The article is an inquiry into the contribution that choreology made to the Russian/State Academy of Artistic Sciences (GAKhN) as both an institutional and research project. Choreology was a new discipline that Aleksei Sidorov and Aleksandr Larionov created following up Vassily Kandinsky’s idea that dance and, more widely, the art of movement, should be a subject of scholarly and scientific investigation. In his capacity as the academic secretary of GAKhN, Sidorov founded the Choreological Laboratory (1922–1929), and Larionov served as its head. Both took an active part in movement analyses, made sketches and notes, and used photography to capture dance movements and to create a system of dance notation. Their search was informed by Allgemeine Kunstwissenschaft, and especially by Heinrich Wölfflin; at the same time, their interest in dance notation grew from their search for occult signs and symbols. In Sidorov’s notes and sketches from the 1920s, one can see the process of making signs for a language of dance notation. The attempt by the Russians to schematize movement and find an abstract language for dance paralleled an effort by the Central-European choreographer and dance theoretician, Rudolf von Laban. A unique and only half-realized project, choreology was a valuable contribution to the new “artistic sciences.”

这篇文章是对舞蹈学作为一个机构和研究项目对俄罗斯/国家艺术科学院 (GAKhN) 做出的贡献的调查。舞蹈学是 Aleksei Sidorov 和 Aleksandr Larionov 继瓦西里·康定斯基 (Vassily Kandinsky) 的思想后创立的一门新学科，即舞蹈和更广泛的运动艺术应该成为学术和科学研究的主题。作为 GAKhN 的学术秘书，Sidorov 创立了舞蹈实验室（1922-1929），Larionov 担任其负责人。两人都积极参与动作分析，制作草图和笔记，并使用摄影来捕捉舞蹈动作并创建舞蹈符号系统。他们的搜索是由Allgemeine Kunstwissenschaft通知的，尤其是海因里希·沃尔夫林 (Heinrich Wölfflin)；与此同时，他们对舞蹈符号的兴趣源于他们对神秘符号和符号的探索。在西多罗夫 1920 年代的笔记和草图中，人们可以看到为一种舞蹈符号语言制作符号的过程。俄罗斯人试图将动作模式化并为舞蹈寻找抽象语言，这与中欧编舞家和舞蹈理论家鲁道夫·冯·拉班 (Rudolf von Laban) 的努力并行。作为一个独特且仅实现一半的项目，编舞是对新“艺术科​​学”的宝贵贡献。