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
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