Балетные «двойники» в русском театре екатерининского — александровского времен

Abstract

The European Ballet Theater has a long tradition of replenishing its repertoire with plots of operas, dramas and popular ballet productions. So on the stages of the capital's Russian theaters, since the formation of the ballet genre in the XVIII century, twin performances with the same names have appeared. This phenomenon of transformation of the work is almost not studied. In this regard, questions arise: what in the new version of the play can be considered original material, and what is borrowed? Does the plot, music, and set design remain in it? To solve these tasks, documentary sources are involved: unknown librettos, musical manuscripts of the studied ballets and compositions that form the basis of new theatrical versions. The original ways of «processing» are revealed, including with and without preserving the plot, with musical quoting of fragments of the original source and without quoting. It is proved that the presence or absence of borrowings is confirmed only by a scrupulous reconciliation of literary and musical texts of the original and derived compositions.