乌克兰编舞文化和民间舞台舞蹈中的原型

Diana Karpenko
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引用次数: 0

摘要

本文旨在分析乌克兰民间舞台舞蹈编舞作品中作为编舞文化元素的原型。研究方法是综合运用资料来源法(用于研究有关原型的科学文献和期刊)、文化分析法(揭示 P. Virskyi 编舞作品中原型的特殊性,特别是《Hopak》、《柳树在哭泣》、《啤酒花》和 S. Sergeev 编导的民族芭蕾舞剧《森林之歌》)以及概括法(更新和明确有关原型和乌克兰编舞文化的基本信息)。该研究的科学新颖性在于对特定表演中乌克兰民间舞蹈文化和民间舞台舞蹈原型的理解。结论研究与原型相关的科学文献和期刊的意义在于:"集体无意识 "和 "原型 "概念的含义 (K. G. Jung);"家"、"田野"、"寺庙"、"母亲"、"光"、"时间 "等民族原型的定义 (S. Krymskyi)和 "哲学"。Krymskyi)和 "心灵哲学"(P. Yurkevych、G. Skovoroda、T. Shevchenko);将 "民族文化原型 "概念及其种类引入科学流通(N. Khamitov);对乌克兰人的主要心理原型进行归纳和系统化(O. Bychkoviak)。原型的体现:民间舞蹈文化及其在帕夫洛-维尔斯基的芭蕾舞大师遗产《玩偶》、《哦,樱桃树下》、《扎波罗热》、《丘马茨基的欢乐》中的分析(L. Kozynko)。P. Virsky 的其他编舞作品,如《Hopak》、《What the Willow Weeps about》、《Hops》和 S. Sergeev 创作的民族芭蕾舞剧《森林之歌》,都对原型的体现进行了分析。我们不仅可以将 "霍帕克 "视为一种具有原型启示的舞蹈,还可以将其视为一种独立的原型:一种古老斯拉夫文化的代码(S. Krymskyi)、民族代码(V. Shkorinenko)、霍帕克与整个乌克兰民间舞蹈文化的象征和人格化的认同(A. Pidlypska)。 关键词:原型;舞蹈;乌克兰民间舞台舞蹈;乌克兰舞蹈文化;芭蕾舞;芭蕾舞大师遗产。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Archetypes in Ukrainian Choreographic Culture and Folk-Stage Dances
The purpose of the article is to analyse archetypes in the choreographic works of Ukrainian folk stage dance as elements of choreographic culture. The research methodology is based on the use of a combination of the source method, which is applied to the study of scientific literature and periodicals regarding archetypes; cultural analysis to reveal the peculiarities of archetypes in P. Virskyi's choreographic works, in particular “Hopak”, “What the Willow Weeps about”, “Hops” and the national ballet “Forest Song” by S. Sergeev); as well as generalising method to update and specify basic information about archetypes and Ukrainian choreographic culture. The scientific novelty of the study lies in the understanding of the archetypes of Ukrainian folk choreographic culture and folk stage dances in the specified performances. Conclusions. The relevance of the study of scientific literature and periodicals related to archetypes is determined: the meaning of the concepts “collective unconscious” and “archetypes” (K. G. Jung); definition of national archetypes such as “Home”, “Field”, “Temple”, “Mother”, “Light”, “Time” (S. Krymskyi) and “philosophy of the heart” (P. Yurkevych, G. Skovoroda, T. Shevchenko); introduction into scientific circulation of the concept of “archetype of national culture” and their varieties (N. Khamitov); generalisation and systematisation of the main archetypes of the Ukrainian mentality (O. Bychkoviak). The embodiment of archetypes: in the folk choreographic culture and their analysis in the ballet master heritage of Pavlo Virsky, “Dolls”, “Oh, under the cherry”, “Zaporozhtsi”, “Chumatsky joys” (L. Kozynko). The embodiment of archetypes has already been analysed in other choreographic productions by P. Virsky, such as “Hopak”, “What the Willow Weeps about”, “Hops” and the national ballet “Forest Song” by S. Sergeev. We can consider “hopak” not only as a dance with the illumination of archetypes in it, but also as an independent archetype: a kind of code of Old Slavic culture (S. Krymskyi), ethnocode (V. Shkorinenko), identification of hopak with a symbol and personification with the whole Ukrainian folk choreographic culture (A. Pidlypska). Keywords: archetype; dance; Ukrainian folk stage dance; Ukrainian choreographic culture; ballet; ballet master heritage.
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