CHOREOGRAPHERS OF THE STATE THEATER OF MUSICAL COMEDY IN LVIV FROM 1946-1953
Authors:   Ivan Franko National University of Lviv, Department of Direction and Choreography, PLAKHOTNYUK Oleksandr 
Published: January 2024

A study is conducted of the historical processes of the formation of dance traditions in musical theaters, as well as operetta theaters on the example of the activities of choreographers of the Lviv Theater of Musical Comedy in the period from 1946 to 1953. The study outlines the historical processes of the formation of the above dance traditions. This study identifies the personalities of the choreographers of the directors of this theater and their creative result; there is a careful attitude to the traditions of the past and the introduction of modern techniques of theatrical choreographer. In the context of the features of choreographic numbers and their significance for the opera performance, their repertoire is considered. Definition of research. At the beginning of the 21st century, the event of the separation of choreography as a separate scientific specialty called “Choreographic Art” took place in Ukrainian art, which in turn requires a deep and meaningful study of the choreographic art of Ukraine in all its aspects and the development perspective. One of the aspects of this study is the study of the activities of the theatrical choreographer. The purpose of this study is to track the historical processes of the formation of dance traditions in musical theaters using the example of the Lviv Theater of Musical Comedy in the period 1946-1953. Main objective of the study. To personify the choreographers of the theater and to indicate the result of their activities; to trace their careful attitude to the traditions of the past and modern traditions in the context of the activities of the theatrical choreographer; determine the prospect of further scientific research. Methodology. The general scientific methods of objectivity, historicism, systemicity and observation are applicable here. The method of objectivity and historicism provided an opportunity to trace the conditions and the main stages of the creative activity of the choreographers of the State Theater of Musical Comedy in Lviv. The comparative method is suitable for use in the analysis of the creative work of choreographers of the Musical Comedy Theater in Lviv, because such a method provides an opportunity to discover common and different features. The systematic approach allowed us to study this phenomenon comprehensively. The observation method, which was used for a comparative analysis of the activities of choreographers in the post-war years in Lviv with modern ballet activity, revealed the nature and inheritance of the traditions of musical theater. Conclusions. So, the dance became the main axis for the whole drama performance, on which interconnected episodes were strung together in pop and musical theaters. The introduction of choreography into theatrical performances by the choreographers released the energy, musicality, plasticity contained in it, and endowed the performance with dynamism. The dance introduced into the musical theater became the starting point for the use of dance in the cinema, avant-garde ballet, performances, installations and so on.All this was subtly felt and skillfully used in their activities by the choreographers of the Lviv Musical Comedy Theater O. Opanasenko, I. Brzhinsky, B. Tairov, N. Denson. It is pleasant to realize that the results of their activities and their choreographic inventions used in musical performances certainly found their response in the activities of theatrical choreographers of Ukraine in the modern environment. We consider the prospects for further research in the study of biographical facts from life, from the legacy of the work of choreographers of Lviv theaters of the 20-21 centuries. All this will provide an opportunity to determine the basis for the formation of the theater-choreographic school of Lviv in particular and Ukraine as a whole.