIC (MusicBrushMachine)
The machine for drawing of a music enters in a complete set of a hardware of a Orchestra of Plastic Movement and is a hardware complex, intended for facilitation, acceleration and automation of creative process of visualization of a musical number, together with for automation of process of scenic registration. The structure of a machine enters a personal computer equipped by a device for figures remaking of a sound signal, also a possessing specialized programm environment and equipped by a to appropriate electronic adaptation for management scenic and light equipment; a acoustic stereo-system with a digital audio-input; a complete set of the light and projection equipment with electronic management; a set of scenic volumetric gauges, capable to register and to inform to a computer about all moves on a scene.
__ Text ü5 _ Andrei Panov THE LAST DAYS OF THE OLD THEATRE
The attempt of defining the role and the purpose of the theatre in cultural and spiritual life of the society was done. The evolution and degradation of the drama theatre from times of Ellada till our days was analysed.
__ Text ü6 _ Andrei Panov CULTURE OF PURE IDEAS (PSYCHOANALYSIS OF PURE ART)
The Old Greek philosophy and so far remains valuable practical, instead of abstract knowledge. The definition of the Platon republic has become canon in etiquette, in morals, in the theory of a authority. Their culture and is today suitable for imitation. The unique form of Olympic movement all as is viable and can still exist not yet one century. The art then has reached such heights, which are now not accessible to many half-primitive nationalitys. Just then initial principles of organization of theatre in general were incorporated. And all this just because that form was maximally close to Absolute.
Andrei Panov, 1964, higher technical education, minimum requirements for a candidate's degree, engineer-researcher, independent analyst, author and chief of the project "ClassicA-Modern", founder and curator of the CULTURAL CENTRE of PURE ARTS named after Isadora Duncan. Russia, St.-Petersburg.
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