Features of the Adaptation of Shakespeare's Dramaturgy on the European Ballet Stage of the Second and Early Third Decades of the XXI Century

Abstract

The purpose of the article is to reveal the peculiarities of the productions of W. Shakespeare's works in the vocabulary of classical dance by leading European ballet masters in 2010–2024. Research methodology. A complex of interdisciplinary methods was applied, in particular, the method of historicism (to consider the balletisation of W. Shakespeare's works in historical retrospect), the typological method (to determine the specifics of the process of adapting dramatic texts to the ballet stage), the method of art analysis and a stylistic approach, which contributed to the understanding of the methods of leading modern European choreographers for productions of Shakespeare's drama. Scientific novelty. The peculiarities of the adaptation of W. Shakespeare's drama to the ballet stage are considered; the problems of the balletisation of Shakespeare's drama by the leading European choreographers-directors of the XXI century were investigated. and revealed their influence on classical technique; based on the art analysis of the ballet performances "A Midsummer Night's Dream" by J. Neumeier, "The Winter's Tale" by K. Wheeldon, "Othello" by F. Monteverdi, conceptualised features of productions of W. Shakespeare's works in the vocabulary of classical dance by leading European ballet masters 2010–2024. Conclusions. The study revealed that ballet performances based on the plays of W. Shakespeare in the productions of leading modern European ballet masters are unique intersemiotic interpretation of well-known stage plots in the language of classical dance. The analysed ballets represent the author's stylisation of Shakespeare's characters and the relationships between them, reinterpretation of motives and plot twists, the main principle of which is textual hybridity. In accordance with the leading trends in the development of stage choreography of the XXI century, directors are actively expanding the ballet vocabulary, re-evaluating pantomimic codification and the very basics of classical technique. The focus on the youth audience led to the enrichment of the vocabulary of classical dance with the techniques of subject theatre and elements of modern choreography, the use of citation and homage techniques, as well as the strengthening of visualisation with the help of innovative digital technologies.