Dance

Ballet in Virtual Reality: On the Problem of Synthesizing “End-to-End” Technologies and Theatrical Stage Art

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Tatiana V. Portnova
The Kosygin State University of Russia, Moscow, Russian Federation. Email: portnova_ta@bk.ru

Submitted 10 January 2022, modified 27 May 2023, accepted 17 June 2023, first published 21 June 2023

Rupkatha Journal, Vol. 15, Issue 2, June 2023. https://doi.org/10.21659/rupkatha.v15n2.12
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Abstract

The article is devoted to the study of the problem of synthesizing “end-to-end” technologies and theatrical (stage) art. The author proceeds from the fact that in the era of industrialization, a person’s perceptual practices are carried out through the prism of a new, generative reality, which, consequently, causes the transformation of the spatial-temporal model of aesthetic experience. However, the artist as the creator of a work of art, having a special sensitivity to reality, can see what may be inaccessible to his audience. The hypothesis is put forward that this ability is based on a simultaneous perception of time and space, the fundamentalization of which in the perceptual practice and aesthetic experience of the viewer is the main task of a modern artist. The verification of this hypothesis was carried out through the prism of the synthesis of virtual reality as an “end-to-end” digital technology and stage (choreographic) art, where time and space become the subject of artistic reflection. The methodological foundation of the research is based on a discursive analysis, which allows us to understand, firstly, how modern stage (choreographic) digital art offers the viewer to make a path on his own, with a “previously passed meaning” and with the help of his already existing perceptual experience; secondly, how the artist, as the creator of a work of digital art, builds and carries out a “conversation” with the viewer through the prism of the simultaneous communicative space initiated by him. The author emphasizes that a modern artist, regardless of his/her role in art, must have the skill of discursive analysis to be able to create a communicative space in which the viewer will be able to gain perceptual experience and independently “realize” the temporal-spatial mega-code, and understand the idea of the artist, regardless of how much it is hidden from the audience. In turn, the ability to discursive analysis of the viewer will allow you to collect and disperse meanings, transform them, return them to their original state and let them go back into the element of the game of signifiers, offering yourself to overcome the path in the semantic landscape of the work of theatrical (stage, choreographic) art.

Keywords: “end-to-end” technologies, theatrical art, choreographic art, virtual reality, perceptual practice, ballet, space, time.

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Factors Affecting Motivation in Learning Classical Dance: An Empirical Study

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Kateryna I. Kukhar1, Natalia V. Bilous2
1Kyiv State Ballet College, Kyiv, Ukraine. Email: kateryna_kukhar@edu-knu.com
2Branch of Museum of Kyiv History, Serge Lifar Museum, Kyiv, Ukraine. Email: bilous0712@gmail.com

Received 15 January 2022, modified 17 May 2023, accepted 20 May 2023, first published 14 June 2023.

Rupkatha Journal, Vol. 15, Issue 2, June 2023. https://doi.org/10.21659/rupkatha.v15n2.10
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Abstract

This article aims to determine the most optimal pedagogical techniques and methods for influencing students to develop motivation in teaching classical dance. The article reveals the essence of the concept of motivation and examines the factors that affect the reduction of motivation during classical dance lessons. In the empirical part of the study, the author analyzes the self-determined level of motivation of students of Kyiv State Ballet College. The authors of this article used the Behavioral Regulation in Exercise Questionnaire-2 (BREQ-2) adapted to the issue under the study, the technique for determining the level of learning motivation in students developed by Ginzburg, and the technique for diagnosing learning motives developed by Badmaeva. The study shows that the level of motivation is growing among senior college students due to the improvement of their formed competencies and an increase in responsibility for learning outcomes. It was also studied that the self-motivation to dance was stronger than demotivation among the respondents. In the final part of the study, the authors of this article suggest various approaches and techniques to increase the motivation of students, activate their creative potential, and thereby enhance the effectiveness of the educational process. The study also highlights psychological and pedagogical conditions for increasing the motivation level to succeed in teaching classical dance.

Keywords: classical dance, motivation, demotivation, pedagogical techniques, methods of influence.

 

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