THE SPECIFICITY EMBODIMENT OF THE HOPAK GENRE IN OPERA AND DOMESTIC DANCE PRACTICE

Abstract

The purpose of the article. The article deals with the specific features of the implementation of the hopak dance genre in such a complex stage form of musical art as an opera and certain signs of its existence in domestic practice. The research and comparison of the implementation of the hopak in the opera, its use as a means of revealing an image in ballet performances and the characteristic features of various domestic variants provides an opportunity to analyze a number of issues directly related to this problem. The methodology. Historical, comparative and analytical methods have been applied to provide an opportunity to reveal the essence of differences in the implementation of the dance genres in stage forms of musical art and their domestic genre analogues. The scientific novelty is to consider the influence of the category of stage effectiveness on the specifics of the dramaturgy of the hopak dance genre. Considering an example of the well-known Ukrainian operas by S. Hulak-Artemovsky and M. Lysenko, a stage variant of a dance, which involves clarity, technical perfection of movements, artistic completeness of the composition, was analyzed. The hopak in domestic performance is characterized by improvisation of the interpretation of time and movements, freedom of sequence of specific dance figures that are born directly during the performance of the dance without prior training. Conclusions. A heroic historical tradition and the natural attraction of the Ukrainian ethnos to martial arts are decisive factors in preserving the popularity of the hopak dance genre. A common feature of different variants of this dance is the common basis of the meter and rhythmic structure of the dance – an anapaest foot of a free character. The stage hopak is a complex, multi-component, artistic and imaginative phenomenon. The hopak, performed in everyday life, is an eternally moving living element of ingenuous creativity, not subject to any systematization and any conditional framework. Characteristically, in any variant of the hopak, signs of the dance competition are clearly revealed. The stylistic nature of the implementation of movements depends directly on such factors as stage effectiveness, and in the common variety the geographic affiliation is also of prime importance.