Ballets on the works of M. Gogol: "Shinel"

Abstract

Purpose of the article is to  identify the artistic features of ballet interpretations of Gogol's work “Shinel.” Methodology. Analysis of the literature on the topic allowed to find out the state of development of the problem; art history analysis – to identify the lexical and stylistic choreographic features of ballets. Scientific novelty. For the first time, choreographic interpretations of the work by N. Gogol “Shinel” are analyzed, their artistic features are revealed. Conclusions. The analysis of choreographic interpretations of the works of N. Gogol in the context of the functioning of the ballet theater of the 20th - early 21st century was not the subject of a special comprehensive study. Despite the fact that the reference to the complex social and philosophical themes of Gogol's work “Shinel” did not undergo numerous choreographic interpretations as a sign of modern ballet theater. The most famous ballet - “Shinel” by H. Le Bara - M. Bejart (1999), where the image of the “little man” is central. The performance is embodied by means of the synthesized vocabulary of classical dance with elements of modern choreography, using a number of objects that acquire the characteristics of characters-images (overcoat, feather, etc.). Ambiguous assessments of critics and art historians “Shinel” staged by M. Bejart (D. Desyaterik, T. Kuznetsova, A. Chepalov) indicate the interest in the work, the multiplicity and polysemantic nature of the play. The “Shinel” by D. Gelbert (2006) is a traditional plot work. “Shinel. Ballet”I. Kushnira - M. Didenko (2013) - a peculiar mix of vocabulary of contemporary dance, clowning, drama theater, to modern performative forms. The mini-ballet “Shinel” by A. Rastorguev (2016) focuses on the acting game of a significant person. The presented article is only one of the first steps towards a comprehensive study of ballet Gogolian.