Адаптация испанского танца фламенко к условиям культурно-языкового пространства современной России

Abstract

The article reveals the phenomenon of the existence of Spanish flamenco dance in the cultural and language environment of modern Russia. The premises for introducing of this art form in the Russian society of the 19th century have been considered, as well as its dissemination throughout Russia up to the present time. A brief analysis of the etymology of the term “flamenco” is carried out, emphasizing the inconsistency and ambiguity of this concept, which complicates its adequate interpretation in the Russian language. The authors have developed a classification of flamenco styles from the perspective of a non-bearer of flamenco culture. This classification defines the styles according to the complexity degree of perception by Russian performers. It is concluded that the most difficult for the Russians are the authentic ancient manifestations of flamenco, such as sigiriya, kanya, solea, etc., which are quite different in musical size and rhythm. The lexico-semantic analysis of certain Spanish terms and exclamations characterizing the flamenco dance was carried out. Such expressions have been adopted into the vocabulary of the Russian flamenco performers representing: zapateado, floreo, braceo, bata de cola etc. The general structure of flamenco dance is represented by means of typical positions and movements. The structure was worked out on the basis of content analyses of the Spanish film-ballets, devoted to flamenco dance. The article also analyzes the polysemy of the term “duende” – a phenomenon that has a spiritual nature and is an integral part of the flamenco art. It is concluded that the professional performance of the flamenco dance in the non-native social and cultural environment requires from a performer not only technical mastery, but also a deep understanding of the meaning of the flamenco dance, its history, as well as the semantics of some Spanish terms and expressions.