Drafts

Here, I am going to collect my writings that were not published outside of the web-blog. Some of them are partially overlapping.

Dance and Mathematics (2012)

This little research was devoted to the question of how mathematics can be applied in dance. The result was presented in the duet performance Algorithms. Anamorphoses. Anomalies (2012) that was co-created with my friend and fabulous dancer Olga Sevostianova.

INSIDE THE CHAIN: An Intersection of Dance, Mathematics, and Technology (2016)

That was my final paper for the MFA degree in Dance at the George Washington University. It was devoted to my final project in this graduate program, solo performance “Inside the Chain” [“В веренице”] (2016). My major collaborators in the project were Denis Perevalov (programming) and Anna Vozzhennikova (design).

How Inside the Chain was constructed (March 2017)

A bit more on Inside the Chain (February 2021)

This short paper is devoted to Inside the Chain (2016), and looks at how the first [stochastically organized] part of the performance was constructed as well as attempts to analyze it.

Stochastic Choreography (January 2018)

The paper’s intention was to define stochastic choreography and distinguish its two major types through pertinent examples describing concisely what was managed stochastically there and how it was done.

Case studies: Ocean (choreographer: Merce Cunnigham, 1994), Dom Svobode​ (choreographer: Iztok Kovač, 2000), [radical] signs of life​ (choreographer: Pauline Jennings, 2013) and Inside the Chain (choreographer: Ekaterina Zharinova, 2016).

Curating a Festival as a Minor Art Practice (March 2019)

My first attempt to induce the notion of ‘minor dance’ and accordingly, an attempt to apply it to contemporary dance festival curation.

Case studies: art festival Sarus (director: Karola Lüttringhaus) and Small Format festival of contemporary dance and performance art (director: Ekaterina Zharinova).

Minor Dance: Spontaneous Collective Dance Actions as a Part of a Protest (March 2020)

My another attempt to think over the notion of ‘minor dance,’ this time, through examples of spontaneous collective dance actions which were parts of successful vernacular protests in Russia in recent years.

Case studies: “For Park Square” – A protest against a church construction in the park square near the drama theatre in Yekaterinburg, Russia (13-20 May 2019) and “In Support of Ulyanovsk Cadets” – A protest against expelling students from the Ulyanovsk Civil Aviation Institute for posting a dance clip on YouTube (13 January – 2 February 2018).

Face Dance (June 2020 – February 2021)

The paper is on ‘face dance’ discussing some of the various forms/ways of engaging with face in contemporary dance and a bit beyond. The topic was inspired by the course on faciality taught by Prof. Kriss Ravetto-Biagioli at UC Davis in winter 2019.

Case studies: ROSEWOOD (Micaela Taylor, 2018), Fascia (Pia Lindman, 2006), “Emotions’ Mask. An Experience of Facial Choreography” (Natalia Zhestovskaya, 2017), “Multiple Selfie in the Dark” (Ekaterina Zharinova, 2019), “A Monument to Shitty Affects of Now” (Dasha Che, 2020).

On film choreography and alterior art practices (December 2020)

The paper was written after close reading of Lynette Hunter’s book “Politics of Practice” (2019) in the UC Davis graduate course facilitated by the book’s author.

Case studies: «Russian Ark» (Alexander Sokurov, 2002) and «Ballet Mécanique» (Fernand Léger1924).