Le héros à contresens. À propos de l’<em>Étude héroïque</em> de Kassian Goleïzovski

Polina Manko

doi:10.6092/issn.2036-1599/11810

Auteurs

Polina Manko Université Paris 8 (Vincennes-Saint-Denis)

Polina Manko is a dancer, specialist in Labanotation and researcher in dance of Russian origin, based in Paris, France. She is currently undertaking a PhD research at the Department of Dance of the University Paris 8 – Vincennes-Saint-Denis, on the subject of the aesthetico-political projects of the Russian avant-garde dance of the 1920s and its relation to the October Revolution of 1917. In parallel, she teaches a methodological approach to dance studies at the University Paris 8, and gives workshops on the Labanotation and dance reconstruction from Laban score. She notated in Laban system and reconstructed various pieces of the repertory of German and American modern dance Masters (such as A. Knust, K. Jooss, A. Sokolow and I. Duncan), but also of Eastern classical traditions (such as Khmer ballet).

DOI :

https://doi.org/10.6092/issn.2036-1599/11810

Résumé

The article presents a case study of the dance solo Heroics (or Heroic study, from the ballet Scriabiniana) of the Russian avant-garde choreographer Kassian Goleizovsky (1892-1970). This study proposes a methodological approach based on movement analysis, in order to investigate the meaning conveyed by this “abstract” dance. After tracing back the origins of this “revolutionary” dance in 1920s, we offer a comparative analysis of the figures issued from two versions of this solo, filmed in the 1960s and 1970s: the first staged by the choreographer himself, and the second “restored” after his death. The difference between movement qualities and postural attitudes shows, however, two opposite projects behind what could have been mistaken for the “heroic style” of the soviet era.