ISSN 2411-0795
ISSN 2411-0795
The article is devoted to the study of Merce Cunningham's one-act ballets as unique examples of postmodern choreography in which traditional ideas about dance are reinterpreted. Special attention is paid to the analysis of the key characteristics of his work: the autonomy of movement from music, the rejection of narrative and linear drama, as well as the use of the method of chance. Cunningham overcame classical ideas about the synchronicity of music and dance, creating ballets where each of the expressive means (movement, sound, set design) existed independently, but interacted within the framework of a common artistic idea. One-act ballets such as "RainForest" (1968) and "BIPED" (1999) are considered in the article as important examples of Cunningham's innovative approach to the organization of space and time, as well as to interaction with technology, including the use of video projections and computer simulation of movements. The article highlights the importance of Cunningham's one-act ballets as a phenomenon that not only changed the way people viewed dance in the 20th century, but also influenced modern choreographic practices. The work is of interest to dance researchers, scholars focused on cultural studies, and anyone investigating postmodern art.
