Pub Date : 2020-12-24DOI: 10.31866/2616-7646.3.2.2020.220532
Iryna Klymchuk
The purpose of the article is to reveal the peculiarities of the art school and traditions in the choreographer work of the State Dance Ensemble of the Ukrainian SSR Pavlo Virsky. Methodology. The deductive method is used in the article, in particular, the conceptual provisions according to the tradition of N. Shakhnazarova and S. Bezklubenko are extrapolated to the plane of P. Virsky’s work; historical, art history and typological principles are applied to identify the features of the tradition and school of P. Virsky. Scientific novelty. It has been proved that P. Virsky became the founder of the Author Art School and tradition in folk stage choreography. Conclusions. Pavlo Virsky formally, as the head of the State Dance Ensemble of the Ukrainian SSR, and informally (a wide circle of his choreographical and pedagogical principles’ supporters has existed for several decades) became the leader of the cultural and artistic sphere of Ukraine. The brightness of his individuality, the power of the creative gift, his innovative potential allowed to create a new style direction of choreographic art, determined the “face” of professional Ukrainian folk-stage dance for many years. The artist’s contemporaries – the followers of the traditions laid down by him master and develop his creative principles. Among the main peculiarities of P. Virsky School, there is academization of folk stage dance, organic combination of high-tech performance with acting and pantomime, use of symphonism as a compositional principle of choreography, use of scenographic and directorial means of theatrical aesthetics, etc. The traditions and principles of P. Virsky School are developing, ensuring the steady progress of Ukrainian folk-stage dance, nourishing the Ukrainian choreographic art as a whole.
{"title":"Формування мистецької школи та традиції Павла Вірського у Державному ансамблі танцю УРСР","authors":"Iryna Klymchuk","doi":"10.31866/2616-7646.3.2.2020.220532","DOIUrl":"https://doi.org/10.31866/2616-7646.3.2.2020.220532","url":null,"abstract":"The purpose of the article is to reveal the peculiarities of the art school and traditions in the choreographer work of the State Dance Ensemble of the Ukrainian SSR Pavlo Virsky. Methodology. The deductive method is used in the article, in particular, the conceptual provisions according to the tradition of N. Shakhnazarova and S. Bezklubenko are extrapolated to the plane of P. Virsky’s work; historical, art history and typological principles are applied to identify the features of the tradition and school of P. Virsky. Scientific novelty. It has been proved that P. Virsky became the founder of the Author Art School and tradition in folk stage choreography. Conclusions. Pavlo Virsky formally, as the head of the State Dance Ensemble of the Ukrainian SSR, and informally (a wide circle of his choreographical and pedagogical principles’ supporters has existed for several decades) became the leader of the cultural and artistic sphere of Ukraine. The brightness of his individuality, the power of the creative gift, his innovative potential allowed to create a new style direction of choreographic art, determined the “face” of professional Ukrainian folk-stage dance for many years. The artist’s contemporaries – the followers of the traditions laid down by him master and develop his creative principles. Among the main peculiarities of P. Virsky School, there is academization of folk stage dance, organic combination of high-tech performance with acting and pantomime, use of symphonism as a compositional principle of choreography, use of scenographic and directorial means of theatrical aesthetics, etc. The traditions and principles of P. Virsky School are developing, ensuring the steady progress of Ukrainian folk-stage dance, nourishing the Ukrainian choreographic art as a whole.","PeriodicalId":52829,"journal":{"name":"Tantsiuval''ni studiyi","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-12-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69792421","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-24DOI: 10.31866/2616-7646.3.2.2020.220527
O. Petryk
{"title":"Балетна трупа Львівського оперного театру кінця 30-х – початку 40-х років ХХ століття","authors":"O. Petryk","doi":"10.31866/2616-7646.3.2.2020.220527","DOIUrl":"https://doi.org/10.31866/2616-7646.3.2.2020.220527","url":null,"abstract":"","PeriodicalId":52829,"journal":{"name":"Tantsiuval''ni studiyi","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-12-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47099578","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-24DOI: 10.31866/2616-7646.3.2.2020.220533
Andrii Pidlypskyi
{"title":"Особливості функціонування танцювальної художньої самодіяльності в Тернопільській області радянського періоду","authors":"Andrii Pidlypskyi","doi":"10.31866/2616-7646.3.2.2020.220533","DOIUrl":"https://doi.org/10.31866/2616-7646.3.2.2020.220533","url":null,"abstract":"","PeriodicalId":52829,"journal":{"name":"Tantsiuval''ni studiyi","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-12-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69792478","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-24DOI: 10.31866/2616-7646.3.2.2020.220536
O. Kurochkin
The purpose of the article is to analyze and determine the main typological blocks of the game repertoire of the traditional Ukrainian wedding in its final namely Perezviansk-carnival part, where the leading role belonged to the adult sex and age group. Methodology. The study was conducted based on an interdisciplinary approach, through a systematic analysis of literary, documentary, ethnographic and folklore materials. Scientific novelty. The study fills a significant gap in the study of entertainment and gaming culture of Ukrainians. Conclusions. The predominantly agrarian nature of the traditional culture of Ukrainians is explained by the fact that the main array of the repertoire of the Perezvian (second) part of the folk wedding consists of game practices that mimic the production activities of the farmer. In the context of archaic consciousness, labour processes were closely associated with productive erotic magic, designed to ensure the happiness and well-being of the newly formed family. Games with pronounced erotic symbolism and attributes, accompanied by shameful folklore and expressive vocabulary, belong to the oldest layer of agrarian rituals. In the traditional Perezvian (second) part of Ukrainian wedding, this group is represented by the games “Pestling in Stupa”, “Hammering a Stake” (“Peg”), “Show the Boundary” and others. The category of imitation games includes: “Threshing rye” or “Sowing rye”, “Mower”, “Blacksmith”, “Miller”, “Turner”, “Thresher”, “Combine” and others. The method of game undressing (exposure) observed by us in the wedding custom is the antithesis of carnival dressing and disguise. Both of these game practices are traditional ways of transferring people into a festive atmosphere, where everything is “upside-down”, not as in everyday life. The historical evolution of wedding ceremonies went in different directions: the most barbaric and archaic died out, and others gradually became a folk amateur theatre, characterized by humour, optimism, dramatic improvisation.
本文的目的是分析和确定乌克兰传统婚礼的游戏曲目的主要类型块，即Perezviansk-carnival部分，其中主角属于成人性别和年龄组。方法。本研究采用跨学科的研究方法，通过对文学、纪录片、民族志和民俗资料的系统分析进行。科学的新奇。这项研究填补了乌克兰人娱乐和游戏文化研究的重大空白。结论。乌克兰传统文化的主要农业性质可以通过以下事实来解释:Perezvian(第二部分)民间婚礼的主要曲目包括模仿农民生产活动的游戏实践。在古代意识的背景下，劳动过程与多产的性爱魔法密切相关，旨在确保新组建家庭的幸福和幸福。带有明显的色情象征和属性的游戏，伴随着可耻的民间传说和富有表现力的词汇，属于最古老的农业仪式。在传统的Perezvian(乌克兰婚礼的第二部分)中，这一群体的代表游戏是“peling In Stupa”，“锤击木桩”(“Peg”)，“Show the Boundary”等。模仿游戏的类别包括:“打黑麦”或“播种黑麦”、“割草机”、“铁匠”、“磨坊主”、“特纳”、“脱粒机”、“组合”等。我们在婚俗中观察到的游戏式脱衣(露)的方法，是狂欢式的穿衣与伪装的对立面。这两种游戏实践都是将人们转移到节日气氛中的传统方式，在那里一切都是“颠倒的”，而不是日常生活。婚礼仪式的历史演变走向了不同的方向:最野蛮和最古老的消亡了，其他的逐渐成为一种民间业余戏剧，以幽默、乐观、戏剧即兴为特征。
{"title":"Ігровий репертуар традиційного весілля українців","authors":"O. Kurochkin","doi":"10.31866/2616-7646.3.2.2020.220536","DOIUrl":"https://doi.org/10.31866/2616-7646.3.2.2020.220536","url":null,"abstract":"The purpose of the article is to analyze and determine the main typological blocks of the game repertoire of the traditional Ukrainian wedding in its final namely Perezviansk-carnival part, where the leading role belonged to the adult sex and age group. Methodology. The study was conducted based on an interdisciplinary approach, through a systematic analysis of literary, documentary, ethnographic and folklore materials. Scientific novelty. The study fills a significant gap in the study of entertainment and gaming culture of Ukrainians. Conclusions. The predominantly agrarian nature of the traditional culture of Ukrainians is explained by the fact that the main array of the repertoire of the Perezvian (second) part of the folk wedding consists of game practices that mimic the production activities of the farmer. In the context of archaic consciousness, labour processes were closely associated with productive erotic magic, designed to ensure the happiness and well-being of the newly formed family. Games with pronounced erotic symbolism and attributes, accompanied by shameful folklore and expressive vocabulary, belong to the oldest layer of agrarian rituals. In the traditional Perezvian (second) part of Ukrainian wedding, this group is represented by the games “Pestling in Stupa”, “Hammering a Stake” (“Peg”), “Show the Boundary” and others. The category of imitation games includes: “Threshing rye” or “Sowing rye”, “Mower”, “Blacksmith”, “Miller”, “Turner”, “Thresher”, “Combine” and others. The method of game undressing (exposure) observed by us in the wedding custom is the antithesis of carnival dressing and disguise. Both of these game practices are traditional ways of transferring people into a festive atmosphere, where everything is “upside-down”, not as in everyday life. The historical evolution of wedding ceremonies went in different directions: the most barbaric and archaic died out, and others gradually became a folk amateur theatre, characterized by humour, optimism, dramatic improvisation.","PeriodicalId":52829,"journal":{"name":"Tantsiuval''ni studiyi","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-12-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69792531","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-24DOI: 10.31866/2616-7646.3.2.2020.220538
Kateryna Iudova-Romanova
{"title":"Цифрові 3D меппінг технології у творах сценічного мистецтва в Україні","authors":"Kateryna Iudova-Romanova","doi":"10.31866/2616-7646.3.2.2020.220538","DOIUrl":"https://doi.org/10.31866/2616-7646.3.2.2020.220538","url":null,"abstract":"","PeriodicalId":52829,"journal":{"name":"Tantsiuval''ni studiyi","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-12-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69792542","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-24DOI: 10.31866/2616-7646.3.2.2020.220540
Kateryna Sytchenko
{"title":"Роль хореографа у фігурному катанні на ковзанах","authors":"Kateryna Sytchenko","doi":"10.31866/2616-7646.3.2.2020.220540","DOIUrl":"https://doi.org/10.31866/2616-7646.3.2.2020.220540","url":null,"abstract":"","PeriodicalId":52829,"journal":{"name":"Tantsiuval''ni studiyi","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-12-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69792553","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-06-05DOI: 10.31866/2616-7646.3.1.2020.203931
Tetiana Churpita
The purpose of the article is to analyze the choreography of Mykola Trehubov at the Odessa Academic Opera and Ballet Theater. Methodology . The historical, historiographic and analytical approaches are applied. Scientific novelty . The article is the first to analyze in detail the choreographies of M. Trehubov at the Odessa Academic Opera and Ballet Theater in 1958–1970. Conclusions . The period of the chief choreographer M. Trehubov’s work at the Odessa Opera is characterized by a significant increase in ballet performances in the theater playbill, but they were not always of equal quality. Trehubov was not stopped by the modest possibilities of the troupe, he was not afraid to take on works that had already been staged by the leading choreographers of the Soviet Union. Performances such as Per Gunt by E. Grieg, The Great Waltz by J. Strauss, Spartak by A. Khachaturian, Othello by A. Machavariani enriched the repertoire of the Odessa Theater. Among many topics that worried the choreographer, there was a contemporary one. The choreographer used the musical works of Soviet composers in the productions of the ballets The Blue Ribbon, The Triumph of Love, The Coast of Hope, and The Song of the Blue Sea. The master’s performances were exciting and memorable, long held in the repertoire of the theater. Theatrical observers spoke and argued about them. In total, on the stage of the Odessa Opera and Ballet Theater, according to our calculations, M. Trehubov staged 21 ballets, as well as various dances in operas. The period of M. Trehubov’s choreography was a difficult time for the restoration of the theater (1965–1967), which the choreographer used to improve the professional level of the ballet troupe and update the repertoire. The leading dancers I. Mikhailichenko, E. Karavaeva, V. Kaverzin, S. Walter, who later became national and honored artists of the Ukrainian SSR, were among the pupils of M. Trehubov.
本文的目的是分析尼古拉·特雷胡博夫在敖德萨学术歌剧芭蕾舞剧院的编舞。方法。应用了历史、史学和分析方法。科学的新奇。本文首次详细分析了1958-1970年特雷胡博夫先生在敖德萨学术歌剧芭蕾舞剧院的编舞。结论。首席编舞家特雷胡博夫先生在敖德萨歌剧院工作期间，剧院节目单上的芭蕾舞表演显著增加，但它们的质量并不总是一样的。特雷胡博夫并没有被剧团的有限机会所阻止，他并不害怕接受已经由苏联主要编舞家上演的作品。格里格的《帕尔冈特》、施特劳斯的《伟大的华尔兹》、哈恰图良的《斯巴达克》、马查瓦里尼的《奥赛罗》等剧目丰富了敖德萨剧院的剧目。在众多令这位编舞家担忧的话题中，有一个是当代话题。他在芭蕾舞剧《蓝丝带》、《爱情的胜利》、《希望的海岸》、《蓝海之歌》中使用了苏联作曲家的音乐作品。大师的表演激动人心，令人难忘，长期保留在剧院的保留剧目中。戏剧观察家对他们议论纷纷。根据我们的计算，在敖德萨歌剧芭蕾舞剧院的舞台上，特雷胡博夫总共上演了21部芭蕾舞剧，以及各种歌剧舞蹈。特雷胡博夫先生的编舞时期是剧院重建的艰难时期(1965-1967年)，他利用这段时期提高了芭蕾舞团的专业水平，更新了剧目。后来成为乌克兰苏维埃社会主义共和国国家和荣誉艺术家的主要舞蹈家I. Mikhailichenko, E. Karavaeva, V. Kaverzin, S. Walter都是Trehubov先生的学生。
{"title":"Балетмейстерська діяльність Миколи Трегубова в одеському академічному театрі опери та балету (1958–1970)","authors":"Tetiana Churpita","doi":"10.31866/2616-7646.3.1.2020.203931","DOIUrl":"https://doi.org/10.31866/2616-7646.3.1.2020.203931","url":null,"abstract":"The purpose of the article is to analyze the choreography of Mykola Trehubov at the Odessa Academic Opera and Ballet Theater. Methodology . The historical, historiographic and analytical approaches are applied. Scientific novelty . The article is the first to analyze in detail the choreographies of M. Trehubov at the Odessa Academic Opera and Ballet Theater in 1958–1970. Conclusions . The period of the chief choreographer M. Trehubov’s work at the Odessa Opera is characterized by a significant increase in ballet performances in the theater playbill, but they were not always of equal quality. Trehubov was not stopped by the modest possibilities of the troupe, he was not afraid to take on works that had already been staged by the leading choreographers of the Soviet Union. Performances such as Per Gunt by E. Grieg, The Great Waltz by J. Strauss, Spartak by A. Khachaturian, Othello by A. Machavariani enriched the repertoire of the Odessa Theater. Among many topics that worried the choreographer, there was a contemporary one. The choreographer used the musical works of Soviet composers in the productions of the ballets The Blue Ribbon, The Triumph of Love, The Coast of Hope, and The Song of the Blue Sea. The master’s performances were exciting and memorable, long held in the repertoire of the theater. Theatrical observers spoke and argued about them. In total, on the stage of the Odessa Opera and Ballet Theater, according to our calculations, M. Trehubov staged 21 ballets, as well as various dances in operas. The period of M. Trehubov’s choreography was a difficult time for the restoration of the theater (1965–1967), which the choreographer used to improve the professional level of the ballet troupe and update the repertoire. The leading dancers I. Mikhailichenko, E. Karavaeva, V. Kaverzin, S. Walter, who later became national and honored artists of the Ukrainian SSR, were among the pupils of M. Trehubov.","PeriodicalId":52829,"journal":{"name":"Tantsiuval''ni studiyi","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-06-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69792355","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-06-05DOI: 10.31866/2616-7646.3.1.2020.203920
Alina Pidlypska
The purpose of the article is to analyze the critical discourse of the avant-garde searches of the choreographers of academic theatres of the 20s years of 20th century in the USSR through the prism of the formation of choreodrama. Methodology . The article analyzes critical approaches to assessing choreographer’s searches, compares them; chronological and typological methods are also applied. Scientific novelty . For the first time, the approaches of critics to the examination of experiments on the academic ballet scene of the 20s years of 20th century in the USSR in the aspect of the features of choreodrama formation were traced; the main causes and consequences of the transition to choreodrama were identified. Conclusions . Polyphonism of the critical discourse of the 1920s of 20th century in the USSR manifested itself in various approaches to assessing the search for the form of a new performance by choreographers who proposed a dance symphony (“The Greatness of the Universe”, F. Lopukhov), a modern revolutionary theme in a propaganda and poster form (“Red Whirlwind” F. Lopukhov; “Tornado” K. Goleizovsky), the development of the inner dance potential of the ballet performance (“Pulcinella” F. Lopukhov), the creation of large forms with the enrichment of the choreographic vocabulary by acrobatic movements (“The Ice Maiden” F. Lopukhov), the formative searches from the choreographic plasticity (“Joseph the Beautiful” K. Goleizovsky), an eccentric interpretation of classical heritage ballets (“The Nutcracker” F. Lopukhov). However, none of these artistic decisions was recognized by promising critics, the methods of creating performances were not supported as strategic directions for the development of modern ballet art in the USSR. Among the leading critics of ballet there was no unity in the key issue – the attitude to choreography as the main expressive means of ballet theater. I. Sollertinsky was an apologist for the struggle with classical dance as a relic of the past, sought to dramatize ballet; A. Piotrovsky advocated a synthetic spectacle (a combination of ballet, opera, drama); A. Gvozdev’s views from the definition of dance as a source of innovation evolved to the recognition of the substantiveness leading role, rejection of abstractness. Potentially choreodrama, which is based on a literary work, met the basic requirements of socialist realism (realism, nationality, concreteness). In the conditions of the dramatic content dominance over the form, the development of which is facilitated by music, there was a withdrawal of music in ballet to the background.
{"title":"Балет СРСР на шляху до хореодрами в оптиці художньої критики","authors":"Alina Pidlypska","doi":"10.31866/2616-7646.3.1.2020.203920","DOIUrl":"https://doi.org/10.31866/2616-7646.3.1.2020.203920","url":null,"abstract":"The purpose of the article is to analyze the critical discourse of the avant-garde searches of the choreographers of academic theatres of the 20s years of 20th century in the USSR through the prism of the formation of choreodrama. Methodology . The article analyzes critical approaches to assessing choreographer’s searches, compares them; chronological and typological methods are also applied. Scientific novelty . For the first time, the approaches of critics to the examination of experiments on the academic ballet scene of the 20s years of 20th century in the USSR in the aspect of the features of choreodrama formation were traced; the main causes and consequences of the transition to choreodrama were identified. Conclusions . Polyphonism of the critical discourse of the 1920s of 20th century in the USSR manifested itself in various approaches to assessing the search for the form of a new performance by choreographers who proposed a dance symphony (“The Greatness of the Universe”, F. Lopukhov), a modern revolutionary theme in a propaganda and poster form (“Red Whirlwind” F. Lopukhov; “Tornado” K. Goleizovsky), the development of the inner dance potential of the ballet performance (“Pulcinella” F. Lopukhov), the creation of large forms with the enrichment of the choreographic vocabulary by acrobatic movements (“The Ice Maiden” F. Lopukhov), the formative searches from the choreographic plasticity (“Joseph the Beautiful” K. Goleizovsky), an eccentric interpretation of classical heritage ballets (“The Nutcracker” F. Lopukhov). However, none of these artistic decisions was recognized by promising critics, the methods of creating performances were not supported as strategic directions for the development of modern ballet art in the USSR. Among the leading critics of ballet there was no unity in the key issue – the attitude to choreography as the main expressive means of ballet theater. I. Sollertinsky was an apologist for the struggle with classical dance as a relic of the past, sought to dramatize ballet; A. Piotrovsky advocated a synthetic spectacle (a combination of ballet, opera, drama); A. Gvozdev’s views from the definition of dance as a source of innovation evolved to the recognition of the substantiveness leading role, rejection of abstractness. Potentially choreodrama, which is based on a literary work, met the basic requirements of socialist realism (realism, nationality, concreteness). In the conditions of the dramatic content dominance over the form, the development of which is facilitated by music, there was a withdrawal of music in ballet to the background.","PeriodicalId":52829,"journal":{"name":"Tantsiuval''ni studiyi","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-06-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49457794","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-06-05DOI: 10.31866/2616-7646.3.1.2020.203958
Valentyna Sosina
{"title":"Особливості хореографічної підготовки в спорті","authors":"Valentyna Sosina","doi":"10.31866/2616-7646.3.1.2020.203958","DOIUrl":"https://doi.org/10.31866/2616-7646.3.1.2020.203958","url":null,"abstract":"","PeriodicalId":52829,"journal":{"name":"Tantsiuval''ni studiyi","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-06-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69792409","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-06-05DOI: 10.31866/2616-7646.3.1.2020.203950
Nazenik Sargsyan
{"title":"Прояв тенденцій музичного і хореографічного мистецтв ХХ - початку ХХІ ст. у творах за мотивами поем Ованеса Туманяна","authors":"Nazenik Sargsyan","doi":"10.31866/2616-7646.3.1.2020.203950","DOIUrl":"https://doi.org/10.31866/2616-7646.3.1.2020.203950","url":null,"abstract":"","PeriodicalId":52829,"journal":{"name":"Tantsiuval''ni studiyi","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-06-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49583613","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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