Народно-героїчна балетна драма “Хустка Довбуша” у постановці Миколи Трегубова

Abstract

У статті на матеріалі періодичних видань розглянуто дві редакції постановки народно-героїчної балетної драми “Хустка Довбуша” А. Кос-Анатольського, здійснених Миколою Трегубовим у 1951 і 1953 роках. Основну увагу приділено винахідливості балетмейстера, кращим танцювальним композиціям, у яких було поєднано класичну хореографію і специфічні форми гуцульського народного танцю, найвдалішим виконавським роботам, у яких розкрився неповторний стиль артистів львівської балетної трупи, виправленню недоліків першої версії спектаклю.

В статье на материале периодических изданий рассмотрены две редакции постановки народно-героической балетной драмы “Хустка Довбуша” А. Кос-Анатольского, осуществленных Николаем Трегубовым в 1951 и 1953 годах. Основное внимание уделено изобретательности балетмейстера, лучшим танцевальным композициям, в которых были объединены классическая хореография и специфические формы гуцульского народного танца, самым удачным исполнительным работам, в которых раскрылся неповторимый стиль артистов львовской балетной труппы, исправлению недостатков первой версии спектакля.

In the article on the material of periodicals two editions of the production of the folk-heroic ballet drama “Khustka Dovbusha” by A. Kos-Anatolsky performed by Mykola Trehubov in 1951–1953 were considered. The main attention is paid to the inventiveness of the choreographer, the best dance compositions, the most successful performances, the correction of defects from the first version of the play. After four years of being in Gulag, Mykola Trehubov started the next stage of his work at the Lviv Opera and Ballet Theater (1950–1958). In 1950, M. Trehubov made several interesting projects. He started his work on dance performances in opera productions of “Demon”, “Bartered Bride”, and renewed ballet “Le Corsaire”. At this time, on the pages of newspapers, at conferences with the audience, everything was sharply raised about the need to intensify the struggle for “ideological and artistic quality of works”, updating the repertoire, finding new musical and scenic decisions, and cooperating with theatre composers. As a result of broad public discussions, the activation of the theatre work with the young Lviv composer A. Kos-Anatolsky, who was invited by the leadership of the cultural institution to work on the ballet performance “Khustka Dovbusha” (1951). Together with the composer, M. Trehubov began a difficult work to create a pictorial dance painting dedicated to the heroic liberation struggle of the West Ukrainian peasants against the Polish oppressors under the leadership of the legendary leader Oleksa Dovbush. Dramaturgy and music opened up wide opportunities for the choreographer to create large-scale dance images. At the same time, the scriptwriter combined the folk legend with the images of the people of modern Prykarpattya, opening and finishing the play with the prologue and epilogue about the collective farm harvest festival, whose participants recall the glorious deeds of the national avenger. The choreographer opened the ideological content of the score, sketched the image of Dovbush and his brave beloved Dzvinka. In the best dance scenes of the play, he synthesized classical choreography and specific forms of Hutsul dance, creating full-fledged human characters. M. Trehubov tried to correct the main shortcomings of the first edition of the ballet in a new version of the production (1953). Master perfectly coped with the dance side of the ballet without copying the previously seen samples, showing good Ukrainian, Polish and men’s dances. A number of mise-en-scenes were changed, “modern” episodes that framed the ballet in the first edition were shortened. The images of Poles became sharper. The conflict was disclosed precisely in the dance action, using realistic household gestures. The work of soloists who created images of a high poetic and realistic sound (N. Slobodyan, O. Stalinskyi, V. Ilinska, M. Monomakhov, etc.) also received a positive assessment. In the new version, the ballet became more complete, more convincing, on this staging grew and creatively formed the youth of the theatre (M. Bielova, I. Volkova, V. Shumeikin). The production of the heroic ballet “Khustka Dovbusha” on the music of the Lviv composer A. Kos-Anatolsky marked the first wide-ranging and multi-faceted use of peculiar Hutsul folklore in ballet practice. Becoming a significant event in the creative biography of the theatre, the ballet took its honorary place in the repertoire. This was an important step in the development of the heroic-romantic genre on a national basis through the mastering of modern choreographic directing methods. The editions of the ballet “Khustka Dovbusha” testified to the artistic maturity of the choreographer and made it possible to make even more sophisticated ballet performances in the future.