The study of the archaic round dances dramaturgy from the spring cycle

Abstract

The relevance of the study is determined by the need to find clarification of the interpretation of the primary symbolism of some dance ornaments and movements. This will help to focus the choreographers’ attention on the competent use and interpretation of symbols in the dance dramaturgy.
 The purpose of this study is to analyze the archaic motifs in the dramaturgy of the spring cycle dances on the cycle example of round dances “Podolianochka” to explain their primary sign content.
 The methodology. The article analyzes the dramaturgy of the archaic spring rites on the cycle example of round dances “Podolianochka”, which are united by a plot and choreographic features. The archaic origins sources of the choreographic staging of these ritual actions are traced and systematized. The components of mythological, calendar-ritual and initiating origins of such a rite are considered.
 The results. The main character origin as a sun reflection in the spring flood (in the Danube) is formulated on the basis of a common feature — “white face” and others. The initiation of “Podolianochka-Bilodanchyk” leads to the Lela-spring birth. Choreographic elements that contribute to the success of the magical ritual and accompany the events course are considered: jumps — for the successful initiation, marriage and promoting plant growth, running — to increase fertility. It is shown that the schemes of movement in these round dances ensure the involvement of all girls in the role of the central character, as well as create magical symbols similar to Easter painting: sun-bird, meander, “thunderbolt”. It is proved that from the view of magical point the round dance plays the role of rosaries, the grains of which are taken one by one, and to each of them the gods’ glorification is pronounced.
 The novelty of this study is to clarify the ideological basis of the main character origin of the dance “Podolianochka-Bilodanchyk”, in the interpretation of choreographic patterns as symbols similar to Easter painting, the analogy between the touching of rosaries and mandatory participation in the role of the central character of all girls.
 The practical significance of this study is the selection of meaningful lines of round dance dramaturgy: 1) choreographic staging of events with grain and sorcery for the harvest; 2) girls’ initiation before the marriage period; 3) choreographic staging of events from the gods’ life and consecration of human actions. This allows you to more fully reconstruct both individual movements and the round dance dramaturgy as a whole in practice.