Dynamics of Ukrainian Folk and Stage Folk Choreography Formation and its Manifestation in Pavlo Virskyi’s Work (the Case Study of the State Dance Ensemble of Ukraine 1950s–1960s)

Abstract

The purpose of the article is to consider and analyse the conceptual foundations of the development and formation of Pavlo Virskyi’s Ukrainian folk dance art of in the second half of the 20th century during his work in the State Honored Academic Dance Ensemble of Ukraine. Research methodology is based on the application of general scientific, comparative, art history, descriptive, and analytical methods. This allows analysing the dynamics of changes in the performer’s folk choreography in the specified period. The scientific novelty of the research lies in the authors attempt to consider and investigate the evolutionary changes in Pavlo Virskyi’s stage work not only in the context of art analysis, but also of modern domestic research, which affected the further development of folk stage dance art, which for a long time was in conditions of ideological pressure. Conclusions. After analysing the holistic picture of the formation and development of the Ukrainian choreographer’s national folk dance art in the stated period, the authors have revealed the defining constants in his choreographic and production work. It clearly traces the trends of the dynamic development of the forms of production work, in which plot-image choreographic compositions based on Ukrainian dance folklore began to prevail. The subject matter and compositional-figurative structure of concert productions also changed significantly, the arsenal of expressive means expanded, which affected their quality.

Key words: folk choreography, theatricalisation of dance folklore, story-image productions, creative activity