Literatura científica selecionada sobre o tema "Virsky Ukrainian National Dance Company"

The purpose of the article has been to learn new historical, cultural and art sources have been posted between 2010–2020 years, related to the Virsky Ukrainian National Dance Company occupation that. The methodology includes the researching methods usage such as: overall historical, comparative-historical, dialectical, analytical, systemic, etc. The scientific novelty implies the novice in the researched historiographical sources made up between 2010–2020 years that have significantly boosted the scientific projection to learn the historical and art facts related to the Virsky Ukrainian National Dance Company occupation. Conclusions. The historical timeline between 2010–2020 years related to the Virsky Ukrainian National Dance Company art outcomes is presented by modern domestic researcher’s monographs and publications such as: T. Blagova, O. Burkovsky, N. Vadiasova, D. Vernygor, Y. Vernygor, E. Dosenko, M. Kurinna, V. Lytvynenko, E. Roy, R. Savchenko, N. Semenova, V. Chernets, V. Shulgina, V. Shumilova etc. Due to inquire the life and creative path the choreographers who have served for the USSR State Dance Ensemble (P. Virsky, M. Vantukh), the researchers analyzed the main phases to come up with their art approaches, determined to search the chiefs regarding to the extraordinary compositional consistency, observed the dynamic to develop the musical-choreographic drama by the Virsky Ukrainian National Dance Company modern dance performances etc.

The article substantiates the importance of artistic and pedagogical heritage of outstanding Ukrainian choreographer P. Virsky in the development of the choreographic education in Ukraine. Content analysis of the creative legacy of choreographer has compiled the dominant direction of his professional activities which provided the formation and development of folk-stage choreography. Based on personal studio, biographical and bibliographical methods the article clarified the essence of the reform choreography of P. Virsky, its importance in the formation of the concept of Ukrainian choreographers. Ballet masters in the work of P. Virsky (staging, directing and tutoring) are organically combined with teaching activities (academic, educational, organizational, educational). The important tasks in choreographic and educational work of P. Virsky in the dance team determined the inclusion of young people in national traditions, instilling moral values, sense of national dignity, deep respect for the Ukrainian choreographic culture. Theoretically aesthetic and pedagogical principles of work of the choreographer, such as an individual approach, consistency, thoroughness, integrationist vocational and practical training are systematized. The choreographer has combined artistic and pedagogical activities in the team with choreographic education, systematically advised of Amateur dance groups on the issues of formation of repertoire, subject matter, style, ideologically-shaped orientation, technique. He provided the methodological support to the organizers of choreographic initiative, workers methodological divisions of cultural institutions. A generalization of the author's methods, technologies professional choreographic and pedagogical activities of P. Virsky allowed determining their components of the national choreographic education at the present stage.

The article is concerned with life and creative path of P. Virskyi and the ensemble he leads in the context of cultural diplomacy. The author analyses that the aspiration to create realistic and folk plays by nature has influenced the artist in his exploring and further developing the folk dance. Therefore, applying the experience of folk talents, Virskyi was committed to create characters of Ukrainian stage dance, expanded and enriched its expressiveness. Pavlo Virskyi directed some choreographic performances already in the first days of his activity as choreographer, but his actual work on the formation of the Ukrainian stage dance started in 1936, particularly following successful performance of the outstanding theatrical play “Zaporozhets za Dunaiem” (Eng. A Zaporizhian (Cossack) Beyond the Danube).In 1937, Virskyi and Bolotov organized the first ever in Ukraine folk dance ensemble and quit Taras Shevchenko National Opera and Ballet Theatre of Ukraine, where they headed a ballet group. The choreographers involved in the ensemble skilled young people as well as a team of experienced ballet dancers, among whom was M. Ivashchenko − their old friend and companion, brilliant performer of folk dances. Later B. Tairov and I. Kurylov engaged in choreographic process. The ensemble captured people’s attention, successfully performing at the VI World Festival of Youth and Students in Moscow in the summer of 1957. The group of youngsters of the ensemble attained the title of winners of the VI World Festival and was awarded gold medals and the first-place diploma (soloists V. Kotliar, L. Zastrozhnova, H. Chapkis, N. Birka, L. Sarafanov, B. Mokrov, V. Holyk). Artists of the dance ensemble of the Ukrainian SSR performed for the audience from many countries of the world: Poland, Czechoslovakia, China, Vietnam, Cuba, Angola, France, Austria, Portugal, Spain, Belgium, USA, Canada, Mexico, Argentina, Brazil, Peru, Chile, Colombia, Venezuela. All of the countries equally acknowledged the ensemble. The troupe performances abroad not only were a great success, but also sparked a massive political resonance. The national press continuously wrote about the unsurpassed art created by renowned Ukrainian choreographer P. Virskyi and his invaluable contribution to the development of Ukrainian folk dance choreography. V. Korniichuk, Honoured Journalist of Ukraine, author of the article “To pioneer of Ukrainian folk dance” noticed the festive concert dedicated to the 90-annivarsary of P. Virskyi’s birth. In his speech before the concert, Y. Stanishevskyi, Doctor of Arts, Honoured Art Worker of Ukraine, member of the International Academy of Dance, declared, “P. Virskyi is a distinguished master of choreography, director and pioneer of Ukrainian folk dance, who not only formed a unique dance group, but also glorified Ukraine on all continents by the high art.” Keywords: cultural diplomacy, Ukrainian folk dance, art, artistic view, Virskyi.

The purpose of the article is to analyse archetypes in the choreographic works of Ukrainian folk stage dance as elements of choreographic culture. The research methodology is based on the use of a combination of the source method, which is applied to the study of scientific literature and periodicals regarding archetypes; cultural analysis to reveal the peculiarities of archetypes in P. Virskyi's choreographic works, in particular “Hopak”, “What the Willow Weeps about”, “Hops” and the national ballet “Forest Song” by S. Sergeev); as well as generalising method to update and specify basic information about archetypes and Ukrainian choreographic culture. The scientific novelty of the study lies in the understanding of the archetypes of Ukrainian folk choreographic culture and folk stage dances in the specified performances. Conclusions. The relevance of the study of scientific literature and periodicals related to archetypes is determined: the meaning of the concepts “collective unconscious” and “archetypes” (K. G. Jung); definition of national archetypes such as “Home”, “Field”, “Temple”, “Mother”, “Light”, “Time” (S. Krymskyi) and “philosophy of the heart” (P. Yurkevych, G. Skovoroda, T. Shevchenko); introduction into scientific circulation of the concept of “archetype of national culture” and their varieties (N. Khamitov); generalisation and systematisation of the main archetypes of the Ukrainian mentality (O. Bychkoviak). The embodiment of archetypes: in the folk choreographic culture and their analysis in the ballet master heritage of Pavlo Virsky, “Dolls”, “Oh, under the cherry”, “Zaporozhtsi”, “Chumatsky joys” (L. Kozynko). The embodiment of archetypes has already been analysed in other choreographic productions by P. Virsky, such as “Hopak”, “What the Willow Weeps about”, “Hops” and the national ballet “Forest Song” by S. Sergeev. We can consider “hopak” not only as a dance with the illumination of archetypes in it, but also as an independent archetype: a kind of code of Old Slavic culture (S. Krymskyi), ethnocode (V. Shkorinenko), identification of hopak with a symbol and personification with the whole Ukrainian folk choreographic culture (A. Pidlypska). Keywords: archetype; dance; Ukrainian folk stage dance; Ukrainian choreographic culture; ballet; ballet master heritage.

Purpose of Research. The purposes of the research are to analyse the artistic works of Pavlo Virsky, the Ukrainian choreographer-director, in the State Honored Academic Dance Ensemble of Ukraine and to reveal the phenomenon of his theatrical folk choreography in the context of theatrical art. Methodology. The scientific methodological basis of the research is the combination of the dialectical principle of knowledge, systemic, socio-cultural and historical approaches, the fundamental provisions of the culture theory and history of. The general scientific and interdisciplinary research methods were used, which revealed the close connection between folk and stage dance and theatre art in the artist's staging work. Scientific Novelty. The scientific novelty of the results are to identify and generalise the features of dance art of Ukrainian choreographer, which brought his theatrical performances in the ensemble to a kind of author's folk dance theatre. Conclusions. P. Virsky’s creativity is a living proof of the syncretic connection among dance, stage and theatrical art. These spheres merged so strongly and organically in his many years of work in one of the best dance groups in Ukraine, because everything he did in the national folk choreography had a pronounced theatrical and figurative character. Having absorbed modern ideas and forms of choreography, reworking them into his plot productions, the artist forms clear guidelines for the synthesis of folk – choreographic and theatrical arts. Thus, he allegedly points to a promising direction in the development of folk dance art in Ukraine. In addition, as a result of the analysis of artistic and stylistic features of P. Virsky's artistic works we have found out that he managed to expand the genre boundaries of folk-stage dance art, bringing them closer to the style of performance. This allows us to talk about a kind of author's folk dance theatre, the basic basis of which was the State Honored Academic Dance Ensemble of Ukraine. Keywords: theatrical folklore, syncretism of folk-stage choreography, symbiosis of stage arts, folk dance theater, artistic-stage imagery.

The purpose of the research is to identify the place of contemporary choreography in the art of choreography on the stages of Ukrainian ballet theatres. Research methodology. Methods of analysis, problematic and chronological, art history, and theoretical generalisation are applied. Scientific novelty. A retrospective analysis of choreographic activity in the field of contemporary choreography in Ukraine over the past thirty years has been conducted. Conclusions. Contemporary dance on the Ukrainian ballet stage, both in the repertoire of opera and ballet theatres and in the activities of individual ballet companies that are not associated with stationary premises, should be considered in the context of global trends in the development of modern and postmodern choreography, the basic principles of which were formed outside Ukraine. These trends were born and developed in the European and American dance space, came to the national dance soil as a result of artistic expansion, took root and acquired specific features. Contemporary dance occupies an insignificant place in the choreographic work of Ukrainian choreographers. Ballet performances created in the aesthetics of contemporary dance styles make up only a small part of the repertoire of academic ballet theatres. It is worth increasing the number of such performances staged by domestic and foreign choreographers, which will help expand the performing range of companies, integrate Ukrainian ballet theatre into the global cultural space, and increase the competitiveness of ballet theatres within the country (compared to, for example, drama theatres, which are much more responsive to the aesthetic demands of the public) and on the international stage. The modern direction of ballet theatre is actively developed in the activities of the only professional contemporary dance company in Ukraine, whose popularity is constantly growing, the Kyiv Modern Ballet, facilitated by the chief choreographer R. Poklitaru and his students and followers. Key words: contemporary dance, choreographic art, Ukrainian choreography, ballet theatre, dance.