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The purpose of the studyis to highlight the characteristics of the Ukrainian folk-stage dance formation and professionalization in Transcarpathia (1945–1960s). The research is carried out on the example of the leading ballet choreographers’ activities of the Transcarpathian folk choir.The research methodologyconsists of the principles of objectivity, historicity, multifactority, consistency, complexity, development and pluralism. To achieve the aim of the research the study addresses to such scientific methods as chronological, historical, statistical, descriptive, and logically analytical.Scientific novelty. For the first time, there was carried out an analysis of the folk-stage dances performances as well as the activities of the Transcarpathian folk choir leading choreographers in the 1950–1960s; The article revealed the peculiarities of folk-stage dances in accordance with the regionalization of ethnographic groups – the Boykos, Lemkos, Dolynians, and the Hutsuls sub-ethnos– as well as elements of the authentic folk dance new ballet interpretation.Findings.The study looked into activities of the Transcarpathian folk choir leading choreographers in the Ukrainian folk stage dance’s formation and professionalization period of the Transcarpathian region (1945–1960s). The research shows that the repertoire of the first professional artistic group of the Transcarpathian region consisted of folk stage dance, vocal and choreographic compositions, and also vocal and choreographic suites, created on the basis of the Ukrainian folklore dances choreographic vocabulary of the Transcarpathian region. The analysis of the performances found out the ballet masters to use the elements of the authentic folk dance stage ballet interpretation for the purpose of their aesthetization and professionalization. |
