УКРАЇНСЬКИЙ НАРОДНО-СЦЕНІЧНИЙ ТАНЕЦЬ «ГОПАК»: НАУКОВО-ТЕОРЕТИЧНИЙ ТА ХУДОЖНЬО-КРИТИЧНИЙ АСПЕКТИ
UKRAINIAN FOLK-STAGE DANCE "HOPAK": SCIENTIFIC-THEORETICAL AND ARTISTIC-CRITICAL ASPECTS

Summary/Abstract: Purpose of the article is to identify the main problems of the scientific-theoretical and artistic-critical discourse of the Ukrainian folk-stage dance “Hopak.” Methodology. The combination of methods of analysis and synthesis, induction and deduction, discourse analysis allowed to conduct research and make objective conclusions. Scientific novelty. It is reasonable that there is no basis for revealing the direct connections of the folk-stage hopak with the folkloric concrete primary source (an independent dance artifact), the present state of the art-critical discourse of folk-stage choreography in Ukraine is analyzed. Conclusions. The modern folk-stage dance “Hopak” has retained a certain connection with the general lexical fund of Ukrainian folk choreography and elements of the figurative content of folk sources. Among the destructive factors of the genetic relationships of original folk sources and stage variants of the hopak is the lack of a universal system for recording dance movements and a high degree of improvisation.

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