The image of Solveig in the ballet “Peer Gynt” on H. Ibsen’s dramatic poem (staged by the Kharkiv National Academic Opera and Ballet Theatre)

Ir.M Polianska

doi:10.34064/khnum1-57.12

Abstract

The image of Solveig in the ballet “Peer Gynt” on H. Ibsen’s dramatic poem (staged by the Kharkiv National Academic Opera and Ballet Theatre)

Highlights

The given article is devoted to study of the Ukrainian ballet continuing to produce new ways of implementation of the ideas and artistic images in the beginning of the XXI century
Pisarev for the troupe of Donetsk ‘A. Solovianenko’ Academic State Theatre of Opera and Ballet is a remarkable example of this process
In 2017, the new variant of the ballet has been created for Kharkiv National Opera and Ballet Theatre named after M

Summary

Introduction

The given article is devoted to study of the Ukrainian ballet continuing to produce new ways of implementation of the ideas and artistic images in the beginning of the XXI century. The production of the ballet “Peer Gynt” on the music by E. The object of this research is musically-plastique image of Solveig. The aim of the study is to reveal specifics of musically-plastique, choreographic means, which are used to portray Solveig’s image in V. Pisarev’s production of ballet “Peer Gynt” regarding literary source. The article uses such methods as: 1) historical, allowing to place selected work into the perspective of development of ballet theatre in XXI century; 2) genre approach conditioned by specifics of means of expression used in choreographic art; 3) stylistic, used to regard given ballet in the context of choreographic art. Significance of Solveig’s image is emphasized by the choreographic text of the ballet, as her role becomes a plastique leit-motiv of the whole work. Choreographic lexicon of Solveig is founded upon traditional Classical dance and occasional movements of contemporary dance

Conclusions

І дія – Prelude