“Thinking and Dance”: The Linguistic Plastic Code of the Middle Ages

The historical context of the stated problems coincides in time with the processes of formation of the classical model of thinking in science and various spheres of artistic creation, as well as with the emergence of the primary system of dance notation — orchesography by Tuano Arbo (1520—1595).

The scientific structure of plastic thinking in choreography has not yet exist in the modern world. The author’s concept is developed, which is based on the idea that the whole history of dance art development can be presented in the form of plastic language codes: “thinking and dance”, “thinking in dance”, “thinking by dance”. The author’s classification of the language of corporeality and plastic structure of movement in the Middle Ages is proposed with the possibility to connect these phenomena with thinking in choreography and to present plastic thinking as an ability. The study specifies that the paradigm of ancient culture and art does not disappear during the Middle Ages. It lays the foundation of the trinity of laws for all times and peoples: physical, spiritual and mental are not three, but one beginning in man. It is around this paradigm of trinity that the architectonic structures of corporeality, the foundations of dance theory and the subject of choreography of subsequent epochs will revolve.

The hypothesis of the research is multifaceted in its scientific addressability. It contains ontological forms and specifics of the emergence of the phenomenon of choreography, morphological and typological features of heterogeneous dance environments. For the first time within the art history dimension, the aim is to substantiate the artistic representation of thinking in choreography in the Middle Ages, as the specificity of scientific, artistic and cultural picture of the world of this time continues to develop the concept of the linguistic plastic code “thinking and dance”. The tasks of searching for value connotations of Antiquity and finding artistic connections with the Middle Ages are considered. It is actualized that in contrast to Antiquity, a new model of bodily and linguistic (including compositional) type of thinking is formed in the Middle Ages. It is determined that the tasks of comprehending the mental mobility and cultural and historical landscape in the dance space of the Middle Ages are inextricably linked with the traditions and innovations of European historical heritage.

1. Arbeau T. Orchesographie... Lengres, Imprime audict Lengres par Ichan des preyz Imprimeur and Libraire, 1588, 105 p.

2. Arbeau T. Orchesographie... Paris, F. Vieweg, Libraire — Editeur, E. Bouillon and E. Vieweg Publ., 1888, 105 p.

3. Yakimovich A.K. Novoe vremya. Iskusstvo i kul’tura XVII—XVIII vekov [New Time. Art and Culture of the 17th—18th Centuries]. St. Petersburg, Azbuka-Klassika Publ., 2004, 436 p.

4. Dogorova N.A. Plasticheskoe i ehtnoplasticheskoe myshlenie v khoreograficheskom iskusstve: stanovlenie i transformatsii: 2 t. [Plastic and Ethnoplastic Thinking in Choreographic Art: Formation and Transformations: in 2 volumes], Doct. art hist. diss. Moscow, Moskovskii Gosudarstvennyi Universitet im. M.V. Lomonosova Publ., 2023, vol. 1, 391 p.

5. Dogorova N.A. Ballet Anthropology in Complex-Oriented Theories of Thinking of the 18th—19th Centuries, Dialog iskusstv i art-paradigm. Stat’i. Ocherki. Materialy: po materialam XII Mezhdunarodnogo nauchnogo foruma “Dialog iskusstv i art-paradigm” “SCIENCEFORUM PAN-ART XII”. Khudozhestvennaya kartina mira (20 oktyabrya 2023 g.) [Dialogue of Arts and Art-Paradigms. Articles. Essays. Materials: Proceedings of the 12th International Scientific Forum “Dialogue of Arts and Art-Paradigms” “SCIENCEFORUM PAN-ART XII”. Artistic Picture of the World (October 20, 2023)]. Saratov, Saratovskaya Gosudarstvennaya Konservatoriya im. L.V. Sobinova Publ., 2023, vol. 63, pp. 33—38 (in Russ.).

6. Blasis C. The Art of Dancing: Comprising Its Theory and Practice, and a History of Its Rise and Progress... London, Edward Bull Publ., 1830, 548 p.

7. Blasis C. Tantsy voobshche, baletnye znamenitosti i natsional’nye tantsy [Dances in General, Ballet Celebrities and National Dances]. Moscow, Tip. Lazarevskogo Instituta Vostochnykh Yazykov Publ., 1864, 225 p.

8. Chesnokov E.I. (ed.) Klassiki khoreografii [Classics of Choreography]. Moscow, Leningrad, Iskusstvo Publ., 1937, 356 p.

9. Fridericia A. Avgust Burnonvil’: baletmeister, otrazivshii v svoem tvorchestve idealy i bor’bu veka: perevod s datskogo [August Burnonville: The Ballet Master Who Reflected the Ideals and Struggles of the Century in His Work: translated from Danish]. Moscow, Raduga Publ., 1983, 272 p.

10. Dogorova N.A. Khoreograficheskoe iskusstvo: problemy rezhissury i akterskogo ispolnitel’skogo masterstva: izbrannye lektsii [Choreographic Art: Problems of Directing and Actor’s Performing Skill: selected lectures]. Saransk, Mordovskii Gosudarstvennyi Universitet im. N.P. Ogareva Publ., 2011, 56 p.

11. Blasis S. Dele Compozisioni Coreografiche e Dele Opere Letterarie. Milan, Presso I Fratelli Centenari e Comp. Publ., 1854, 87 p.

12. Tarasova O.I. Freedom and Dance, Vestnik Akademii russkogo baleta im. A.Ya. Vaganovoi [Bulletin of Vaganova Ballet Academy], 2017, no. 6, pp. 111—118 (in Russ.).

13. Nikitin V.Yu. Dancetheater: A Synthesis of the Artistic Techniques and Means, Vestnik Akademii russkogo baleta im. A.Ya. Vaganovoi [Bulletin of Vaganova Ballet Academy], 2020, no. 2, pp. 14—24 (in Russ.).

14. Savostyanova Yu.S. Improvisation in Choreographic VR Experiments, Vestnik Akademii russkogo baleta im. A.Ya. Vaganovoi [Bulletin of Vaganova Ballet Academy], 2022, no. 6, pp. 19—28 (in Russ.).

15. Argamakova N.V. Arvo Pärt’s Music: Spiritual Characteristics and Their Choreographic Interpretations, Vestnik Akademii russkogo baleta im. A.Ya. Vaganovoi [Bulletin of Vaganova Ballet Academy], 2018, no. 3, pp. 43—59 (in Russ.).

16. Blok L.D. Klassicheskii tanets. Istoriya i sovremennost’ [Classical Dance. History and Modernity]. Moscow, Iskusstvo Publ., 1987, 556 p.

17. Foucault M. Discipline and Punish: The Birth of the Prison. Moscow, Ad Marginem Publ., 1999, 478 p. (in Russ.).

18. Compan Ch. Tantseval’nyi slovar’, soderzhashchii v sebe istoriyu, pravila i osnovaniya tantseval’nogo iskusstva [Dance Dictionary, Containing the History, Rules and Foundations of Dance Art]. Moscow, Universitetskaya Tipografiya V. Okorokova Publ., 1790, 437 p.

19. Noverre J.G. Letters on Dancing. Leningrad, Academia Publ., 1927, 315 p. (in Russ.).

20. Noverre J.G. Letters on Dancing and Ballets. Leningrad, Moscow, Iskusstvo Publ., 1965, 375 p. (in Russ.).

21. Il Balarino Di M. Fabricio Caroso da Sermoneta, Diuifo in Due Tratatti. Trattato Secondo, 1605, M. D. L. XXXI, 187 p.

22. Nuove Inventioni Di Balli, Opera Vagniccima Di Cesare Negri Melanese Detto Il Trombone, Famofo, Et Eccelente Proffeccore di Ballere... Milano, Apreffo Girolamo Bordone Publ., 1604, M. DC III I, 296 p.

23. Khudekov S.N. Istoriya tantsev: v 4 t. [History of Dance: in 4 volumes]. St. Petersburg, Tip. Peterburgskoi Gazety Publ., 1914, vol. 2, 370 p.

24. Bezuglaya G.A. Muzyka baleta v kontekste muzykal’noi deyatel’nosti khoreografov (konets XVI — pervaya tret’ XX v.) [Ballet Music in the Context of Musical Activity of Choreographers (Late 16th — First Third of the 20th Century)], Doct. art hist. diss. St. Petersburg, 2021, 442 p.