The article examines the choreographic embodiment of Pushkin’s poem "The Fountain of Bakhchisaray" in the ballet of the same name, the which not only started the ballet Pushkiniana in the 1930s, but also marked the birth of a new direction in ballet - choreodrama. The transformation of a literary text into a choreographic one is considered in the article as an intersemiotic type of translation, according to the classification of R. Jacobson. The purpose of this work is to show how the language of choreography turned out to be optimal for the stage interpretation of Pushkin’s poem, and the ballet itself became the pinnacle and example of the direction of choreodrama. This became possible as a result of the translation of Pushkin’s text into a ballet play by the libretto author N.D. Volkov, director S.E. Radlov, as well as careful treatment of the original source by the composer B.V. Asafiev, who managed to hear the era through Pushkin’s poem, and choreographer R.V. Zakharov, who relied on Stanislavsky’s system when translating a literary text into the language of choreography. Research methods are determined by the interdisciplinary nature of the analyzed material. Interdisciplinary and general philological descriptive research methods are used. The material of the article confirms the idea of the literary-centricity of the Russian ballet theater. At the same time, the choreographic reading of a work of art as a phenomenon of intersemiotic translation involves various types of interpretation.
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