Pub Date : 2018-12-26DOI: 10.31866/2616-7646.2.2018.154494
O. Shabalina
{"title":"Філософсько-дослідницька платформа С. Кравчинського та А. Годовської у створенні вистави «Батай і світанок нових днів»","authors":"O. Shabalina","doi":"10.31866/2616-7646.2.2018.154494","DOIUrl":"https://doi.org/10.31866/2616-7646.2.2018.154494","url":null,"abstract":"","PeriodicalId":52829,"journal":{"name":"Tantsiuval''ni studiyi","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-12-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69791865","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 : 2018-12-26DOI: 10.31866/2616-7646.2.2018.154367
Oleksandr Plakhotnyuk
Мета дослідження – проаналізувати й систематизувати відомості про життя і творчість Едуарда Бутинця. Методологія. У дослідженні використано комплекс методів: історико-хронологічний та біографічний для виявлення достовірності фактів життя митця; системний аналіз дав змогу комплексно та об’єктивно провести аналіз проблематики. Наукова новизна полягає в тому, що вперше систематизовано відомості про творчий шлях Едуарда Йосиповича Бутинця – діяча естрадного мистецтва України, представника української, а саме львівської школи танцю, фахівця із сценічного-театрального мистецтва, народно-сценічного та українського танцю, історико-побутового, сучасного бального танцю, композиції та постановки танцю, мистецтва балетмейстера, який виховав плеяду діячів хореографічного мистецтва України. Висновки Едуард Йосипович Бутинець – непересічна постать хореографічної мистецтва України середини ХХ – початку ХХІ ст. Попри буденність викладацької діяльності спочатку в училищі культури і мистецтв, а згодом у Львівському університеті митець формує систему педагогічних методів та принципів, що склали важливе підґрунтя для формування компетентностей фахівців хореографічного мистецтва, професійної діяльності послідовників та учнів. Виняткова увага в діяльності митця приділялася збереженню національної спадщини хореографічного мистецтва України. У творчому доробку Е. Бутинця чимала кількість створених нових та відновлених кращих творів хореографічного мистецтва України. Митцем сформована школа вихованців, які сьогодні продовжують хореографічну роботу по всій території України та за її межами. Представлена стаття лише привертає увагу до проблеми ролі творчості Е. Бутинця в розвитку хореографічного мистецтва України. Перспективними для подальшого вивчення є детальне осмисленні творчої спадщини майстра танцю, принципів педагогічної діяльності, а також вивчення досвіду роботи його учнів.
{"title":"Сторінки творчої біографії Едуарда Бутинця","authors":"Oleksandr Plakhotnyuk","doi":"10.31866/2616-7646.2.2018.154367","DOIUrl":"https://doi.org/10.31866/2616-7646.2.2018.154367","url":null,"abstract":"Мета дослідження – проаналізувати й систематизувати відомості про життя і творчість Едуарда Бутинця. Методологія. У дослідженні використано комплекс методів: історико-хронологічний та біографічний для виявлення достовірності фактів життя митця; системний аналіз дав змогу комплексно та об’єктивно провести аналіз проблематики. Наукова новизна полягає в тому, що вперше систематизовано відомості про творчий шлях Едуарда Йосиповича Бутинця – діяча естрадного мистецтва України, представника української, а саме львівської школи танцю, фахівця із сценічного-театрального мистецтва, народно-сценічного та українського танцю, історико-побутового, сучасного бального танцю, композиції та постановки танцю, мистецтва балетмейстера, який виховав плеяду діячів хореографічного мистецтва України. Висновки Едуард Йосипович Бутинець – непересічна постать хореографічної мистецтва України середини ХХ – початку ХХІ ст. Попри буденність викладацької діяльності спочатку в училищі культури і мистецтв, а згодом у Львівському університеті митець формує систему педагогічних методів та принципів, що склали важливе підґрунтя для формування компетентностей фахівців хореографічного мистецтва, професійної діяльності послідовників та учнів. Виняткова увага в діяльності митця приділялася збереженню національної спадщини хореографічного мистецтва України. У творчому доробку Е. Бутинця чимала кількість створених нових та відновлених кращих творів хореографічного мистецтва України. Митцем сформована школа вихованців, які сьогодні продовжують хореографічну роботу по всій території України та за її межами. Представлена стаття лише привертає увагу до проблеми ролі творчості Е. Бутинця в розвитку хореографічного мистецтва України. Перспективними для подальшого вивчення є детальне осмисленні творчої спадщини майстра танцю, принципів педагогічної діяльності, а також вивчення досвіду роботи його учнів.","PeriodicalId":52829,"journal":{"name":"Tantsiuval''ni studiyi","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-12-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69791733","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 : 2018-12-26DOI: 10.31866/2616-7646.2.2018.154493
Oleksandr Manshylin
{"title":"Міжнародні проекти за участю представників сучасного танцю України 2010–2017 років","authors":"Oleksandr Manshylin","doi":"10.31866/2616-7646.2.2018.154493","DOIUrl":"https://doi.org/10.31866/2616-7646.2.2018.154493","url":null,"abstract":"","PeriodicalId":52829,"journal":{"name":"Tantsiuval''ni studiyi","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-12-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48738685","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 : 2018-12-26DOI: 10.31866/2616-7646.2.2018.154497
Valentyna Sosina
{"title":"Засоби гімнастики і акробатики у підготовці фахівців танцювального мистецтва","authors":"Valentyna Sosina","doi":"10.31866/2616-7646.2.2018.154497","DOIUrl":"https://doi.org/10.31866/2616-7646.2.2018.154497","url":null,"abstract":"","PeriodicalId":52829,"journal":{"name":"Tantsiuval''ni studiyi","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-12-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69791936","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 : 2018-12-26DOI: 10.31866/2616-7646.2.2018.154496
Alina Pidlypska
{"title":"Балет Р. Поклітару «Лебедине озеро. Сучасна версія» у світлі критики","authors":"Alina Pidlypska","doi":"10.31866/2616-7646.2.2018.154496","DOIUrl":"https://doi.org/10.31866/2616-7646.2.2018.154496","url":null,"abstract":"","PeriodicalId":52829,"journal":{"name":"Tantsiuval''ni studiyi","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-12-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69791873","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 : 2018-12-26DOI: 10.31866/2616-7646.2.2018.154361
Tetiana Churpita
The main objective of the study is to analyze the pedagogical activity of Mykola Trehubov on the basis of archival documents, periodicals, memories of his colleagues and students. Methodology. Preparing the article, the author applied historical, analytical approaches and used the methods of “included observation” to submit and summarize his own data, in particular, an interview. Scientific novelty. The article, for the first time, attempts to analyze the activities of Mykola Trehubov as a pedagogue. Considerable attention is paid to the pedagogical views of the master, which were reflected in the guidelines for the discipline “The art of the choreographer”, and his teaching work at the Kyiv State Institute of Culture (1971–1994). Conclusions. Having educated a whole galaxy of ballet dancers, Mykola Trehubov summarized and developed his practical experience accumulated over the decades while working at the Department of Choreography of the Kyiv State Institute of Culture named after Oleksandr Korneychuk. He formulated his pedagogical reflections in the guidelines for the discipline “The art of the choreographer”. Mykola Trehubov emphasized that the development of students’ choreography abilities is impossible without self-control, self-discipline, self-education and self-analysis. Due to this, the choreographer had to move from reproductive (consumer) activity to productive (creative). In the process of education, the pedagogue gave a significant role to the synthesis of classical dance, folklore and ordinary human gestures, and he called generalization as one of the main methods that the future choreographer should master. Mykola Trehubov repeatedly told the students that both the material (a set of movements) and the spiritual (the content which saturated the movement and the image) must be present in a dance because the choreographic and psychological aspects are in dialectical interaction. Mykola Tregubov considered the ability to feel and understand music as one of the key competencies for the future choreographer.
{"title":"Педагогічна діяльність Миколи Трегубова","authors":"Tetiana Churpita","doi":"10.31866/2616-7646.2.2018.154361","DOIUrl":"https://doi.org/10.31866/2616-7646.2.2018.154361","url":null,"abstract":"The main objective of the study is to analyze the pedagogical activity of Mykola Trehubov on the basis of archival documents, periodicals, memories of his colleagues and students. Methodology. Preparing the article, the author applied historical, analytical approaches and used the methods of “included observation” to submit and summarize his own data, in particular, an interview. Scientific novelty. The article, for the first time, attempts to analyze the activities of Mykola Trehubov as a pedagogue. Considerable attention is paid to the pedagogical views of the master, which were reflected in the guidelines for the discipline “The art of the choreographer”, and his teaching work at the Kyiv State Institute of Culture (1971–1994). Conclusions. Having educated a whole galaxy of ballet dancers, Mykola Trehubov summarized and developed his practical experience accumulated over the decades while working at the Department of Choreography of the Kyiv State Institute of Culture named after Oleksandr Korneychuk. He formulated his pedagogical reflections in the guidelines for the discipline “The art of the choreographer”. Mykola Trehubov emphasized that the development of students’ choreography abilities is impossible without self-control, self-discipline, self-education and self-analysis. Due to this, the choreographer had to move from reproductive (consumer) activity to productive (creative). In the process of education, the pedagogue gave a significant role to the synthesis of classical dance, folklore and ordinary human gestures, and he called generalization as one of the main methods that the future choreographer should master. Mykola Trehubov repeatedly told the students that both the material (a set of movements) and the spiritual (the content which saturated the movement and the image) must be present in a dance because the choreographic and psychological aspects are in dialectical interaction. Mykola Tregubov considered the ability to feel and understand music as one of the key competencies for the future choreographer.","PeriodicalId":52829,"journal":{"name":"Tantsiuval''ni studiyi","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-12-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47137201","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 : 2018-12-26DOI: 10.31866/2616-7646.2.2018.154386
Liliia Kozynko
{"title":"Шляхи становлення, розвитку та занепаду танцювального мистецтва скоморохів на Україні","authors":"Liliia Kozynko","doi":"10.31866/2616-7646.2.2018.154386","DOIUrl":"https://doi.org/10.31866/2616-7646.2.2018.154386","url":null,"abstract":"","PeriodicalId":52829,"journal":{"name":"Tantsiuval''ni studiyi","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-12-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69791794","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 : 2018-12-01DOI: 10.31866/2616-7646.2.2018.154356
O. Chepalov
The purpose of the research is to identify the innovative aspects of philosophical dance understanding in the collective monograph by I. Pecheranskyi and D. Bazela "Introduction to the philosophy of dance" in comparison with similar studies of foreign scientists. Methodology. The study uses a comparative method as a device for interpreting various aspects of the dance image knowledge in connection with the ways of different choreographic works existence. Historical, culturological and art-study methods are used in the characteristics of dance as a cultural universals, as a socio-cultural triad and a way of aesthetic self-affirmation and self-improvement. Scientific novelty . An analysis of the newly created monograph by I. Peceransky and D. Basel, published in 2017, has not yet been held, although it contains innovative and relevant provisions on dance as a deep layer of the spiritual world and an inalienable element of human existence. Conclusions. It is fully confirmed by the author's position that the cultural triad of dance is semiotics, art and sport. There is no objection or need for additional substantiation to the authors conclusion of the monograph that the dance, in its ideal and socio-cultural manifestations, generates a practical philosophy that is theoretically presented on the pages of the monograph. The new work of Ukrainian scholars — a philosopher and practitioner as well as a theorist of choreographic art, therefore favorably differs from many of the foreign scholars achievements, which is not the result of purely philosophical reflections, but a product of analytical considerations and substantiated conclusions based on certain dance traditions and creation of specific choreographic patterns.
{"title":"Філософія танцю. Передовий досвід українських учених","authors":"O. Chepalov","doi":"10.31866/2616-7646.2.2018.154356","DOIUrl":"https://doi.org/10.31866/2616-7646.2.2018.154356","url":null,"abstract":"The purpose of the research is to identify the innovative aspects of philosophical dance understanding in the collective monograph by I. Pecheranskyi and D. Bazela \"Introduction to the philosophy of dance\" in comparison with similar studies of foreign scientists. Methodology. The study uses a comparative method as a device for interpreting various aspects of the dance image knowledge in connection with the ways of different choreographic works existence. Historical, culturological and art-study methods are used in the characteristics of dance as a cultural universals, as a socio-cultural triad and a way of aesthetic self-affirmation and self-improvement. Scientific novelty . An analysis of the newly created monograph by I. Peceransky and D. Basel, published in 2017, has not yet been held, although it contains innovative and relevant provisions on dance as a deep layer of the spiritual world and an inalienable element of human existence. Conclusions. It is fully confirmed by the author's position that the cultural triad of dance is semiotics, art and sport. There is no objection or need for additional substantiation to the authors conclusion of the monograph that the dance, in its ideal and socio-cultural manifestations, generates a practical philosophy that is theoretically presented on the pages of the monograph. The new work of Ukrainian scholars — a philosopher and practitioner as well as a theorist of choreographic art, therefore favorably differs from many of the foreign scholars achievements, which is not the result of purely philosophical reflections, but a product of analytical considerations and substantiated conclusions based on certain dance traditions and creation of specific choreographic patterns.","PeriodicalId":52829,"journal":{"name":"Tantsiuval''ni studiyi","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48718566","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 : 2018-05-31DOI: 10.31866/2616-7646.1.2018.142017
Valentyna Sosina
{"title":"Шляхи інтеграції хореографічного мистецтва та техніко-естетичних видів спорту","authors":"Valentyna Sosina","doi":"10.31866/2616-7646.1.2018.142017","DOIUrl":"https://doi.org/10.31866/2616-7646.1.2018.142017","url":null,"abstract":"","PeriodicalId":52829,"journal":{"name":"Tantsiuval''ni studiyi","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-05-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69791707","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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