Балетмейстерська діяльність Миколи Трегубова в Донецькому державному театрі опери та балету

Abstract

The purpose of the article is to consider the choreographic activity of Mykola Trehubov at the Donetsk State Opera and Ballet Theatre based on the materials from periodicals and specialized publications. Methodology. The author has prepared an article using historical, historiographical, and analytical approaches. Scientific novelty. The article is the first attempt to analyze the main choreographic works by M. Trehubov at the Donetsk Opera House, new materials are introduced that expand the peculiarities’ understanding of the ballet master’s creative activity and help to systematise his legacy. Conclusions. In the 1950s – 1960s M. Trehubov enriched the stage of the Donetsk State Opera and Ballet Theatre with six performances to the music of European, Ukrainian, and Soviet composers. The master approached his ballets creatively and originally, generously embellishing them with bright solo and mass dances, emotional adagios and variations, characteristic everyday episodes. The fruitful collaboration with the conductors and stage designers aroused warm approval from the audience and contributed to a better understanding of the plot of the works. On the whole, the successful works of M. Trehubov had some shortcomings, however, the sensible remarks of the critics helped to raise the professional level of the choreographer and the theatre team. The colourful performance The Fair at Sorochyntsi, which combined elements of classical and Ukrainian folk choreography, did not leave indifferent reviewers and art crit ics. Despite the peculiarities of the music and libretto, M. Trehubov gradually introduced expressive dance, generalized choreographic imagery to reveal lyrical and comedic characters. Contrary to its connection with the drama ballet canons, The Fair at Sorochyntsi was marked by a clear tendency to move away from the clichés of pantomime. The undertaken research does not claim to be comprehensive. It is necessary to find data on M. Trehubov’s staging of the popular ballet La Bayadere on the Donetsk stage (1958). Information about the production of the performances Shurale (1953) and Giselle (1955) should be supplemented.