Репозитарій Національної академії керівних кадрів культури і мистецтв України
ХОРЕОГРАФІЧНІ ІНТЕРПРЕТАЦІЇ БАЛЕТІВ П. ЧАЙКОВСЬКОГО НАПРИКІНЦІ ХХ - НА ПОЧАТКУ ХХІ СТОЛІТТЯ
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ХОРЕОГРАФІЧНІ ІНТЕРПРЕТАЦІЇ БАЛЕТІВ П. ЧАЙКОВСЬКОГО НАПРИКІНЦІ ХХ - НА ПОЧАТКУ ХХІ СТОЛІТТЯ
КОРОСТЕЛЬОВА, МАРІЯ ДМИТРІВНА
Дата:
2018
Короткий опис(реферат):
У дисертації здійснено комплексний аналіз інтерпретацій балетів
П. Чайковського «Спляча красуня», «Лускунчик», «Лебедине озеро» наприкінці
ХХ - на початку ХХІ ст. Концептуалізовано поняття «інтерпретація» в проекції
на хореографічне мистецтво. Розглянуто реконструкції та редакції балетів
як різновиди інтерпретацій. Зазначено, що звільнення від норм
академічного балету й пошук нових сенсів у багатоактних виставах
П. Чайковського (М. Петіпа, Л. Іванова) в системі постмодерністської естетики
стало одним із потужних напрямів розвитку хореографічного мистецтва
останніх десятиліть. Проведено умовну диференціацію постмодерністських
інтерпретацій на вистави, де актуалізовано зв’язок із первинною
оповідальністю («Лускунчик» М. Борна, Р. Поклітару) та відбулися радикальні
зміни сюжету («Спляча красуня» й «Лебедине озеро» М. Ека, М. Борна,
Р. Поклітару).
Суть розробки, основні результати:
In this thesis the complex analysis of P. Chaikovskyi's ballets interpretations of
"Sleeping Beauty", "Nutcracker", "Swan Lake" at the end of the XXth - beginning of
the XXIst cent. is carried out. These ballets became the academic samples of multiactive performances, canonical classical ballets, undergone numerous editions and, at
the same time, they gained an extraordinary popularity throughout the world for
postmodern interpretive experiments. An important aspect is the correlation of
traditions and innovations, both in the context of the overall development of
choreographic art (phylogenetic aspect), and in the consideration of a specific process
of interpretation in reconstructions, versions and stages of choreographerspostmodernists (ontogenetic aspect).
The Introduction substantiates the choice of the topic of the thesis, defines the
purpose, object, subject, tasks, methods of scientific research, reveals the scientific
novelty and the practical significance of the obtained results, provides information
about their approbation, indicates the personal contribution of the applicant,
highlights the structure and volume of the thesis.
The first section reveals the state of the scientific development of the topic and
systematizes sources. The works of N. Alovert, O. Rozanova a. o. are devoted to the
reconstruction of P. Chaikovskyi’s ballets; they highlight not only the artistic aspects,
but also unfold the discussion about the expediency of ballets restoration of the
XIXth cent., the degree of their authenticity. Despite a significant number of
scientific works, devoted to the choreographic interpretations of ballets by
P. Chaikovskyi at the end of the XXth - beginning of the XXIst cent., and a large
source array, the absence of a comprehensive study on a given problem can be stated.
In the second section, the notion of "interpretation" is conceptualized, the
interpretation of ballets in classical heritage as one of the leading tendencies of
modern times ballet theater is described. Interpretation, as one of the basic concepts
of hermeneutics, is a process of understanding the meaning or meanings of the text, a
certain dialogue between the transmitter and adressee, in the course of which actions
are taken to decode the content of the text (G.-G. Gadamer). Interpretation takes a
repeated character in the process of culture inheriting and developing, every time
turning into a new work and differently perceiving by the audience.
In the third section peculiarities of restoration (reconstruction) as one of the
tendencies in ballet art at the end of the XXth - beginning of the XXIst cent. and the
phenomenon of P. Chaikovskyi's ballet editions are described, in particular the most
famous reconstructions of S. Vykhrev, O. Ratmanskyi, Y. Burlak were analyzed, and
attention was paid to the number of editions of the classical ballet within the
framework of a primary imaginative structure. Some of the editions became
canonical, the most widespread in the world ("Sleeping Beauty" by K. Serheev,
"Swan Lake" by K. Serheev, Y. Hryhorovych, "Nutcracker" by V. Vainonen,
Y. Hryhorovych).
In the fourth section, as a result of art analysis, the conditional differentiation
of postmodern interpretations into performances was conducted, where the
connection with the primary narrative ("Nutcracker" by M. Born and R. Poklitaru)
was actualized, and radical changes of the plot happened ("Swan Lake" and "Sleeping
Beauty" by M. Ek, M. Born, R. Poklitaru).
The transgressive aspect neutralizes the linear existence of the text, destroying
the installation to build a single perspective. At the end of the XXth cent. - the
beginning of the XXIst cent. a number of works appeared, in which the transgressive
aspect becomes dominant ("Swan Lake" by M. Ek, M. Born a. o.). Postmodern
interpretations of classical ballets became a creative laboratory where artistic
solutions are invented, that stimulate the updating of the language of the ballet theater
in various aspects (experiments with drama, movement, space, musical score, voice,
multimedia technologies, light score, etc.).
The results of the study do not drain all the aspects of the above mentioned
problem. Perspective directions for further consideration of P. Chaikovskyi’s ballets
interpretation aspects are considered to be comparisons of choreographic methods,
typology of works, periodization of the process, etc.
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