Балети Касьяна Голейзовського «Йосип Прекрасний» та «Гротеск» в Радянській Україні другої половини 20-х рр. ХХ ст.: критичний дискурс

Abstract

The purpose of the article is to identify the main aspects of the critical discourse of K. Goleizovsky’s ballets Joseph the Beautiful and Grotesque in Soviet Ukraine in the second half of the 20s of XX century. Methodology. The objectivity of the study was provided by the analysis of scientific literature and sources in chronological sequence; comparison of reviews of various critics, as well as Moscow and Ukrainian critical discourse; systematization of the main aspects of critical publications. Scientific novelty consists in revealing the main aspects of the critically-evaluative discourse of K. Goleizovsky’s ballets Joseph the Beautiful and Grotesque, staged in Odesa (1926) and Kharkiv (1928); in the introduction into the scientific circulation of new materials – reviews of these ballets in the theater magazine New Art. Conclusions. In the second half of the 20s of XX century ballet critics divided into supporters of traditional classical forms and those who understood the need for a polystylistic development of ballet theater, supported experimental productions, which include Joseph the Beautiful and Grotesque by K. Goleizovsky. Despite the ideological censorship of the Moscow center of the cultural and artistic spheres of Soviet Ukraine, the reviewers of the mentioned performances in Odesa and Kharkiv were favorable, compared with their Moscow colleagues, to the neoclassical experiments of Goleizovsky, that indicated the formation of domestic ballet criticism, which decided in the second half of 20s years to express the views relatively freely. All reviewers noted the significant role of K. Goleizovsky’s ballets Joseph the Beautiful and Grotesque in expanding the thematic, performing, scenographic and musical range of the Ukrainian ballet theater. Opinions were also expressed about the revitalization of choreography, the expansion of the boundaries of what is permitted in the ballet theater thanks to these productions. Despite the fact that for K. Goleizovsky these ballets were a kind of creative manifesto of the choreographer who rejects the classics, Ukrainian critics took them as an important addition to the already existing repertoire of classical ballets (Esmeralda, Swan Lake, etc.) and the latest performances (Jester, etc.).