СТАНОВЛЕННЯ ПРОФЕСІЙНИХ АНСАМБЛІВ НАРОДНОГО ТАНЦЮ В СРСР: ХУДОЖНІ ТА СОЦІОКУЛЬТУРНІ ЧИННИКИ

Abstract

The purpose of the article is to find out the main artistic and sociocultural factors that determined the formation of professional folk dance ensembles in the USSR. The research methodology is based on a combination of historical-cultural, formal-typological, comparative analysis, which made it possible to fully reveal the range of issues associated with the subject of the research. The scientific novelty consists in identifying the main artistic and sociocultural factors that led to the formation of professional folk dance ensembles in the USSR; clarification of the general and the difference in the principles of folklore dances adaptation by Y. Churko and K. Vasylenko. Conclusions. The article concludes that in the classification schemes of the principles of folklore dances adaptation by Y. Churko and K. Vasylenko, the first (minimal adaptation of the primary folklore source) and the third (the author’s work) principles coincide. Y. Churko states that the essential in the second principle is the connection with the folklore mainstay. K. Vasylenko places before arbitrary interpretation, enrichment with tricks, borrowing the styling of classical dance, a departure from folklore is allowed. The article found the cultural factors that determined the formation of professional folk dance ensembles in the USSR: the All-Union Folk Dance Festival in 1936 in Moscow; the success of the trykolinnyi (three-part) hopak in London in 1935; numerous shows and festivals of organised amateur performances and unorganised amateurs. Among the sociocultural ones is the article “The Ballet Falsity” (1936), which introduces the idea of the inorganic demonstration of folk dance on the ballet stage, emphasised the need to create independent forms of stage presentation of this kind of choreographic art; imposition of socialist realist principles, including “nationality”, “large-scale involvement”; replicating the formula of Soviet art “national in form, socialist in content,” which required the introduction of elements of national art in ideologically verified forms.