Continuity of the choreographic tradition of the Mariinsky Theatre and the Vaganova Academy of Russian Ballet

Kseniya Sergeevna Kopunova
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Abstract

This article is devoted to continuity in choreographic education. The novelty of the research is due to the fact that an attempt has been made to show the continuity of the choreographic tradition of the Mariinsky Theater and the Vaganova Academy of Russian Ballet in a comparative aspect. The author also examines the term "continuity" in an educational perspective, explaining the importance of this aspect in the formation of the personality of a ballet dancer. The historical moments concerning the preservation of pedagogical traditions, as well as modern issues of an educational nature are considered. The author focuses on the connection between the learning process and stage practice on the example of choreography by M. I. Petipa. The importance of this research is expressed in the uniqueness of this choreographic direction in a comparative aspect and the emergence of a new paradigm, which includes the development of new mechanisms to ensure the educational process. This article is devoted to continuity in choreographic education. The novelty of the research is due to the fact that an attempt has been made to show the continuity of the choreographic tradition of the Mariinsky Theater and the Vaganova Academy of Russian Ballet in a comparative aspect. The author also considers the term "continuity" in an educational perspective, with an explanation of the importance of this aspect in the formation of the personality of a ballet dancer. The historical moments concerning the preservation of pedagogical traditions, as well as modern issues of an educational nature are considered. The author focuses on the connection between the learning process and stage practice on the example of choreography by M. I. Petipa. The importance of this research is expressed in the uniqueness of this choreographic direction in a comparative aspect and the emergence of a new paradigm, which includes the development of new mechanisms to ensure the educational process.
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延续马林斯基剧院和瓦加诺娃俄罗斯芭蕾舞学院的编舞传统
本文旨在探讨舞蹈教育的连续性问题。这项研究的新颖之处在于,它试图从比较的角度来展示马林斯基剧院和瓦加诺娃俄罗斯芭蕾舞学院编舞传统的连续性。作者还从教育的角度考察了“连续性”一词,解释了这方面在芭蕾舞者个性形成中的重要性。关于保存教育传统的历史时刻,以及教育性质的现代问题被考虑。作者以佩蒂帕的编舞为例,着重探讨了学习过程与舞台实践之间的联系。这项研究的重要性体现在这种编舞方向在比较方面的独特性和新范式的出现,其中包括发展新的机制来确保教育过程。本文旨在探讨舞蹈教育的连续性问题。这项研究的新颖之处在于,它试图从比较的角度来展示马林斯基剧院和瓦加诺娃俄罗斯芭蕾舞学院编舞传统的连续性。作者还从教育的角度考虑了“连续性”一词,并解释了这方面在形成芭蕾舞者个性方面的重要性。关于保存教育传统的历史时刻,以及教育性质的现代问题被考虑。作者以佩蒂帕的编舞为例,着重探讨了学习过程与舞台实践之间的联系。这项研究的重要性体现在这种编舞方向在比较方面的独特性和新范式的出现,其中包括发展新的机制来确保教育过程。
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