Балетна трупа Львівського оперного театру кінця 30-х – початку 40-х років ХХ століття

Oleh Petryk

doi:10.31866/2616-7646.3.2.2020.220527

Abstract

The purpose of the article is to reveal the peculiarities of the formation and the personal composition of the Lviv Opera Theatre ballet company in the late 30s – early 40s of the 20th century. Methodology. Analytical, historical-chronological, biographical approaches were used to reveal the topic, which made it possible to conduct scientific and objective research. Scientific novelty. For the first time, a special study regarding the creative work of the ballet company of the Lviv Opera and Ballet Theatre in the late 30s – early 40s of the 20th century was carried out; the names of some performers were introduced into ballet studies. Conclusions. The rise of professional performing and ballet mastery on the stage of the Lviv Opera was facilitated by the organization of a stationary ballet company in the 1939/1940 season. Its core was formed by graduates of the Kyiv State Choreographic School in 1940 and experienced soloists and corps de ballet artists from the leading (Kyiv, Moscow, Leningrad State Academic Theatres) and peripheral theatres of the USSR; local dancers who received a choreographic education in dance studios in Lviv and refugees from German-occupied Poland also joined the work. The first multi-act ballets were Don Quixote (convicted of lack of ideology, obsolescence) and Red Poppy (positioned in the USSR as an example of a modern heroic ballet). With the outbreak of World War II, a significant part of the ballet company went to evacuation, some remained to work in the theatre, where full-fledged ballets were staged (among them Rural Love, Coppelia, Veil for Pieretta, etc.). After the liberation of Lviv from the German occupation, a part of the creative staff of the ballet company emigrated (V. Pereiaslavets, R. Pryima, etc.), some ended up in Stalin’s camps.

Highlights

Петрик Олег Олегович, народный артист Украины, солист балета, Львовский национальный академический театра оперы и балета имени Соломии Крушельницкой; профессор, Львовский национальный университет имени Ивана Франко, Oleh Petryk, People’s Artists of Ukraine, Ballet Soloist, Lviv National Academic Opera and Ballet Theatre named after Solomiia Krushelnytska; Professor, Lviv Ivan Franko National University, Цель статьи – выявить особенности формирования и персональный состав балетной труппы Львовского оперного театра в конце 30-х – начале 40-х годов ХХ века
The purpose of the article is to reveal the peculiarities of the formation and the personal composition of the Lviv Opera Theatre ballet company in the late 30s – early 40s of the 20th century
A special study regarding the creative work of the ballet company of the Lviv Opera and Ballet Theatre in the late 30s – early 40s of the 20th century was carried out; the names of some performers were introduced into ballet studies

Summary

Introduction

Петрик Олег Олегович, народный артист Украины, солист балета, Львовский национальный академический театра оперы и балета имени Соломии Крушельницкой; профессор, Львовский национальный университет имени Ивана Франко, Oleh Petryk, People’s Artists of Ukraine, Ballet Soloist, Lviv National Academic Opera and Ballet Theatre named after Solomiia Krushelnytska; Professor, Lviv Ivan Franko National University, Цель статьи – выявить особенности формирования и персональный состав балетной труппы Львовского оперного театра в конце 30-х – начале 40-х годов ХХ века. Ключові слова: Львівський театр опери та балету; балетна трупа; балет; хореографія; танець. Серед оперно-балетних театрів України помітне місце посідає Львівський національний театр опери та балету імені С. Дослідження періоду становлення балетної трупи театру є актуальним для розуміння подальших мистецьких явищ, загалом процесу формування «творчої індивідуальності» львівського балету.

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