The Choreographic Form “Sujet”

This article presents a translated excerpt with additions from the author’s BA thesis (see Петровић 2023).

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Scene from the choreography “Първа среща” by Daniela Dzheneva, performed by the Ensemble “Trakia” from Plovdiv, Bulgaria. Photo courtesy: shevitsa.

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The Sujet represents a distinct choreographic structure within the broader genre of Dramatisation. The term “Sujet” (Fr.: “Sujet”; Lat.: “Subiectum”) refers to a system of events organized in a cause-and-effect sequence, which serves to elucidate the relationships and conflicts among dramatic characters through a specific narrative or plot. This structural principle is not exclusive to choreographic expression but is also foundational in literary traditions (Абрашев, 2001: 215).

At the core of the plot lies the essential element of conflict, which may emerge through interactions between dramatic characters, opposing social forces (external-dialectological conflict), or the internal dynamics of thoughts and emotions (internal-monological conflict). The resolution of this conflict — typically through the triumph of one of the opposing sides — brings closure to the dramatic narrative (Мелехов, 2015: 65).

It is critical to underscore the significance of the event sequence in constructing the plot-based choreographic form. Within a dramatic narrative, the unfolding of events must adhere to a cause-and-effect progression. The indiscriminate insertion or juxtaposition of unrelated episodes within the plot would undermine both the internal logic and the aesthetic cohesion of the choreographic composition (Абрашев, 2001: 216; Абрашев, 1957: 35).

Given that the dramatic narrative is shaped through the creative vision and imagination of the artist, the choreographer— being the principal author of the work — assumes multiple roles simultaneously: those of playwright, director, and librettist in the realisation of this choreographic form.

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The dramatic structure of the plot consists of five parts (Абрашев, 2001: 216-218):

1. Exposition – This is the introductory segment of the choreographic composition. Within this section, the two principal opposing forces—or central dramatic characters—are introduced. The exposition functions to establish the foundational dramatic context and typically comprises approximately two-tenths (2/10) of the overall structure of the piece.

2. Plot – Although the briefest segment of the choreography, this part carries exceptional narrative weight. It introduces the central conflict and the overarching thematic problem for the first time — elements that will then undergo progressive resolution throughout the remainder of the work.

3. Elaboration – ​Representing the most extensive and structurally significant portion of the choreography, the elaboration intensifies and expands upon the central developmental conflicts of the dramatic characters. Given the complexity of this section and the frequent occurrence of diverse events framed within various conflictual contexts, it may be further subdivided into additional stages corresponding to those events. The elaboration occupies approximately seven-tenths (7/10) of the entire composition.

4. Culmination – Although concise in duration, this segment marks the apex of dramaturgical intensity. It represents the climax of the dramatic arc, wherein the decisive confrontation is fully realised and the potential resolution of the conflict is revealed.

5. Denouement – ​​In the final section of the choreography, the Denouement delineates the ultimate relationship between the victorious and the defeated. Occupying approximately one-tenth (1/10) of the entire piece, this part concludes both the dramatic narrative and the choreographic work as a unified whole.

Fig. 1: Dramatic structure of the Sujet by Georgi Abrashev (Абрашев 2001: 217). Translated by Nikola Petrović.

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Another crucial aspect in the construction and identification of the Sujet is the relational dynamic among the characters within the choreographic composition. When considered as distinct dramatic agents, these characters develop and reveal their personas — that is, their representational images — through the course of the choreography. Their more profound psychological traits, emotions, and inner complexities are articulated with precision only within the progression of the choreographic narrative. Simultaneously, the choreography facilitates the expression of each character's individuality and technical virtuosity. This ensures that performers on stage maintain distinct identities rather than engaging in mimicry, thereby contributing authentically to the unfolding dramatic narrative.

Movements, choreographed steps, gestures, and facial expressions are meticulously structured to function as specialized conveyors of dramatic meaning, tailored to each dramatic character. These elements collectively operate as a form of embodied language (Викторовна Дементьева, 2019: 5).

Although the above discussion centers on the depiction of a complex dramatic plot, the Sujet may also serve as a vehicle for presenting customs or rituals. Unlike Thematic Dramatisations, in which the custom or ritual merely constitutes a general thematic framework without detailed development, the Sujet provides a more nuanced and comprehensive elaboration. It explores specific elements or the entirety of the ritual, presenting them with dramaturgical depth.

Within this framework, the Sujet introduces principal dramatic characters — such as a bride or groom — and articulates not only their individual roles but also the web of relationships among all characters within the context of the ritual. To illustrate, in a choreographic representation of wedding customs, the Sujet might culminate in the formalisation of the marriage, followed by celebratory sequences that constitute the denouement of the dramatic narrative.

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REFERENCES

Абрашев, Георгии. (1957). “Тематична и сюжетна форма на танца” [Thematic and Sujet Form of Dance]. In: Художествена самодейност, Vol. 5. Sofia: Комитет за култура, Центьр за художествена самодейност.

Абрашев, Георгии. (2001). Композиция и формa на танца [Composition and Form of Dance]. Sofia: Вулкан-4.

Мелехов, Александр Васильевич. (2015). Искусство балетмейстера: Композиция и постановка танца [The Art of the Choreographer: Dance Composition and Staging]. Yekaterinburg: Министерство образования и науки Российской Федерации; Федеральное государственное бюджетное образовательное учреждение высшего профессионального образования “Уральский государственный педагогический университет”; Институт музыкального и художественного образования, Кафедра художественного образования.

Викторовна Дементьева, Ирина. (2019). Сюжетный танец, как форма сценической хореографии (выступление на городском методическом объединении хореографов) [Sujet dance, as a form of stage choreography (performance at the city methodical association of choreographers)]. Arsamas: Муниципальное бюджетное учреждение дополнительного образования “Центр развития творчества детей и юношества им. А. Гайдара”.

Петровић, Никола. (2023). Povastă alu Biberagă: Једно-актна драмска опште-тематска прича у кореографској форми камерног сижеа у више слика [Povastă alu Biberagă: A one-act dramatic general-thematic story in the choreographic form of a chamber Sujet in several scenes]. Belgrade: University “Union-Nikola Tesla”, Faculty of Engineering Management, Belgrade Dance Institute.