Ballet Theater Research Articles

Зінаїда Лур’є: балерина високого рангу

The purpose of the article is to recreate the creative way of the Honored Artist of the USSR Zinaida Lurie which is based on the analysis of archival documents, periodicals and special literature. Methodology. The author has prepared an article using historical, historiographic and analytical approaches that have allowed to comprehend Zinaida Lurie’s creative path from an intern, a ballet dancer to a recognized teacher. Scientific novelty. The article is the first attempt to recreate little studied part of the Zinaida Lurie’ creative way, including her performing, teaching and social activities. Conclusions. The creative way of Z. Lurie began in the period of the ballet theater formation and development in Ukraine. The artist has passed a difficult path from an internship to a ballet soloist. For ten years of work in the Kharkiv Theater, Z. Lurie has performed a lot of roles in opera and ballet performances: Odette-Odile in Swan Lake by P. Tchaikovsky, Raymond and Esmeralda in A. Glazunov and Ts. Pugni ballets, and Medor in Corsar A. Adam, Diva in the “Golden Age” by D. Shostakovich. The actress distinguished herself with solo performances in productions of “Joseph the Beautiful” and “In the Sunlight” by S. Vasilenko, “Ferendji” by B. Yanovsky and in the ballet “Pan Kanevsky” to the music of M. Verikivsky. On the Kyiv stage, the ballerina’s talent was revealed in the images of Odette-Odiliya, Princess Florin, Aurora, Zarema, Cherkeshenka, Laurencia and Gayane. Z. Lurie sang various parts in Ukrainian comedy and lyrical ballets. This is Agrafena in the play “The Night of the Besa” by V. Yorish, Lilia in the ballet of the same name by K. Dankevich and Mavk in “The Forest Song” by M. Skorulsky. The works of Z. Lurie were highly appreciated by theatrical observers. Her performance harmoniously combined dance and dramatic basis of the role. When interpreting her heroes, the honored artist of the Ukrainian SSR searched for her own original paints for their stage embodiment. With her performing art she approved the heroic style in the ballets of that time. Z. Lurie paid special attention to the Ukrainian national repertoire, however her parts in the ballets “Ban Kanevsky”, “Besovoy Nosch”, “Forest Song” are not sufficiently illuminated and require further scientific research.

Ballet of the Academic Heritage P. Tchaikovsky "Nutcracker" in the editions of Ukrainian choreographers of the Taras Shevchenko National Opera and Ballet Theatre of Ukraine

The purpose of the article. The research is related to the analysis of the choreographic interpretations of the Tchaikovsky's ballet "The Nutcracker", performed on the Taras Shevchenko Kyiv State Academic Opera stage and the Ballet Theater. The methodology of the study includes the use of the following culturological methods: genetic, comparative, systemic, structural-functional, historical and logical. The above methodological approaches allow to reveal and analyze the work of P. Tchaikovsky "The Nutcracker" in the editions of Ukrainian choreographers (beginning from the premiere of the ballet on the Taras Shevchenko Kyiv State Academic Opera stage and Ballet Theater in 1949 and finishing with the show "The Nutcracker" by ballet the troupe of the National Opera of Ukraine in our time). The scientific novelty of the publication is providing a new, unbiased assessment of the artistic achievements of Ukrainian choreographers of the ХХ century who worked on the stage of the Taras Shevchenko Kyiv State Academic Opera and Ballet Theater in the second half of the twentieth century. Conclusions. The scientific research has proved that the compositional peculiarities of P. Tchaikovsky's ballet in the editions of the Ukrainian choreographers consisted of: both the organic combination of real and fantastic as in decorations as in the discovery of stage images; using the overture of the play to create an extra choreographic picture; the involvement of Kyiv Choreographic School students in the ballet for the purpose of artistic effort of individual mass scenes, etc.

Manifestations of aesthetics of skomorokhs in ballet images

Purpose of Research is to identify the main aspects of the manifestation of the aesthetics of skomorokhs in ballet images. Methodology. The use of analytical, historical, chronological, typological methods allowed us to identify and analyze in a historical sequence ballet performances, where there are images of skomorokhs, to offer a typology of images. Scientific novelty. For the first time, a comprehensive analysis of the main aspects of the manifestation of aesthetics of skomorokhs in ballet images was carried out, a typology of images of skomorokhs in ballets was proposed in accordance with their role. Conclusions. The culture of skomorokhs influenced the artistic-figurative system of the ballet theater, where we meet the images of skomorokhs and leitmotifs of skomorokhs in the performances of historical and folk themes. Rather conditionally, in accordance with the place and role of the hero- skomorokhs in ballet performances, it is possible to distribute the images into groups: skomorokh as a symbol of the contradiction of external fun and internal suffering ("Parsley"); skomorokh as a real actor, a peculiar attribute of life of the XIV-XVII centuries (“Ivan the Terrible”); skomorokh as an illustrative component, a symbol of Russian life ("Snow Maiden").

DIRECTED BY EMIL` - OLGERD YUNGVALD-HILKEVYCH ON THE STAGE OF UKRAINIAN NATIONAL OPERA AND BALLET THEATER

The National Opera and Ballet Theater was set up in Kharkiv in 1925. That event can be considered one of the most important episodes within the process of development of Ukrainian musical and theatrical arts. Among the stage directors, who worked out the first season’s repertoire of the new theater, was Emil Olgerd Jungwald-Khilkevych, an obscure figure even for expert historians of Arts. Yet, his creativity made him stand out from the ranks of his colleagues. Less than in ten years after the mentioned event in Kharkiv, E. O. Jungwald-Khilkevych was appointed stage director-in-chief of the two opera theaters in Tashkent, Russian and Uzbek, and thus became one of the founders of Uzbek professional musical theater as such. Traces of his individuality’s influence can be successfully found in the art of Ukrainian opera as well, though the said traces have not yet been adequately brought to light. Purpose of this research lies in systematizing the scattered facts of E. O. JungwaldKhilkevych’s biography as well as in the analysis of his performances on Kharkiv stage. That may lead us to defining his personal role in the context of the Ukrainian National Opera and Ballet Theater’s first seasons. Methods of research. In the process of analysis we applied historical and analytical methods as well as the method of performances reconstruction. That enabled us to carry out a complex research of Jungwald-Khilkevych’s stage performances. Novelty of the research. The figure and personality of stage director E. O. JungwaldKhilkevych and the performances executed by him in the Opera and Ballet Theater in Kharkiv have been researched for the first time in Ukrainian Art studies. E. O. Jungwald-Khilkevych offered the audience some new interpretations of a number of famous operas, such as “Faust” by C. F. Gounaud, “Aida” by G. Verdi, “The Queen of Spades” by P. I. Tchaikovsky, all of which provoked lively discussions among musical and theatrical critics. Leaving original musical material and libretti practically intact, the director seriously reconsidered the heroes’ images, introduced fresh interpretation into certain episodes of the operas. He managed to create his own conceptions of these masterpieces, in keeping with new times. This testifies to the director’s maturity, to his ability of working under extreme conditions, thrilling and inspiring the company with his ideas.

YEVHEN LYSYC’S SCENOGRAPHIC CODES IN “ROMEO AND JULIET” BALLET (SOLOMIYA KRUSHELNYTSKA LVIV STATE ACADEMIC THEATRE OF OPERA AND BALLET, 2014)

Relevance of the study. The relevance of this study is that for the first time in Ukrainian theater studies, a comprehensive analysis of the scenographic decision of “Romeo and Juliet” ballet by V. Shakespeare was performed on the stage of Solomiya Krushelnytska Lviv State Academic Theatre of Opera and Ballet in 2014 and an analysis of its ideological, content and stylistic features. The first and the second editions of stage design by Yevhen Lysyk were mentioned and compared for the ballet «Romeo and Juliet» by V. Shakespeare on stage of I. Franko Lviv State Academic Opera and Ballet Theater (first premiere – 19th of April 1968 and the second – 27th of December 1988). It also analyzed in detail the cross-section of the styles and ideas of the artist in the scenography to the revised edition of the ballet (2014) and deciphered scenographic codes in which the universal, cosmic world view of the master on the universe is recorded. Main objective(s) of the study. The purpose of the study is to analyze, compare and explore the three scenographic decisions and find out their common and distinctive features. Methodology. The following research methods have been used in this scientific work: historical, comparative, and hermeneutical. Through historical and comparative methods, we investigated the common and distinctive features of the scenography. Using the hermeneutic method, we were able to scrupulously analyze the main three scenographic codes laid down by Yevhen Lysyk in the scenography of the ballet «Romeo and Juliet» by V. Shakespeare. Results (how the study was done). Summarizing the above, we can conclude that the handwriting of artist Yevhen Lysyk is philosophical, courageous, modern and innovative. The artist refuses to be an observer and speaks to the viewer using allegory and symbolism. Especially these particularities were emphasized by the reviewers of the scenographer’s work literary critic Maria Vallo and musicologist and researcher in the history of the theater Oksana Palamarchuk. Significance for art. This publication helps to understand the contribution of the national Ukrainian painter Yevhen Lysyk in the field of scenographic art, revealing the artist’s handwriting and his outlook. Results/findings and conclusions. Consequently, the main results and conclusions of the study are the identification of the recurrent scenographic codes of Yevhen Lysyk. This is a conflict of worldviews and the Renaissance and Middle Ages; a stone prison that embodies hostility and strife between two families; faith, reaction to the cataclysms (canvas «Resurrection»); cosmogonic motives: sun, lakes, mountains, sky

Балет Р. Поклітару «Лебедине озеро. Сучасна версія» у світлі критики

The main objective of the study is to identify the main evaluation aspects of “Swan Lake. Modern version”of R. Poklitaru in critical articles. Methodology. The analysis and comparison of critical articles allowed conducting a scientifically objective study. Scientific novelty consists in identifying the main aspects of the critical assessment of “Swan Lake. Modern version” of R. Poklitaru, namely the plot, dramaturgy, choreographic vocabulary, musical foundation, set design. Conclusions. The analysis of choreographic criticism makes it possible not only to recreate a panorama of evaluative statements, but also to reveal the artistic and aesthetic dominants in the evaluation of choreographic phenomena. “Swan Lake. Modern version” of R. Poklitaru can be considered in the system of postmodern interpretations, which requires updating the methodology of critical thinking, improving the criteria for identifying the artistic value of the work. The descriptive, compiling nature, the absence of the author's position is characteristic of a number of publications on R. Poklitaru production. The majority of articles traditionally cover the plot, the overwhelming majority of authors refer to the libretto, the rest submit their own interpretation. Critics do not avoid the traditional comparison with their predecessors (M. Ek, M. Born). Choreographic vocabulary is analyzed, attention is focused on the ironic attitude to the classical original source (manifestation of one of the key features of postmodernism). The comparison with film genres ("suspense", "action") is made. In assessing the musical basis, most critics understand the desirability of processing the musical score of the original source to solve new dramatic tasks in accordance with the choreographer’s plan. All authors unanimously positively speak about the original set design and costumes. The study does not exhaust all aspects of the scientific understanding problem of the critical evaluative discourse of the ballet theater; it is presented to discuss the methodology for critical articles analyzing.

Genesis of the formation of the cultural and social core of Odessa

<span>The architectural and spatial environment of the city is an important part of the cultural heritage, a carrier of information about its formation. The life cycle of a diverse architectural environment forms a series of stages - from the concept-creation-realization-alterations-degradation and, finally, partial or complete loss. The main idea, the scenario of modeling the environment-phenomenon of Odessa was in the priority development of culture. The construction of the first City Theater in 1809 on the plateau of the coastal zone determined the formation of a system of rhythmically iridescent spaces of a social center. An analog of the ancient forum - “Odessa Acropolis or Odessa Agora” - was created at the intersection of Lanzheronovskaya and Rishelevskaya (Decumanus and Cardin) streets in full accordance with the recommendations of Vitruvius. After the theater was destroyed by fire in 1872, the project of the new theater was developed by the Viennese architects F. Fellner and H. Helmer. The size of the new Opera and Ballet Theater for 1,728 seats significantly exceeded the volume of the former, and the main planning axis of the theater was changed by 90 degrees (1884–1887). This actually became an act of destruction and the loss of the original intention of the script by architect G. Toricelli on the formation of the solemn “Road of Processions”. Elements of the architectural environment of the cultural center gradually adapted to the new changes. The process of the evolution of the environment often creates more contradictions and problems than it solves. The problem lies not only in avoiding alterations and losses but in how to preserve the value-psychological core of culture.</span>

Women's images in original ballets by V. Vronskyi “Olesia” and “Poem about Marina”

The purpose of the research is to analyze the original ballets by V. Vronskyi and Рoem about through the prism of female imagery. The methodology of the research is to apply the analysis of historiography, art criticism analysis of ballet performances, comparison of approaches to the interpretation of female images in ballets, which allowed to conduct scientifically objective research. Scientific novelty consists in the first conducted study of ballets by V. Vronskyi and Рoem about through the prism of female images, revealing the connections between these ballets. Conclusions The central female images of ballet performances by V. Vronsky and Рoem about were the continuation of female portraits created in the first Ukrainian ballets Pan Kanovskyi (Bondarivna), Lileia (Lileia). In the last way, the synthesis of classical elements and elements of Ukrainian folk choreography created a unique lexical system of Ukrainian ballet, in particular female dance, which actively developed in the choreographic decision of the images of Olesia (Olesia) and Maryna (Рoem about Maryna). The ballet became a kind of platform for the development of techniques for the implementation of military topics, which had a large-scale development in the Poem about Maryna. The images of Olesia and Maryna became the driving force behind the deployment of ballet action, but in the Poem about the image of the main heroine dominates in all episodes. The central female forms of ballets and Рoem about took a worthy place in the gallery of female images of the Ukrainian ballet theater.

The interaction of theatrical journalism and theatrical criticism in the modern media

The interaction of theatrical journalism and theatrical criticism in the modern media

“Faust” by Ch.-F. Gounod as a debut of a director E. O. Jungwald‑Khilkevych on the Ukrainian National Opera and Ballet Theater stage (1925)

“Faust” by Ch.-F. Gounod as a debut of a director E. O. Jungwald‑Khilkevych on the Ukrainian National Opera and Ballet Theater stage (1925)

Tamanyan’s Yerevan Between Constructivism and Stalin Era Architecture

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Tchaikovsky National Music Academy of Ukraine – National Opera of Ukraine: interaction as a factor of the development of opera art

The relevance of the study is conditioned by the traditionally important creative interaction of opera theaters with music academies in the issue of development of opera art in Ukraine. Especially fruitful cooperation has developed for many decades between the Taras Shevchenko National Opera and Ballet Theater of Ukraine and the P. TchaikovskyNational Music Academy of Ukraine. It serves as a vivid example of such interaction. The Academy carries out training of highly professional specialists for the theater (singers, actors, symphony orchestras and choirs, conductors, music directors, etc.) and from the theater to the scientific and pedagogical work are invited leading masters of the opera scene who have attained high creative achievements and recognition at the national and international levels. Logical continuity of generations in the field of opera art is a result of such kind of artistic «symbiosis». In turn practical activity, educational process, methodical scientific conceptions are serving as the basis for the development of national performing schools.The main objective of the study is to investigate and highlight the actual issues of creative relationships and fruitful interaction between two leading Ukrainian institutions in the field of culture and arts and to reveal the interdependence between them.The methodology of the research is to apply analytical, functional, comparative and art-study methods of research for determination of interdependence and basic directions of creative interaction of the opera theater and the music academy. The data concerning graduates of the Academy (singers-actors, conductors, choirmaster, directors) who works at the artistic staff of Taras Shevchenko National Opera and Ballet Theatre of Ukraine and combine work at the theatre with scientific and pedagogical activities at the P. Tchaikovsky National Music Academy of Ukraine or artistic work in Opera Studio are presents in summary tables.Conclusions. As a result of the research, it has been established that Taras Shevchenko National Opera and Ballet Theatre of Ukraine and the P. Tchaikovsky National Music Academy of Ukraine are particularly important in the socio-cultural space of Ukraine due to the multifaceted creative and professional activity. The educational, cultural and artistic work, as the main function of both institutions, promotes cultural and spiritual development of the individual.The above-indicated shows that the results of creative cooperation and fruitful interaction between the National Opera of Ukraine and the National Academy of Sciences of Ukraine. Pyotr Tchaikovsky is difficult to overestimateThe above-indicated shows that the results of creative cooperation and fruitful interaction of the Taras Shevchenko National Opera and Ballet Theater of Ukraine and the P. Tchaikovsky National Music Academy of Ukraine P. Tchaikovsky is difficult to overestimate because they are the leading institutions in Ukraine in the field of highly professional creative achievements.

Дисципліна «Хореографічна критика» в системі підготовки фахівця танцювального мистецтва у закладах вищої освіти України

The aim of the study is to justify the appropriateness of teaching and to offer a substantive content of the discipline “Criticism of Choreography” in the system of preparation of dance art specialist in institutions of higher education in Ukraine. Research methods. Taking into account the applied nature of the presented work, in addition to the theoretical analysis of the source base, systematization of empirical material, the discipline “Criticism of Choreography” was conceptualized. The scientific novelty consists in analyzing the current state of dance criticism in Ukraine and the world, outlining the content-thematic circle of the discipline “Criticism of Choreography” in the system of training a specialist in dance art in institutions of higher education in Ukraine. Conclusions. The main task of dance criticism is the search for adequate formulations in the expression of the critically-appraising attitude to the phenomena of modern choreography, where the illogical composition structure, nonlinear development of the plot, the departure from the canonical vocabulary requires the formation of a new critical lexicon, new artistic and aesthetic landmarks in the assessment. In conditions of low verbal activity of practitioners of choreographic art, the introduction of the discipline “Criticism of Choreography” into the system of training dance art specialists in institutions of higher education in Ukraine can become one of the effective mechanisms for deepening awareness in the field of critically evaluated activity. Within the discipline it is rational to consider three thematic blocks: the methodological (artistic critique as an aesthetic category, the features of the artistic critical examination of the phenomena of the choreographic culture of our time), the historical (the development and development of ballet criticism in accordance with the main stages of the development of the ballet theater, Russian and Soviet, Ukrainian ballet schools), application (considering specific examples of basic forms, objects, genres, stylistics and composition of critical performances of the choreographic theme, the semantic components of the review, a critical article).

РЕПЕРТУАР БАЛЕТНИХ ТЕАТРІВ УКРАЇНИ ТА СВІТУ: ПОРІВНЯЛЬНИЙ АНАЛІЗ

Purpose of the article is to identify the general and various in the formation of the repertoire of theaters in Ukraine and the world. Methodology. The methodology of the research consists in the application of analysis and synthesis, a comparative method, which enabled us to conduct a scientifically objective study. Scientific novelty. The scientific originality of the work is to identify the basic principles of building a repertoire of theaters in Ukraine and the world, common and distinctive features; the introduction into scientific circulation of information on the collection of theaters in Ukraine and the world. Conclusions. The problem of modern Western in the reproduction of sizeable academic forms is the discrepancy between aesthetic and style features, which leads to a loss of creative content. You can see the presence of the performances of the classical heritage in the repertoire of the leading theaters of the world, but each has its own: in Ukraine - multi-act academic performances by M. Petipa, L. Ivanov, ballets of national themes; in the American Ballet Theater - the works of J. Balanchine, in the Royal Ballet of Great Britain - the ballets of F. Ashton and K. Macmillan. The absence of nationally painted works in the theaters of the world is stated. A significant proportion of ballets was noted with the means of modern choreography, as well as the presence of works by invited choreographers in the repertoire of Western theaters. But some progress has already been made on the way of modernizing the national repertoire, which is to a large extent contributed to the work of Radu Poklitaru with the Kiev modern-ballet. The Western Ballet Theater adheres to the theater for all policy; the domestic one is focused on a limited circle of ballet audiences. The evolution of art is not an absolute replacement of old forms by new ones, in parallel performances of various artistic and style directions of choreography continue toexist.

COMPARATIVE ASPECTS OF INTERACTION OF DIFFERENT FORMS OF MUSICAL, THEATER AND CHOREOGRAPHY ART (on the example of the functioning of the National Academic Bolshoi Opera and Ballet Theater of Belarus

COMPARATIVE ASPECTS OF INTERACTION OF DIFFERENT FORMS OF MUSICAL, THEATER AND CHOREOGRAPHY ART (on the example of the functioning of the National Academic Bolshoi Opera and Ballet Theater of Belarus

Dance in the system of contemporary integrative Art Studies

The paper considers innovative models of interaction between art courses in the format of their comprehensive study on the basis of the new author’s program “Ballet and synthesis of plastic arts,” created for the direction “Choreographic Art” of various profiles (direction of Ballet Theater, Pedagogy of Choreography, Performing Arts). The conceptual approaches outlined in the program, based on interdisciplinary contacts of related arts, make it possible to include it in the professional cycle of Master’s programs and additional training at universities and other organizations that carry out educational activities, as well as in the system of retraining directors of theaters in the transition to modern design technologies.

Dmytro Gnatyuk on the opera stage (1951–1952)

This paper explores the process of formation of D. Gnatyuk’s personality in the coordinates of cultural and artistic discourses in the context of cultural life of the 1950s, in particular the activities of Kyiv Opera and Ballet Theater. Based on the materials published in periodicals, D. Gnatyuk’s entry into the sphere of professional opera performance, his emergence as a leading master of the stage, his mastering of the genre features of opera, the formation of an individual performing style, an original performing vocabulary, and a stage-vocal model of behavior were analyzed. D. Gnatyuk’s activities in the public and international spheres were studied. In close creative dialogue with public figures and writers, he discovers for himself Ukrainian history, culture, art, embodying their achievements with his performing arts in productions of M. Lysenko, S. Gulak-Artemovsky, Yu. Meitus, V. Gubarenko, V. Kireiko. In the 50 s of the XX century on the stage of the Kyiv Opera theater D. Gnatyuk creates unique images of Onegin ("Eugene Onegin" by P. Tchaikovsky), Eletsky ("The Queen of Spades" by P. Tchaikovsky), Schelkalov, Rangoni (Boris Godunov by M. Mussorgsky), Valentin ("Faust" by S. Gounod), which contributed to the formation of his skill as a performer of opera classics.

РЕПЕРТУАР БАЛЕТНОГО ТЕАТРУ УКРАЇНИ КІНЦЯ ХХ – ПОЧАТКУ ХХІ СТОЛІТТЯ:ТИПОЛОГІЯ ТА ПРОБЛЕМИ

Мета дослідження – систематизувати репертуар балетного театру України кін. ХХ – поч. ХХІ ст. та виявити основні мистецькі проблеми його формування. Методи дослідження поєднують аналіз репертуарної політики балетних театрів та типологізацію у процесі упорядкування балетних вистав з репертуару за групами. Наукова новизна статті полягає у запропонованій типології творів з репертуару балетного театру сучасної України та виявленні проблем його формування. Висновки. Досить умовно репертуар балетних театрів України кін. ХХ – поч. ХХІ ст. можна розділити за групами: редакції балетів класичної спадщини в традиційній естетиці; інтерпретації балетів «Російських сезонів»; відновлення балетів радянського періоду, зокрема, балетів національної тематики; оригінальні постановки в традиційній естетиці засобами класичного та неокласичного танцю; балетні експерименти в естетиці модерну та постмодерну. Нині відчутні певні зрушення на шляху осучаснення вітчизняного балетного театру, що сприяє не лише інтеграції у світову хореографію, а й підвищує мистецький рівень вітчизняного балетного театру. Гострими залишаються проблеми: збагачення репертуару балетами, створеними засобами сучасної хореографії, також творами національної тематики; співпраця балетного театру із сучасними українськими композиторами; інтенсивний графік творчої роботи, коли одночасно необхідно підтримувати діючий репертуар та створювати нові вистави.

Постмодернізм у балетному театрі

The article examines the impact of postmodernism as a social and culturalphenomenon in the processes associated with the rethinking of the fundamental principles of ballet theatre, as well as aesthetics and techniques in the fi eld of choreographic art in general. It covers the main features of the ideas of postmodernism in the ballet theater at the present stage of development through the prism of creativity of outstanding choreographers of the XX - XXI cent

The Term of “Interpretation” in Ballet Theory and the Criterion of Artistic Value of Choreographic Interpretation

The phenomenon of classical art interpretation has become an integral part of the present-day cultural reality. By now, the term “interpretation” has come into general use in different sciences, including art, theater, and music studies. However, this fundamental term of the postmodern paradigm has not yet been presented in ballet studies. This article offers the term’s definition regarding the ballet theater. For this purpose, after a review of the interpretation’s definitions in various disciplines, the author uncovers the connection between the most popular in modern ballet studies, though scientifically unformalized yet, explanation of the term “interpretation” and all the previous theoretical conceptions. The author finds the definition of the ballet interpretation, basing on the specific interaction between the script (program, libretto) and the music score in ballet. In contrast to the previous theoretical concepts, the script component is considered variable. The modern aesthetics of postmodernism tends to reconsider the meaning of original sources and can often alter their value systems. For this reason, the article offers a criterion of artistic quality assessment of the choreographic interpretations of ballet scores based on the degree of nearness of the choreography to the expressional, structural, and stylistic features of the score. This criterion helps to separate ballet performances from plastic experiments. The criterion is exemplified by three versions of the ballet score “Svadebka” (“Les Noces”) by Igor Stravinsky.