School of women's ballet expertise National Opera of Ukraine T. H. Shevchenko
Journal Title: Вісник Національної академії керівних кадрів культури і мистецтв - Year 2018, Vol 1, Issue 4
Abstract
The purpose of the article is to reproduce the panorama of succession of generations as a key feature of the school at the female ballet performing of the National Opera of Ukraine. T. Н. Shevchenko. Methodology. The applica- tion of the historical-chronological principle during the conduct of art-study analysis, as well as the systematization of sources, made it possible to conduct scientifically objective research. Scientific Novelty. It is proved that the school of women's ballet performances at the National Opera of Ukraine is based on the principles of continuity, unity of traditions and innovations. Conclusions. Performing traditions in ballet theater are transmitted in direct creative communication. Each new generation, based on the experience of its predecessors, goes further, enriching and updating the school, im- proving technical and actor's skills. A. Yaryhina, A. Vasylieva, O. Havrylova and others were among the origins of the school of female performance of the National Opera of Ukraine. Enriched the traditions of gallead ballerina mid-twentieth century – L. Herasymchuk, I. Lukashova, A. Havrylenko, O. and V. Potapovy and others. T. Taiakina, L. Smorhachova, R. Khylko, H. Kushnirova, T. Borovyk, I. Zadaianna, T. Biletska became bright soloists in the 70's and 80's. At the turn of the 20th and 21st centuries. The "stars" of the National Opera were H. Dorosh, T. Holiakova, O. Filipieva, who combines the career of a soloist and tutor-tutor. Among her pupil are Honored Artists of Ukraine T. Lozova, O. Kifiak, K. Kukhar. Currently, Ballet traditions have been picked up by N. Matsak, K. Alaieva, O. Holytsia, Kh. Shyshpor, K. Kozachenko, A. Shevchenko, A. Muromtseva. It is precisely continuity that is a key element of the viability of the school of female bal- let performances of the National Opera of Ukraine. At all stages of the development of women's ballet performances, the image-emotional component of the party, in combination with the high level of technique, choreographic details, which make the dance image psychologically truthful and emotionally compelling, is given priority.
Authors and Affiliations
Alina Pidlypska
Keywords
Related Articles
- EP ID EP669380
- DOI -
- Views 94
- Downloads 0
VOLYN FOLK DANCING ART AND ITS GENRE-STYLISTIC FEATURES
Objective of the research is the coverage of regional features of choreography of Volyn with its limited local differences. Methodology. Hypothetical-deductive method involves selection of theoretical and factual materia...
CULTURE OF GOVERNANCE SERVICES PROVIDING
The purpose of the paper is to study the concept of the culture of governance services providing, scientific substantiation and analysis of its basic components. Methodology. The research uses the general scientific meth...
HOMO IN VIA: FROM THE PLATO’S CAVE TO THE MODERN NEUROSCREEN
The purpose of the article is an interpretation of the famous Platonic myth about a cave from the perspective of the critical images rethinking in the context of their accentuation during the millennial development of th...
Symbolism-verism aspects of expressiveness to piano play of S. Rachmaninov
Purpose of the article is аccentuation of style symbolism, verism foreshortening piano art of Rachmaninov, which did not define heretofore of the base style measurements to the heritage of the great pianist. The methodol...
THE UKRAINIAN DIRECTOR OF FEATURE, POPULAR-SCIENCE AND DOCUMENTARY MOVIES G.I. LIPSHITZ
The purpose of work is to research and analyze a life path and a creative career of the Ukrainian director of feature, popular-science and documentary films G.I. Lipshitz. Research methodology consists in application of...