Ballet Theatre Research Articles

Forms and methods of media promotion ballet theatre in PRC

Forms and methods of media promotion ballet theatre in PRC

The Features of Vyacheslav Samodurov’s Staging Style

Vyacheslav Vladimirovich Samodurov is one of the brightest choreographer-directors in contemporary Russian ballet. Despite the fact that at present V.V. Samodurov is a free artist who has entered a new stage of his creative biography an important milestone on the way of the master is his staging activity, carried out in 2011—2023, the period of his work at the Yekaterinburg State Academic Opera and Ballet Theatre (“Ural Opera Ballet”). The productions of the Yekaterinburg period allow us to draw a conclusion about the features of V.V. Samodurov’s style, which determine the creative image of the master. At the same time his creative heritage of the period of his work with the “Ural Opera Ballet” company has not been subjected to a comprehensive art history analysis. This fact reveals the relevance of the topic of the article.The aim of the research is to identify the features of V.V. Samodurov’s production style, manifested during his activity as a choreographer of the “Ural Opera Ballet” company. The novelty of the article lies in the fact that for the first time in the research of scientific character the features of V.V. Samodurov’s staging style are generalized and systematized. On the basis of the comparative analysis of his productions performed during the Yekaterinburg period of the master’s creative biography, generalizations were made, which testify to the combination of traditional and individual innovative features in the master’s staging style, defining the creative image of the choreographer.

THE PERM INTELLIGENT VIEWER AT THE MEETING WITH HIGH MUSICAL ART (BASED ON THE MATERIALS OF THE ANTHROPOLOGICAL RESEARCH IN PERM)

The article examines the image of the Perm musical theatrе's viewer, formed in the theatrical environment of the regional center in 2011-2019. It was established that the myth designed by the artistic director of The Perm Tchaikovsky Opera and Ballet Theatre allows the neophyte to enter the traditionally closed world of classical music by building a specific plot (the logic of the fairy tale). The methodology is based on the concept of V. Ya. Propp. Using its language, the author indicates the stages of the intelligent viewer’s entry into the world of musical theatre. The process of becoming the viewer is based on the concept’s key elements (rite of passage - the madness of the neophyte - mastering the “cunning science”), which exist in the form of the plot’s “embryos” in the personal mythology of T. Currentzis. The main mythological motifs and images read by viewers influence the formation of their own practices of self-presentation. Focused interviews with viewers in Perm, which were conducted by the author in 2016-2019, are used as a source.

ПРЕМЬЕРА, КОТОРАЯ СОСТОЯЛАСЬ ЧЕРЕЗ ПОЛСТОЛЕТИЯ (опера С. М. Слонимского «Мастер и Маргарита» на сцене Самарского театра оперы и балета имени Д. Д. Шостаковича)

In October 2023, the premiere of S. M. Slonimsky’s chamber opera “The Master and Margarita” took place at the Samara Opera and Ballet Theatre named after D. D. Shostakovich, which became a significant event for Russian musical theatre. Completed in 1972, the opera was performed at the Leningrad House of Composers, but in a reduced form, and was rejected by cultural officials. The concert production of the opera by M. Yurovsky in the Great Hall of the Moscow Conservatory in 1989, could not fully satisfy the composer, as well as the Hamburg production of 2000, which was in German. Only half a century later, the opera “The Master and Margarita” saw the light of the theatrical footlights in its original version. The three premiere days in Samara demonstrated the public’s interest in S. M. Slonimsky’s work. It was also important that the core of the performers consisted of young singers, who took part in the production along with venerable vocalists. The musical director of the theatre and conductor Evgeny Khokhlov, as well as the director Yu. Alexandrov had to gradually immerse themselves in the musical text of the opera, repeatedly playing the score in order to unravel the meaning embedded in it by the composer.

BALLET DANCERS OF THE TURN OF THE 20TH CENTURY IN THE PLASTIC INTERPRETATION OF B. FREDMAN-KLUZEL

The article is devoted to notable events in the theatrical life of the turn of the 20th century, when ballet dancers often became models for artistic works. The author refers only to one sculptor B. O. Fredman-Kluzel (1878-1959), whose name is little known in art history, despite the fact that some of his works are in large museum collections. They partly served as a source for the research, as well as old printed publications in which reproductions of the sculptor’s works are found and Sotheby’s catalogues, because his works were auctioned during S. Diaghilev’s “Russian Ballet Seasons” and most of them are abroad. The methodology of this study is based on a systematic, interdisciplinary and stylistic approach. The author comes to the conclusion that the signifi cance of the artistic heritage of B. O. Fredman-Kluzel is determined by the achievements of the ballet theatre itself, the staging principles of M. Fokin, outstanding personalities, as well as the genre, content and aesthetic side of choreographic works created at the turn of the 20th century.

Acoustical design of the Opera and Ballet Theatre in Astana, Kazakhstan

The paper explains the design of the new Opera House in Astana as a landmark building for the new capital of Kazakhstan, characterized by multifunctional functionalities to welcome different kinds of activities.As requested by the Kazakhstan government, the building is a semi-classical theatre with traditional country decorations. The four tiers of balconies and the upper gallery form a modest house shoe shape with a seat capacity of ca. 1300 spectators, a volume of 11.400 m3 and a Reverberation Time, with empty hall, of 1.7 s (house curtain open).The paper describes the acoustic field and the design process to achieve an acoustic quality similar to that of the most famous Baroque Opera Houses, and its ability to resemble a classical theatre whilst also harmoniously including modern facilities and equipment. The evolution of a historic theatre in a modern design concept is explained. Computer simulations were conducted throughout the design period and a 1:20 wooden model was built to test the process, followed by final measurements on site.

Ballet without Borders by Vyacheslav Samodurov: the Formation of the Dancer’s Style on the European Stage

Vyacheslav Vladimirovich Samodurov is the embodiment of Russian modern ballet. The period when he worked with the companies of the Dutch National Ballet and the Royal British Ballet was a key one not only for Samodurov as a dancer, but also had a significant influence on his future activities as a director and choreographer. Samodurov’s productions have original and recognizable stylistic features and are of interest to audiences and critics, and are studied by theater and art historians. Samodurov’s productions have original and recognizable stylistic features and are of interest to audiences and critics, and are studied by theater and art historians. At the same time, the path of Samodurov-dancer has not received a comprehensive comprehension from the perspective of the evolution of his style and image. This fact determines the relevance of the topic of the article. The purpose of the research is to identify the role and influence of the foreign period of the master on the formation of his individual style as a choreographer. The novelty of the article lies in the fact that for the first time a study of a scientific nature raises the question of combining the art of Samodurov’s national ballet school and the experience he gained in the European ballet. On the basis of analysis of the available facts of Samodurov’s biography, memoirs of his colleagues from the European companies, and information obtained in conversations with the choreographer, generalizations were made which testify to preservation of V.V. Samodurov’s creative experience. A generalization has been made to show that the artistic experience of Samodurov, gained during his period of collaboration with foreign companies, has been preserved in his contemporary work as Artistic Director and Director of the Ekaterinburg State Academic Opera and Ballet Theatre (also known as the “Ural Opera Ballet”).

Contribution by Anаtoly Nepokupnyi to the Commemoration of the Anniversary of the First Lithuanian Book

We review events devoted to the anniversary of the first Lithuanian book which were held not only in Lithuania but in foreign countries as well. The publication “Catechism” (Katekizmas) by Martynas Mažvydas is briefly characterized in this article. We also detail the main events such as the speeches of famous politicians and personalities at the commemoration at the Lithuanian National Opera and Ballet Theatre and at the Parliament meeting, where Anatoly Nepokupnyi attended.
 A CD named “Year of the Lithuanian Book” (Lietuviškos knygos metai) and a miniature book one and a half centimetre in width and height were two of few publications prepared beside events. The play “Mažvydas” was staged in the theatre. One of the monuments is the peak on Tian-Shan mountains which was first reached by Lithuanian alpinists and named “Mažvydas”. We also briefly tell a story about how the original first Lithuanian book come from Odessa (Ukraine) into Lithuania just a few decades before the anniversary.
 We highlight events abroad by paying most of the attention to Slavic language nations. Probably, the biggest commemoration that happened in foreign countries was in Prague. There were 20 presentations in a conference which was being held for two days. During the conference eve, the new study was published reviewing Lithuanian literature from the times of “Catechism” to the present day. The festival organized by Europe Radio Broadcasters was held in Croatia where the Lithuanian radio participated after preparing the program based on Mažvydas “Catechism” hymns. Two conferences were held in Poland – one at Poznan University and one in Torun where one of two copies of the first Lithuanian book survived to this day is stored.
 The inclusion of the 450th anniversary of the first Lithuanian book to UNESCO anniversaries calendar helped a lot with getting public attention to Lithuanian press and making old writings relevant.

TEODOR CURRENTZIS IN PERM CULTURAL LIFE IN 2011-2022

Teodor Currentzis is a Russian conductor of Greek origin. He was born on February 24, 1972 in Athens in a musical family. In 1994 he moved to Russia, St. Petersburg, to study conducting at the St. Petersburg Conservatory with conductor Ilya Musin. In 2004-2010 he was chief conductor of the Novosibirsk Opera and Ballet Theatre, where he founded the MusicAeterna orchestra and choir. In 2011-2019, he was the artistic director of the Diaghilev Festival and the Opera and Ballet Theatre in Perm. According to critic Dmitry Renansky, thanks to the work of Currentzis during the years of the “Permian Cultural Revolution”, Perm was given the status of the third musical capital of Russia. The article examines the image of Teodor Currentzis in the Permian public, his role in the cultural life of the regional center. Focused interviews of viewers in Perm are used as a source. The article puts forward two hypotheses. Firstly, the trickster toolkit used by Teodor Currentzis in the process of self-design and self-presentation is read by the audience in a number of aspects. Secondly, the trickster in this mythological construction is in synthesis with another archetypal image that smooths out its most dangerous properties and which needs to be clarified during the interview. As a result of the field research, it was found that the archetype of the trickster here is indeed supplemented by another image that neutralizes the negative features of the first one, and the established cultural image forms, respectively, two strategies of spectator perception.

Можно ли станцевать журналистику? Из истории британского балета XIX века

In 1898 the ballet titled The Press was staged at the Empire Theatre in London. Choreographer and producer Katti Lanner, composer Leopold Wenzel and costume designer C. Wilhelm made a nontrivial attempt to transfer the sphere of journalism into the space of dance. Austrian dancer, pedagogue and choreographer Katti Lanner went down in the history of ballet theatre not only as the first woman who made a career as a choreographer but as the inventor of a new genre — the ‘entertaining revue’. The choreographer’s productions were often based on modern plots. Besides the ballet The Press, Lanner’s artistic output included such ballets as The Sports of England, The Paris Exhibition and others. The music director of the Empire Theatre, Italian composer Leopold Wenzel was Lanner’s collaborator in a number of her productions. Wenzel was the composer of art songs, orchestral works, operas and music for ballet. Scenographer C. Wilhelm, who supplements this triumvirate, was one of the most successful and prolific theatre designers of that time. At the same time, most information about the creators and the production of the ballet The Press is almost absent in academic scholarly literature. This article examines the features of scenography and music of the ballet, its place and role in the history of the ballet theatre of Great Britain in the 19th century. The attempt is made to reconstruct some of the elements of the ballet. Of no small importance is the inverse response – critical materials of the main “protagonists” of the ballet on the pages of British newspapers from 1898 from archival sources, as well as rare pictures. The question of whether or not it is possible to recount about journalism in the language of dance is one of the most crucial questions raised in the article.

Versions of «Mazepa» by P. Tchaikovsky through the prism of the value theory of culture

Statement of the problem. An important component of every nation’s existence is the cultivation of its own culture, based on an original system of values that defines the processes of creating/perceiving artefacts. In this regard, it is difficult to overestimate the influence of opera. At the same time, opera is an example of how even iconic musical works can lose their relevance, despite the outstanding aesthetic value of their musical component. Opera combines music and the particularly important lyrics, although the verbal component of an opera performance can change. A simple example of such a change is a translation into another language, which makes adjustments to the intonation and metrical organization of the text. The transformation of the lyrics of an opera performance can also be caused by other factors: an attempt to actualize a particular work, a desire to change It`s ideological guidelines. The purpose of this article is a comparative analysis of Tchaikovsky’s versions of “Mazepa” opera through the prism of value theory. Results and conclusion. Hetman Ivan Mazepa is one of the most popular and underrated Ukrainian figures. He had a controversial personality, which partly explains the negative connotations of the works dedicated to him. For instance, Alexander Pushkin portrayed Mazepa as a selfish and cruel villain, which shaped Tchaikovsky’s interpretation of his character in the opera. However, the composer was reproached for significant discrepancies between the opera libretto and historical facts. Despite these criticisms, Tchaikovsky’s opera Mazepa quickly became part of the world’s concert repertoire. This can be partly explained by the popularity of Tchaikovsky’s other works, and partly by the fact that it reflects the version of the history of Hetman’s Ukraine that prevailed in the Soviet Union. Let us try to comprehend how a work like this, whose ideological orientation is obviously at odds with the public perception of the historical facts in it, can be adapted to the prevailing value systems. The simplest thing to do is to translate the libretto into Ukrainian, as was done by the prominent Ukrainian poet Maksym Rylsky. A more difficult task is to change the political emphasis of the work and use the music of a famous composer to promote the ideas of a free Ukraine (libretto by D. Chutra and L. Tsegelsky). This version of the libretto remained unknown in Ukraine for a long time, but in 2017, the Kharkiv M. Lysenko State Academic Opera and Ballet Theatre chose it as the basis for a new concept of the opera. The value orientations of Ukrainian society as a whole and the authors of the project led to the need of finding ways to update the work, which determined not only the use of another version of the libretto, but also a number of decisions regarding the design of the stage space. Retelling the story of the reinterpretation of Tchaikovsky’s opera Mazepa allows us to explore how changing value orientations affect art as a form of social life. From accepting a preconceived version of the history of one’s own people, trying to somehow combine two diametrically opposed worldviews, to endowing the author’s work with new meanings that reflect the current understanding of values.

Mykola Koval in the history of vocal art in the Kharkiv region

Statement of the problem. People’s Artist of Ukraine Mykola Petrovych Koval (1946–2018) is a representative of the Kharkiv vocal school, which was established at the turn of the nineteenth and twentieth centuries. Possessing a wonderful dramatic baritone (bass-baritone) of rich timbre, he was a successor to the traditions of Italian bel canto that prevailed in the classes of prominent Kharkiv vocal teachers P. Holubiev, M. Mykhailov, T. Veske. The significance of the multifaceted work of this outstanding artist necessitates a systematic study of his music legacy, which has not yet been sufficiently researched. The only monographic study by Yu. Shchukina (2019) dedicated to the singer presents mostly biographical materials. The purpose of this article is to present a complete creative portrait of the singer and to characterize his performance style. The study of creativity and pedagogical activity of M. Koval using biographical and stylistic approaches allowed to identify the features of his individual style and to classify the latter according to the performance archetype (developed by O. Katrych, 2000), which is an innovative element of the work. Results and conclusions. The creative activity of M. Koval had a significant impact on the development of the The Mykola Lysenko Kharkiv Academic Opera and Ballet Theatre, where he had performed the main roles in almost all opera productions since 1974. His vocal practice was a model for the young singers who worked with him at the theater, and his performances as both an opera and concert singer had a wide public response, drawing attention to the activities of the Kharkiv Opera House far beyond the city. His repertoire included works of various vocal genres, in particular, in solo concerts he performed opera arias (from M. Mussorgsky’s “Borys Godunov”, G. Verdi’s “Otello” and “Rigoletto”, G. Puccini’s “Tosca”, O. Borodin’s “Prince Igor”, etc.), romances and songs by Ukrainian composers (P. Maiboroda, I. Shamo), and folk songs. The pedagogical activity of M. Koval, who worked at Kharkiv I. P. Kotlyarevsky National University of Arts, at the Solo Singing Department from 2002 to 2018, deserves further study. Today, his students work at The Mykola Lysenko Kharkiv Academic Opera and Ballet Theatre, as well as in other Opera Houses and music schools in Ukraine, continuing the traditions of their Teacher. The analysis of M. Koval’s vocal and pedagogical work allows us to draw the following conclusions: – M. Koval’s individual style is characterized by a high vocal and artistic culture, in particular, a careful attitude to the word, clear expressive diction, a certain emotional restraint and balance (which makes him “the Apollo archetype” of the artist); deep psychologism in the interpretation of musical images, the brilliant embodiment of which is facilitated by his exceptional acting talent. – These features of the individual style also determined the formation of the singer’s pedagogical principles. The teacher often said that one should always sing with the soul, inspiration and frankly, “from the heart,” and that the music itself would help solve technical difficulties. Therefore, perfect vocal technique or voice volume is not an end in itself, but only a component. Technique and vocal can be learned, but the subtle reception of music cannot be learned; it is something that is given to people by nature. – In addition to his unique vocal and acting talent, exceptional diligence and perseverance were important factors that contributed to his successful career. – Thus, it can be confidently stated that an entire era of vocal, in particular opera, art in the Kharkiv region is associated with the name of M. Koval. After the master passed away, most of the performances in which he had sung the main roles were removed from the repertoire due to the lack of an artist of such a talent.

Clinical Neuroimaging in Pediatric Dysimmune Disorders of the Central Nervous System

The innovative choreographer Mikhail Fokin (Michel Fokine, 1880-1942) is often credited with reforming early-twentieth-century ballet theatre. In the first decade of the twentieth century he vehemently criticized traditional ballet for mechanistic virtuosity and lack of emotion. The reform he suggested was to introduce a new genre of one-act abstract ballet set to classical or romantic, non-dancing music, as well as a new emotional regime in ballet theatre. In his early statement of his purposes, he recognized that one of the strongest inspirations came from his contemporary, Isadora Duncan. Dance historians have also commented that the direction in which Fokin took ballet was suggested to him by the American dancer. Yet with the advance of modern dance in the 1930s, Fokin started distancing himself from Duncan. While admitting that his “Greek” ballets such as Eunice and Daphnis and Chloe (both 1907) stemmed from Duncan dance, he categorically denied any influence of hers on his main chefs-d’oeuvre, The Swan (The Dying Swan, 1907) and Chopiniana / Les Sylphides (1907-1909). Believing Fokin’s words, Russian dance historians have seriously belittled Duncan’s contribution to the reform of twentieth-century ballet. The article restates Duncan’s impact on Fokin by demonstrating that Chopiniana borrowed from Duncan’s Chopin-Abend (1904), and that the genre of the one-act “abstract” ballet is indebted to her dance.

Scenographer Constantin Lodzeiski as true promotor of theatrical arts’ values

Constantin Lodzeiski was one of the foremost theatre, opera, and ballet designers in the Republic of Moldova. He started his activity in 1947, when he was employed as chief painter at the State Dramatic Theater from Bălţi. Initially, C. Lodzeiski worked on the decoration of drama performances, which can be explained not so much by his interest in this type of dramaturgy, but by the lack of a musical theatre in the country, the latter being closer to his artistic nature. It was only at the end of the 1950s, when the State Opera and Ballet Theatre was established in Chişinău, that C. Lodzeiski began to work mainly on the stage decoration of musical performances. The adoption of the latest trends in the decoration of opera and ballet performances allowed C. Lodzeiski to move to a new stage in the development of the Moldovan scenographic art. Finding himself at the dawn of Moldovan Soviet scenography, the artist contributed to the development of new directions and principles for the organization of the scenic space and theatrical scenery, advancing the development of professional theatrical-decorative art of the republic. During his creation, the artist makes decoration sketches for over 100 shows from national and universal classical and contemporary drama.

Ballet in the Cold War: A Soviet-American Exchange

Ballet in the Cold War: A Soviet-American Exchange

Душа танца. К юбилею О. Г. Тарасовой

The article is devoted to the creative biography of the outstanding choreographer, ballet dancer and professor of GITIS Olga Tarasova, who celebrated her 95th birthday in 2022.Olga Georgievna graduated from the Moscow Choreography School (nowadays – Moscow State Choreography Academy) in 1946. Then she began her professional career in the ballet troupe of the Bolshoi Theatre, and in 1957 received second education at GITIS as a choreographer. During twenty years at the Bolshoi Theatre, Olga Tarasova gained a reliable experience as a dancer and ballet soloist in numerous classical productions Raymonda, Don Quixote, Thunder Path, Eugene Onegin, Prince Igor, Ruslan and Lyudmila, Mermaid and many others.Many performances were released by Olga Georgievna as a choreographer at the Bolshoi Theatre. Olga Tarasova has also staged performances in many cities of Russia and abroad. She has worked in Japan with Tokyo Ballet troupe; in Turkey with Ankara Opera Theatre; in Germany – with Hannover Opera Theatre; in Bulgaria – with the Arabesque ballet troupe; in Kazakhstan – at the Alma-Ata Opera and Ballet Theatre named after Abai; in Kazan Opera and Ballet Theatre; in Odessa Opera and Ballet Theatre, in Moscow Children’s Musical Theatre; in Chelyabinsk Opera and Ballet Theatre, etc. From 1968 to the present day Olga Tarasova has been teaching students- choreographers. Working according to the methodology of the department, Olga Tarasova continues to develop a clear line of classical dance which is the main feature of the Bolshoi Ballet. The range of Olga Tarasova activities is unusually wide. She is the author of a Cand. Sc. thesis Choreographic embodiment of symphonic music (1977), a number of scientific and methodological works.

CONTINUITY OF MUSICAL AND PEDAGOGICAL TRADITIONS: K. S. SARAJEV - Y. H. DAVTYAN

The article draws parallels between the activities of K. Sarajev, a teacher, and Y. Davtyan, a student, demonstrating the connection between times and traditions. A brief overview of Konstantin Solomon Sarajev's work, as well as some aspects of his pedagogical activity, is provided. Sarajev has an extensive repertoire and has conducted numerous symphony concerts. Konstantin Solomon's conducting activities were based on the artistic principles and technical methods of his teacher, Arthur Nikish, as well as his own conducting and teaching methods. Along with conducting, he began teaching at the Moscow Conservatory, and then at the Yerevan Conservatory. B. Khaykin, M. Paverman, L. Ginzburg, S. Sakharov, A. Katanyan, G. Budaghyan, H. Voskanyan, Y. Davtyan and many others studied in Sarajev's class. Citing the work of the People's Artist of Armenia, conductor, Professor Yuri Davtyan, the author demonstrates the continuity of music and teaching traditions, that have survived to the present day. Yuri Davtyan led the most reputable orchestras of the Soviet Union: the orchestras of the Bolshoi and Mariinsky Theaters, the orchestra of the Saratov Opera and Ballet Theater. He was the chief conductor of the A. Spendiaryan National Academic Opera and Ballet Theatre from 1953 to 2000, as well as the conductor of the Symphonic Orchestra of State Television and Radio of Armenia (1966-1994) and the orchestra of the Hakob Paronyan State Theatre of Musical Comedy (2007-2020). Yuri Davtyan has performed in Romania, Hungary, France, the United States, and Spain. The concert programs and repertoire of musical performances conducted by the musician are extensive. Davtyan is the bearer of the musical and teaching traditions of the Sarajev school. As a teacher, Yuri Hayk Yuri Davtyan developed his own performing principles and teaching methods, teaching the art of conducting, instilling culture and skills in his students of the XX and XXI centuries, students of the Technological Era, and a different approach to the classical phenomena of life in the broadest sense.

Балет «Хетаг» и формирование национальной традиции осетинского балетного искусства

The first Ossetian ballet Khetag by D. S. Khakhanov was staged by the teacher and soloist of the Bolshoi Theatre, A. G. Zakalinsky in 1979. Careful analysis enabled the author to evaluate the nature of the synthetic approach that helped to combine the principles of national music and classical dance technique. The reconstruction of the first production of Khetag is based on interviews with participants of the first performance, which was present for only two seasons (1979/1980 and 1980/1981), and reveals the main characteristics of the Ossetian ballet theatre. This theater pays special attention to the role and significance of national dance, which determines the regional specificity of choreographic and musical components. New facts and detailshave made it possible to reconstruct the history of the first professional Ossetian ballet Khetag in the context of heroic-romantic ballets withthe national theme,which is based on the folklore of the North Caucasian region and reflects the national culture. The history of the Khetag ballet is closely linked to the history of the North Ossetia musical theatre’s ballet troupe. The education of national dancers in North Ossetia, Kabardino-Balkaria and Dagestan is placed in a joined historical and cultural context. This allowsone to make the conclusion that in the Caucasian region, national choreographic art dominates the ballet theatre’s stage because it manifests the most important features of national mentality and cultural identity.

Inscenizacje oraz adaptacje twórczości Janusza Korczaka w polskim teatrze w latach 1931–2021

The subject of the article is the history of the theatrical reception of Janusz Korczak's (Henryk Goldszmit) (1878 or 1879–1942) literary works in Polish theatre in 1931–2021, from the premiere of the drama „Senat szaleńców” in 1931 at the Ateneum Theatre in Warsaw to the most recent productions. The author also includes adaptations of three of Korczak's novels for children: „Król Maciuś Pierwszy”, „Król Maciuś na wyspie bezludnej” (first printing – 1923) and „Kajtuś czarodziej” (oldest edition – 1935). The author writes about productions from dramatic and puppet theatres from various Polish cities, as well as about one ballet theatre, evoking staging, radio and television adaptations of Korczak's novels. It highlights the advantages and disadvantages of the parts of the staging, as well as the methods of promoting them. The reasons behind the low interest of theatre artists in the play „The Senat szaleńców” and the fact that they willingly adapt the writer's books for children are discussed. The research material used in the article is mainly sources – press publications, posters and theatrical photos, to a lesser extent memoirs, and in one case a radio recording. Scientific and popularizing studies, useful in the query and cited in the bibliography and footnotes, are publications on the biography of Janusz Korczak and the history of Polish theatre.

Обретение прошлого. К проблеме сценической реконструкции балетного наследия

The article focuses on the problem of reconstructing ancient ballets. The author analyzes it using the example of the production of the Krasnoyarsk Opera and Ballet Theatre named after D. Hvorostovsky, Katarina, or the Daughter of a robber (2021). This composition by Jules Perrault to the music of Caesar Puni belongs to the era of romantic ballet. Its world premiere happened in London in 1846. The European popularity of this ballet lasted about half a century. The composition stopped being produced at the end of the 19th century. The author favors the decision of the directors to recreate the style of the bygone ballet era. He dwells on the methodology and the results of the large and complex work. In the course of this work, choreography was re-created, which is mainly of this new creator’s style and reflects the approaches of modern specialists to the problem of reconstruction. The author of the article also pays attention to the musical and scenic aspects of the performance. The conclusion he makes concerns the indisputable professional benefits of the work done for the Krasnoyarsk Ballet Company. Also raised is the problem of the eternal meanings of classical works, which are lost in the course of historical evolution.