Abstract
The article is devoted to the problems of stage folklore, its functional and stylistic specifics. On the example of two state folk ensembles of Tatarstan, the result of authentic folklore adaptation to the modern socio-cultural situation is considered. Both ensembles occupy their own niches in the cultural process, distinguished by a certain autonomy with their own style, artistic and performing specificity. They share the goal of preserving, studying and promoting the best examples of folk art, and differ in their composition, repertoire, methods of using folk material, and tour map. The author comes to the conclusion that stage folklore is a bright, large-scale artistic movement that plays a huge role in the promotion and popularisation of authentic folklore. Among the new forms of folklore presentation on stage and television, programme concerts and video clips stand out. Although the stage modernises song and dance folklore into a spectacular show (according to the laws of pop art), the values of ethno-culture are preserved with a focus on stylistic originality and on the reconstruction of tradition in all its semantic and contextual completeness. Despite the different creative strategies of the ensembles, they perform their main educational and popularising functions.
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