CHOREOGRAPHIC BORROWINGS AS A FORM OF PROMOTING THE RUSSIAN BALLET TRADITION IN CHINA

Abstract

The article is devoted to cross-cultural communication between Russia and China in the context of ballet. The main object of the study is the Russian ballet tradition in China. The emphasis is payed to the work, done by Russian teachers, who supervised China’s first ballet productions, introduced the Russian methodology of teaching the classical dance developed by A. Vaganova and built a system of ballet education. Thus, thanks to Russian teachers the national ballet of China developed its own internationally acclaimed school of dance with its key elements such as technical skills, geometry of dance and deep implications, related to the national dance traditions. The development of the national ballet was greatly influenced by the Russian ballet tradition passed on and reproduced in China. The research methodology is based on the systematic approach to cross-cultural communication and choreographic borrowings occurring as a result. The article uses such methods as content analysis of Russian and Chinese writings, chronological method and cultural analysis. It comes to the conclusion that the Russian ballet tradition in China was promoted by Russian emigrants (dancers, teachers, choreographers, musicians) either directly or indirectly. Choreographic borrowings were firmly implanted in the ballet dance training system. The Beijing Dance Academy training system is based on the Russian ballet school. A. Vaganova’s teaching methods, including her strict methodological sequencing of developing motor skills, flexibility and adaptability to the national dance style laid the foundation for the new Chinese ballet.