Репертуар балетного театру Радянської України другої половини 20-х років ХХ століття у світлі критики
Repertoire of the ballet theater of Soviet Ukraine in the second half of the 20s of the XX century in the light of criticism

Summary/Abstract: The purpose of the research is to analyze the repertoire of the ballet theater of Soviet Ukraine in the second half of the 20s. XX century through the prism of the then critical discourse. Methodology. The use of methods for analyzing sources, concepts, and comparing critical evaluation approaches to the ballet repertoire provided objective research. Scientific novelty. For the first time, the repertoire of the ballet theater of Soviet Ukraine was differentiated in the second half of the 20s. XX century through the prism of aesthetic concepts of the then criticism. Scientific novelty. For the first time, the repertoire of the ballet theater of Soviet Ukraine was differentiated in the second half of the 20s. XX century through the prism of aesthetic concepts of the then criticism. Conclusions. With the establishment of the functioning of Odessa, Kiev, Kharkov opera and ballet theaters since the mid-20s. XX century ballet criticism intensified. In the critical discourse, an evaluation criterion has been formed in accordance with two approaches to the ballet heritage: one - periodic circulation, small change, preservation of traditions; the second is the total processing of everything connected with the ballet of the past. Most ballet critics drew attention to the presence or absence of a connection with the ballet of the past even in original performances, which was a manifestation of the dominance of certain features of the proletariat. Among the ballet performances that have become the critics' attention, “Swan Lake”, “Don Quixote” (with minimal editions, maximum preservation of the text of the classical performance of the early twentieth century), “Corsair” (a significant revision compared to the classical source), “Joseph Beautiful” and “Grotesque” (innovative ballet performances, transferred from the Moscow stage, minimally adapted to the conditions of Odessa and Kharkov theaters), “Red Poppy” (a significant degree of originality), “Tale of Jester, Seven Fools Yeshutim” (the first original incarnation). In the context of a wide thematic and lexical palette of ballets in Soviet Ukraine in the second half of the 20s. XX century the formation of the Ukrainian ballet critical discourse took into account Soviet political and ideological attitudes.

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