Nina kirsanova: The first steps towards eclecticism and modernism

Nina Kirsanova, one of the most significant figures in the history of ballet at the National Theatre in Belgrade, has significantly contributed to the development of classical ballet. She also synthesized classical and plastic expression, which is the subject of this paper, as her own style. In the 1930s, thanks to her research spirit and vision, her contacts and cooperation with globally renowned ballet names, as a ballerina, choreographer and ballet master, she has brought contemporary aesthetic views to Belgrade. Kirsanova synthesized two principles - Dionysian (ecstatic) and Apollonian (aesthetic). Transforming the existing aesthetics of the National Theatre, she retained the ballet canon with the aim of liberalizing the ballet lexicon. Her expression of rebellion against the ballet canon and her aspiration to return the movement to the symbolic communication and message was shown in the ballet performances of El Amor Brujo, Fatum and La Grande Ville (1934). She created improvised choreographic variants and styles in these ballet shows by exploring movements and the ir relationships. Kirsanova's approach was rooted in the fact that the inner impulse determines the movement, showing that the movement is only as strong as its inner dynamics. Leading critics such as Branko Dragutinović, Todor Manojlović, Dragutin Čolić and Miloje Milojević, have accepted these ballet performances in quite different ways - some claiming that Kirsanova was more successful in one of the two approac hes, while for some this step forward was utterly unacceptable. At that moment, critics have failed to grasp the significance of staging these works, modern and avant-garde in their time, in our ballet repertoires. On the other hand, the audiences have welcomed the new visions with standing ovations