Authors

Ayako Kaji¹;  ¹ Waseda University, Japan

Discussion

This study examines how a redefined conception of the body within Russian dance that arose during the early 20th century was reflected in literary works and intellectual discussions. This article highlights the interplay between evolving artistic expressions and the broader cultural and philosophical movements in Russia during this time. 

As illustrated by Elizabeth Souritz and, more recently, by scholars such as Nicoletta Misler and Irina Sirotkina, in the early 20th century, Russia witnessed a remarkable surge in interest in dance, largely influenced by Isadora Duncan’s revolutionary ideas on movement and expression. In urban centers across Russia, particularly in Moscow, enthusiastic amateurs—primarily followers of Duncan’s philosophy (such as Francesca Beata, Eli Rabenek, Inna Chernetskaia, Vera Maiia in Moscow, members of a group “Geptakhor” in Saint-Petersburg)—established several dance studios. However, this wave of interest in dance would begin to face constraints by the early 1930s, leading to its decline. Nevertheless, the excitement generated by dance extended well beyond practitioners—dancers, choreographers, and other artists—and sparked robust debate among poets, philosophers, literary critics, and other intellectuals. These groups actively engaged with and contributed to this cultural phenomenon, thereby embedding it into the broader literary landscape. Notably, the theoretical discourse surrounding dance did not necessarily align with the practical perspectives of those who were actively engaged in the art. Meanwhile, new conceptions of the body were explored in the adjacent field of theater, led by figures such as N. Evreinov and V. Meyerhold.

However, recent scholarship has predominantly approached Russian modern dance from a practitioner-oriented perspective. This study therefore addresses how the literary realm conceptualized, integrated, and critiqued modern dance distinctly compared with the perspectives of its immediate practitioners, and how notions of the “dancing body” were discussed within literary frameworks. Further, it examines new perspectives on the body that were reflected in modern dance while engaging with contemporary theories of the body within theatrical discourse. By revisiting these discursive currents, this study aims to clarify the multifaceted interplay between the theoretical and practical frameworks surrounding dance, ultimately contributing to a more nuanced and multidimensional understanding of Russian modern dance.