The first ballet interpretations of A. Chekhov's works

Abstract

Purpose of the research is to reveal the features of the first ballet interpretations of A. Chekhov's works and their role in the development of choreographic art. Methodology. Analysis of the stylistic and lexical features of choreographic productions, literature and sources, chronological principle of the systematization of events made it possible to conduct a scientifically objective study. Scientific novelty. Scientific novelty of the work consists in revealing the features of the first ballets on the works of A. Chekhov, their place and role not only in the development of the ballet Chekhovian, but in the whole choreographic art. Conclusions. The first interpretations of A. Chekhov's works on the ballet stage were the play "The Seagull", the stories "Anyuta" and "The Lady with the Dog". The first and last ones, M. Plisetskaya, the director and performer of the main parties, created in an effort to update the musical and choreographic forms and expand the expressive and visual means of traditional classical dance, gravitating toward neoclassicism, modern plastics, wishing to push the boundaries of the conservative repertoire of the Bolshoi Theater.
"Anyuta", created by means of classical dance and according to the laws of the choreodrama, emphasized the actor's potential of ballet parts. The production of "Anyuta" first in the television format, and only then – on stage, was a positive
experience for ballet art. The opposite situation befell the "Lady with the dog". The ballet was first put on the stage, later shot in the pavilion. Chekhov's works, interpreted by means of choreography, contributed to the development of adaptations of ballet works. In the history of choreographic art, these ballets are associated with their first performers
(M. Plisetskaya, K. Maksimova), who realized their bright acting talent and forever became a model for imitation of approaches to developing the main party on a literary work.