Становлення народного танцю в системі художньої самодіяльності Радянського Союзу у 20-х – 30-х роках ХХ століття

Abstract

У статті досліджено становлення народного танцю в системі художньої самодіяльності Радянського Союзу у 20-х – 30-х роках ХХ століття. Розглянуто шлях перетворення фольклорних форм танцювального мистецтва і танцюристів-одинаків в державні організації професійних та самодіяльних хореографічних колектив. Проаналізовано тенденції впливу професійного хореографічного мистецтва на аматорське. Охарактеризовано ідеологічну забарвленість державних програм, що сприяли становленню та розвитку національного хореографічного мистецтва.

В статье исследовано становление народного танца в системе художественной самодеятельности Советского Союза в 20-х – 30-х годах ХХ века. Рассмотрен путь преобразования фольклорных форм танцевального искусства и танцовщиков-одиночек в госудавственные профессиональные и самодеятельные хореографические коллективы. Проанализированы тенденции влияния профессионального хореографического искусства на аматорское. Охарактеризованы идеологические окраски государственных программ, которые способствовали становленню и развитию национального хореографического искусства.

The article studies the formation of folk dance in the system of artistic amateur performance of the Soviet Union in the 20th – 30th years of the twentieth century. The October coup of 1917 was a turning point in many spheres of life of the former Russian Empire, which included Ukraine. Global changes also took place in the structure of the choreographic culture of the new state. Among the tasks of cultural construction, which were put forward by the Soviet authorities immediately after October, an important place was devoted to the upbringing of the human body. At the same time, the issues of education by means of dance, rhythmoplastic, theatrical, and game improvisation were actively discussed. Interest in systematic aesthetic gymnastics, free dancing, acrobatics during these years was extremely large, which was manifested in the creation of a large number of circles of similar orientation in educational institutions (schools, institutes, etc.). The way of transformation of folk forms of dance art and dancers-singles into state organizations of professional and amateur choreographic teams is considered. Proletcult’s theoreticians attributed classical ballet to the entertaining culture, as well as urban dances. Attempts to ban “dance” in clubs did not succeed. In 1927–1928, the place of dance in the club’s artistic ambitions significantly changed. Many clubs created dance groups, vocal-choreographic ensembles, among which there were ensembles of national minorities. The tendencies of influence of professional choreographic art on amateur ones are analyzed. A significant phenomenon in cultural life was the All-Union Festival of Folk Dance, which took place on November 14–18, 1936 in Moscow. It was attended by only amateur dancers (singles and groups), adults and children, with the performance of national dances. After the festival at the state level, creation of new and development of existing professional groups working in the field of folk-stage dance was supported, next year the State ensemble of folk dance of the USSR under the leadership of Igor Moiseyev was organized. The professionalization of folk dance art, directly related to artistic amateur activities, was accompanied by the further development of amateur folk dance groups. The ideological color of state programs has been characterized, which contributed to the formation and development of national choreographic art. In Soviet times amateur dance groups imposed strict regulations on party and administrative apparatus, which tried to make all art an instrument of ideological struggle. Therefore, one of the main functions that was supposed to perform artistic amateur was propaganda. People’s stage choreography was intended to manifest the best social system in the world, a new Soviet man, inviolable friendship of peoples, social optimism, and so on.