K. Khachaturian’s Ballet "Cipollino": New Art-Historical Insights on the 1974 Kyiv Premiere

Abstract

The purpose of the article is to examine little-known facts regarding the creative collaboration of composer K. Khachaturian with the ballet troupe of the Kyiv State Academic Theatre of Opera and Ballet named after Taras Shevchenko and its artistic director H. Maiorov. The research methodology of the study employs general scientific approaches, including systemic, art-historical, cultural, and historical methods of analysis. The scientific novelty of the work lies in the fact that, for the first time, previously little-known theatre sources have been analysed, significantly broadening the scholarly perspective on the historical and art-historical materials related to the creation of the ballet «Cipollino». Conclusions. The music of K. Khachaturian, which formed the basis of the ballet «Cipollino», was initially composed for the animated film of the same name, but subsequently assumed a theatrical form, acquiring the structure of a traditional ballet. It encompassed completed choreographic divertissements with a leading role of action-driven dance, while preserving techniques of cinematic montage and narrative-emotional expressiveness. The score of the production was distinguished by simple, song-like melodies, transparent harmonic texture, and a high degree of intonational expressiveness. In mass episodes, the composer transformed intonations of urban folklore and popular variety tunes, while the inclusion of the electric guitar in the symphony orchestra enhanced the rhythmic vitality and color of the music. Special attention was devoted by the composer to the musical unity of the performance and its through-composed symphonic development. The integrity of the dramaturgy was achieved through the transformation of key musical themes, the introduction of reprise-scenes into the structure of the performance, and the use of a multi-sectional rondo form, which ensured an organic interplay of music and stage action. Thanks to his work with K. Khachaturian’s music, choreographer H. Maiorov succeeded in realizing, within the sphere of children’s choreographic theatre, the traditional forms of academic dance (variations, duets, trios, extended ensembles involving the corps de ballet, etc.), aptly conveying the sharpness of imagination with a subtle sense of humour by employing means of free plastigue, acrobatics, buffoonery, and grotesque. Thus, the production of «Cipollino» on the stage of the Kyiv State Academic Theatre of Opera and Ballet named after Taras Shevchenko became an important milestone in the development of Ukrainian children’s ballet art, contributing to the formation of new artistic standards and practices.