Professional folk dance ensembles

Professional ensembles folk dance: ensemble I. Moiseyev; dance theater "Gzhel"; Ensemble N. Nadezhdina "Birch"; folk dance ensemble at the choir. Pyatnitsky

Completed by a student of grade 7

Novikova Ksenia

Folk Dance Ensemble I. Moiseyev

The State Academic Folk Dance Ensemble named after Igor Moiseyev is a choreographic ensemble of folk dance, created in 1937 by choreographer and ballet master Igor Alexandrovich Moiseev. The GAANT named after Moiseev is the first professional choreographic collective in the world engaged in the artistic interpretation and promotion of dance folklore of the peoples of the world, including Jewish, Mexican, Greek dances.

Team History

The GANT named after Igor Moiseyev was founded on February 10, 1937, on the day when the first rehearsal of a troupe of 30 people took place in the Moscow house of the choreographer at Leontievsky pereulok, house 4. The task that Moiseev posed for the young artists was to creatively process and present on the stage the samples of folklore of the USSR that existed at that time. For this purpose, the members of the ensemble went on folklore expeditions around the country, where they found, studied and recorded disappearing dances, songs and rituals. As a result, the first programs of the dance troupe were "Dances of the peoples of the USSR" (1937-1938) and "Dances of the Baltic peoples" (1939). Since 1940, the ensemble had the opportunity to rehearse and perform on the stage of the Tchaikovsky Hall, it was this theater that became the home of the collective for many years.

The ensemble's repertoire consists of about 300 choreographic works created by Igor Moiseyev since 1937. By genre, all dances are divided into choreographic miniatures, dance paintings, dance suites and one-act ballets. Themed dances are combined in the series “Pictures of the Past”, “Soviet Pictures” and “In the Countries of the World”.

Dance Theater "Gzhel"

The Gzhel Theater is a collective image of Russian beauty, high examples of national culture.

Vladimir Zakharov, the first of the choreographers, addressed the topic of folk crafts, and a miracle appeared - the Gzhel Dance Theater.

The ballet troupe of the Gzhel Dance Theater, the only one in the country and the world that works in three areas of choreography: folk, ballet, music hall. For 23 years of work V.M. Zakharova in the theater, thanks, above all, to his talent, capacity for work, professionalism, and organizational skills, the Gzhel Dance Theater has become one of the leading choreographic groups in the country.

In 1999, by order of the Ministry of Culture of the Russian Federation, Moscow state theater dance "Gzhel" awarded the title of "Academic".

Ensemble N. Nadezhdina "Birch"

The State Academic Choreographic Ensemble "Birch" is a choreographic ensemble of Russian folk dance, created in 1948 by Nadezhda Sergeevna Nadezhdina.

The name of the ensemble is taken from the first production of the Russian girlish dance “Birch” (1948).

For thirty years, Nadezhda Sergeevna was the artistic director of the team and never backed down from her words. Perhaps this also to some extent explains the phenomenon of "Birch", which very quickly became one of the peculiar and beautiful symbols of Russia. Initially, the team was female (until 1959) and the first performance of the group with the same dance took place at the Hermitage Theater in 1948 and was a resounding success. In the future, N. S. Nadezhdina delivered such masterpieces of Russian folk choreography as: Waltz “Birch”, “Swan”, “Chain”, “Spinner”, “Sudarushka”, “Big Cossack Dance”, “Balagurs”, “Festive Dance” "," Bachelors "," Siberian Suite "," Coachmen ", triptych" Russian Porcelain ", a cycle of choreographic compositions" Seasons "and others. Nadezhdinsky "Birch" was a real discovery in the stage embodiment of Russian folk dance. She is the ancestor of not only a very special ensemble, but also a new style in modern choreography.

Folk Dance Ensemble at the Choir named after Pyatnitsky

Mitrofan Efimovich Pyatnitsky (1864-1927) became the ancestor of folk choral singing on the professional stage and the organizer of the first Russian choir in Russia.

More than 400 songs recorded on an old roll phonograph have been preserved in the archives of Mitrofan Pyatnitsky. Pyatnitsky was so subdued by folk artists that he had a dream to show the Russian song in its original form on the concert stage, as it had sounded for centuries.

The first concert of the band took place on March 2, 1911 in Moscow on the stage of the Noble Assembly. The peasants appeared before the public - directly from the ground, from the plow, from the rubble. The initial composition consisted of eighteen people from three middle Russian provinces. And until the early 1920s, singers were invited to concerts in Moscow, and then they returned to their villages. Only 10 years later, Mitrofan Pyatnitsky moved the choir members to reside in the capital, and they began to perform in constant composition.

Introduction

The history of folk stage dance as a separate type of stage art

Folk Dance Ensembles

1 State Academic Folk Dance Ensemble named after Igor Moiseyev

3 State Academic Folk Dance Ensemble of the Republic of Bashkortostan named after Fayzi Gaskarov

Conclusion

List of references

application

Introduction

Dance is fraught with great wealth for successful artistic and moral education, it combines not only the emotional side of art, brings joy to both the performer and the audience - the dance reveals and develops spiritual strength, fosters artistic taste and love of beauty.

In this regard, folk dance has become an invaluable treasure, showing life, basic activities, traditions, events taking place in people's lives. Learning folk dance, we travel the planet. Thanks to this type of art, one can visit any corner of the world, get acquainted with the history of this region, learn the national features of this territory, and for this it is not necessary to cross the ocean to overcome great distances.

I think the topic of my term paper is very relevant, as in our country, folk dances have been and remain very popular among choreographic groups. Most choreographers often turn to folk-dance in their work, having in their repertoire both Russian folk dances and dances of the peoples of the world.

The object of research is the folk dance - as the basis of the folk stage

The subject of the research is folk dance ensembles in Russia.

The purpose of the work is to study the history of the emergence of folk dance, to trace the formation of folk stage dance as a separate type of choreographic art by the example of folk dance ensembles such as the State Academic Folk Dance Ensemble named after I. Moiseev, State Academic Ensemble "Birch" named after N. S. Nadezhdina and the State Academic Folk Dance Ensemble of the Republic of Bashkortostan named after Fayzi Gaskarov.

To analyze the literature on the research topic.

Trace the historical basis of folk stage dance.

To consider folk stage dance as a special genre of stage choreography using the example of the I. Moiseyev folk dance ensemble, the N. B Nadezhdina ensemble “Birch” and the F. Gaskarov folk dance ensemble.

The methodological basis of the work was the works on the theory and history of choreography by such authors: Valukin EP, Inozemtseva G.V., Chizhova A., Nadezhdina N.S., Moiseev I.A., Chudnovsky M., Bagumanov A.I. , Faizova F.A.

The structure of the work. Course work consists of an introduction, two chapters, conclusion, list of references and applications.

In the first chapter, the history of the emergence of folk stage dance is examined and its definition is given.

The second chapter describes the history of the appearance and stage activity of three well-known groups. This is the State Academic Folk Dance Ensemble named after Igor Moiseyev, the State Academic Ensemble "Birch" named after N. S. Nadezhdina and the State Academic Folk Dance Ensemble of the Republic of Bashkortostan named after Fayzi Gaskarov.

In conclusion, the results of the study are presented.

The application displays the entire repertoire of the described groups.

1. The history of folk stage dance as a separate type of stage art

Dance is the oldest and richest type of art: a very interesting, multifaceted, vibrant, carrying a huge emotional charge.

Dance was one of the first languages \u200b\u200bin which people could express their feelings. Over time, the art of dance began to acquire characteristic features inherent only to the tribe, and subsequently the nationality that inhabited these territories.

The art of dance, mastery and originality were honed and polished, because in the dance people could express pain and joy, respect and fearlessness. Dance developed along with the man. Man developed along with the dance.

Dance allows you to create a kind of atmosphere, the rhythm of communication and itself acts as a language of communication. This nature of the dance, laid down even at its inception, receiving diverse forms, remains unchanged. Over time, the art of dance developed, a variety of forms and styles was singled out in separate forms. Such as: classical dance, historical household, pop, ballroom, modern. Among all this diversity, folk dance was and remains one of the main types of choreographic art.

In turn, folk dance can be divided into folk, folklore and folk stage.

Folk dance is a folk dance, which is performed in its natural environment and has certain traditional movements, rhythms, costumes, etc.

Folklore dance is a spontaneous manifestation of feelings, moods, emotions, performed primarily for oneself, and then for the audience (society, group, society).

The emergence of the school of folk dance was preceded by a long historical path.

Folk stage dance gradually gained its autonomy in theatrical art. It was a path of censure and recognition, ups and downs.

Initially, you should determine what we mean by folk stage dance.

Folk stage dance:

a) in a holistic sense, this is a folk dance and its interpretation within the framework of the stage space and according to the laws of theatrical action.

b) structurally, the term reflects the styles of performance associated with the environment of origin and existence: folk (household, folklore) with traditions of performance and national diversity; stage (born in the bowels of the ballet performance), in its accuracy, coordination perfection, assuming a strong foundation of the school classical dance.

Folk stage dance can be defined as a historically developed, stable system of expressive means of choreographic art in the stage interpretation of the variety of dances that have developed over the course of several centuries among many nations.

However, among choreographers-practitioners and theorists, as well as critics and ballet lovers, there is no consensus on the terminology associated with the stage practice of folk dance. In discussions, historical essays, memoirs, textbooks, attempts have been made to find a common definition. Depending on professional experience, aesthetic views, awareness of the issue under discussion, a number of mutually complementary or mutually exclusive concepts arose: “characteristic”, “folk-characteristic”, “folk academic”, “stage-folk”, “characteristic classic”. The most stable of these are “characteristic” and “folk stage”.

The concept of “characteristic dance” has the origins of its origin, as well as the shades of the phenomena characterized by it.

Let us turn to the process of formation and qualitative transformation of folk dance in our country from ancient times to our time.

The development of folk dance is closely connected with the whole history of the people. Each new era, new political, economic, administrative and religious conditions were reflected in the forms of public consciousness, including folklore. All this brought with it well-known changes in the life of a Russian person, which in turn left its mark on the dance, which, over the centuries-old path of its development, was repeatedly subjected to various changes. The evolution of dance forms took place, old ones died and new types of dance arose, its technique was enriched and modified.

Already at an early stage of paganism, during the formation of the Eastern Slavic tribes, there are folk games or gatherings where a tribe, clan or several tribes or clans met. Deifying the sun, thunder, lightning, rivers, fire, stones and other objects, the Slavs worshiped them. The whole surrounding world was perceived by them in concrete animated images. At games, the Slavs had fun and performed rituals to appease nature, which, according to their concepts, consists of many powerful creatures-gods and spirits. These rituals were accompanied by games, round dances, playful dances, singing, playing musical instruments and spells.

The ancient Slavs were engaged in agriculture, hunting, they were peaceful, hospitable people and almost did not know warlike dances. In pre-Christian Rus games were widespread, the character and content of which left their mark on the agricultural life of the Slavs. These games were timed to coincide with pagan calendar holidays: Semik - a holiday associated with spring agricultural work - sowing; oszhinki, ospozhinki - the end of the harvest, harvesting; Autumn - seeing off summer and the meeting of autumn; carriage - a winter holiday; rainbow, Rusal - winter-summer holidays in memory of the dead, or commemoration of the dead; Yarilin day - holiday of the sun - Yaril; tausen - New Year and etc.

The introduction of Christianity as an official state religion entailed a change in the nature of the gesture in the dance, new ones began to appear. dance moves. During this period, some of the pagan rites die off, while others, having lost their original meaning, pass into games.

X-XI centuries - The period of bright prosperity of the Central Russian feudal state, its culture, art. This period is also characterized by a great upsurge in the creativity of the people. The description of round dances, dances, songs, which are an integral part of folk holidays and princely feasts of that time, is preserved in chronicles, oral folk art - epics, fairy tales, as well as in drawings and frescoes.

A large role in the development, improvement and popularization of Russian folk dance was played by buffoons. They were the first professional performers of Russian dance, the buffoons not only maintained the traditions of dancing, but also complicated its drawing, vocabulary, perfected the technique of execution, composed individual movements, and sometimes entire dances, brought a vivid playing element to their performance.

Since the end of the XVII century. The Russian state is entering a new period of its development. This era is associated with the name of Peter. Art, in particular dance, takes on a secular character. Assemblies are being introduced that marked the beginning of public balls in Russia, and with them new European orders and new rules for secular treatment, which were regulated by the tsar himself.

The obligatory program of the Peter's assemblies included various European dances: a minuet - French dance, Polish - like polonaise, English - English, a dance composed in the time of Peter the Great, such as German grospater, etc. Everyone should have known new dances, they were taught both in educational institutions and in private schools. The spread of new secular dances was also facilitated by foreign artists, traders, military and numerous foreign masters living in Russia.

Peter’s decrees establish the rules of conduct not only at receptions and assemblies, but also at family parties and weddings. These rules, consisting of sixty-three paragraphs, were printed in a special manual for the education and upbringing of the children of the nobility entitled "Youth an honest mirror, or Testimony to the everyday routine." The rules also spoke about behavior during dancing.

Along with dances, secular music was included in everyday life, which was no less significant event, as it testified to the growth of musical culture in the country. Interest in dancing grew more and more. The first dance teachers appeared - dance masters who were discharged from abroad. They not only taught to dance, but also to educate students.

Russian state in the XIX century. goes through the process of its development. The working class appears, the class struggle intensifies, the revolutionary protest of the people and their national identity grows. The development of capitalism in Russia, the formation of the working class, the growth of cities and urban populations with the formation of new social groups in them - artisans, philistines, small-scale employees, urban servants, etc. - violation of the patriarchal family life - all this could not but affect folk art, in particular in Russian folk dance, in its content and artistic form. Workers and small servants, urban servants, students and clerks bring their character, gestures, facial expressions, and their manner of performance into the dances they perform. Many dances and round dances of this time are connected with carrying out working t-shirts and with city festivities. There are city and factory square dance, new dances - “box”, “polka-butterfly”, “tustep”, etc.

The development of professional ballet theater has greatly contributed to the popularization of folk dance on the theater stage, trying in every possible way to find a worthy place for it.

Many choreographers included themes of folk dances in their ballets, the place and role of the characteristic dance in the ballet either expanded or narrowed, according to the aesthetic requirements of a particular era. It could be an effective basis for the whole performance, it could fall out of action, retaining only the rights of the insert number.

Each era in the history of Russian choreography put forward not only brilliant masters of the classical style, but also gifted performers and folk dance.

A huge contribution to the development of a characteristic dance was made by A. Gorsky

Destroying the traditional symmetry of building dances, he turns the corps de ballet into a living mass, individualizing each character. Gorsky enriches the vocabulary of classical dance at the expense of character and widely introduces folk dance into the play. In 1914, he showed the program "Dances of the Peoples", which included theatrical dances of various nations.

Also the most important stage in the development of a characteristic dance was the work of N. Fokin at the beginning of the 20th century, who created entire characteristic ballets and approved the principles of choreographic thematism in them.

To M.M. Fokine (1880-1942) folk dance in ballet was only an insert number. M.M. Fokin creates a characteristic dance-suite “Aragonese Hota” to the music of M.I. Glinka, that is, unites a dance group with one compositional thought. He puts on the performances of Sheherazade, Stenka Razin, and Islam, which are entirely based on the characteristic genre. Characteristic dance M.M. Fokine was different from the dances of his predecessors.

At M.M. Fokina folk stage dance becomes expressive, expanding its plot capabilities. The true masterpiece was Polovtsian Dances from A.P. Borodin "Prince Igor".

All this, of course, served as a serious prerequisite for the future birth of folk dance ensembles.

In the XX century. A group of great masters, connoisseurs of folk art, choreographers, teachers, and performers appeared. people appeared - ethnochoreologists. Everyone knows these names: K.Ya. Goleizovsky, I.A. Moiseev, N.S. Nadezhdina, P.P. Virsky, F, Gaskarov, M.S. Godenko, O.N. Knyazev, I.Z. Merkulov and others.

It was these masters of folk choreography that folk dance folklore was collected, studied and processed, gaining a new life not only within the stage, but also in the hearts of the audience. Having moved to the stage, the folklore dance not only could not look and play in its original form, but the qualitative level of its performance should have looked a bit different than before.

As a result of the emergence of a number of professional folk dance ensembles as an independent type of choreographic activity, the term "folk stage dance" appears. Being the receiver of the characteristic dance that arose as a result of the division of stage dance into two independent branches, folk stage choreography absorbed the best from his evolutionary experience, while enriching himself with samples of multinational dance culture and being in close interaction with other types of dance and music.

In 1937, the first such ensemble was created. The tasks of the folk dance ensemble were precisely formulated by the creator of this ensemble. Igor Alexandrovich Moiseev. “The tasks of the ensemble,” he wrote, “are to create plastic images of folk dance, weed out everything that is unnecessary and foreign to him, raise the performing skills of folk dances to the highest artistic level, develop and improve a number of old dances, and creatively influence the process of formation of folk dances.”

Over time, new folk dance ensembles began to appear in every republic for every nation in our country. The dance groups of the Pyatnitsky Choir, the Ural Choir, the Birch ensemble, the Ukrainian ensemble led by P. Virsky, the Georgian ensemble, led by I. Sukhishvili and N. Ramishvili, know the whole world and appreciate their bold creativity, artistry of form and inner trepidation.

There are three main ways to stage the performance of folk dance in the ensemble.

The first is the stage performance of folklore dance.

The second is the creation of a dance based on traditional choreographic techniques, elements, compositions of drawings, characteristic features of plasticity and manner of performance.

The third is the use of the most common stylistic features of the folk source in creating a modern stage choreographic work.

It seems that all three areas of activity: of any collective of folk stage dance make up the optimal process that allows you to build up the expressive wealth of stage folk choreography, correlating them with the folklore of the people, on the one hand, and the pulse of time - on the other.

Folk-stage dance has come a long way, in the process of its formation, starting from ancient times and has come down to our time as a holistic, expressive, showing the characteristics of folk culture dance. Folk stage dance moved into professional and amateur spheres of choreography, became the subject of research by art historians, teachers, musicians, choreographers, as well as one of the main educational disciplines in the training of specialists of various levels and types of activity, from performers to teachers and choreographers.

2. Folk dance ensembles

2.1 State Academic Folk Dance Ensemble named after Igor Moiseyev

This year, the ensemble celebrated its 75th anniversary, 75 years of successful work by the collective organized by Igor Alexandrovich Moiseev in 1937.

I.A. Moiseev was born on January 21, 1906 in Kiev. Father - Moiseev Alexander Mikhailovich. He studied dance in Moscow - first in the private ballet studio of V.I. Masolova (1920), then at the Choreographic College of the State Academic Bolshoi Theater in the class of A.A. Gorsky (1921-1924).

In 1933 he graduated from the University of Arts. After graduating from college he was accepted into the ballet troupe of the Bolshoi Theater (1924-1931), then became his soloist (1931-1937). At the Bolshoi Theater, he could become one of the leading soloists: his first roles in the theater were the roles of Raul in Theolind, Mato in Salambo, Joseph in Joseph the Beautiful and others. But he was attracted by the idea of \u200b\u200bcomposing dances himself. Already at 24 years old, in 1930, while remaining a ballet dancer, he became a choreographer: at first he was the director of dance suites in the opera performances Carmen, Demon, Love for Three Oranges, Turandot, and in 1930 he the “Footballer” ballet saved from failure, and soon its bright, original ballets “Salambo” (1932), “Three Fat Men” (1935), “Spartak” (1958) appear on the stage of the Bolshoi Theater. His work on the dramatic stage, in collaboration with the Vakhtangovites, were the events of theatrical Moscow.

In the 20s and 40s, the government instructed the young choreographer to stage physical parades, mass sports and dance events. In these years, Igor Moiseyev’s interest in folk art has been growing - on foot and on horseback he traveled all over the Pamirs, Belarus, Ukraine, the Caucasus, collecting images of dance folklore. His interest did not go unnoticed - in 1936 he became the head of the choreographic part of the Theater of Folk Art and soon staged the 1st All-Union Festival of Folk Dance. The success of these undertakings set the stage for the creation of the country's first professional folk dance ensemble.

An outstanding artist, Igor Moiseev is a pioneer in art. He created a new genre of stage choreography - a bright, distinctive Folk Dance Theater. In the modern dance world, the Moiseyev Theater determines the development of the whole folk stage choreography not only in Russia, but also abroad.

“The task of the ensemble,” wrote I. Moiseyev, “is to create classical examples of folk dance, weed out everything that is superfluous and foreign to it, raise the performing skills of folk dances to a high artistic level, develop and improve a number of old dances, and also creatively influence the process of formation of folk dances ".

The first rehearsal of the new ensemble took place on February 10, 1937, and since then the main artistic principles of its development have been the continuity and creative interaction of traditions and innovation. The main task that Igor Moiseyev first set for the artists was the creative processing of folklore patterns that were then in use in the USSR. To this end, the ensemble artists went on folklore expeditions around the country, where they found and recorded disappearing dances, songs, rituals. As a result, the first programs of the ensemble appeared: “Dances of the peoples of the USSR” (1937-1938), “Dances of the Baltic peoples” (1939). In the repertoire of the ensemble, folklore patterns received a new stage life and were preserved for several generations of spectators around the world. For this purpose, Igor Moiseyev used all the means of stage culture: all types and kinds of dances, symphonic music, drama, stage design, acting. I.A. Moiseev said: “We are not dance collectors and do not prick them like butterflies on a pin. Relying on popular experience, we are trying to expand the possibilities of the dance, enriching it with director's invention, the dance technique, thanks to which it expresses itself even more vividly. In short, we approach folk dance as a material for creativity, without hiding our authorship in every folk dance. But our work continues in the nature of the folk dance itself. ”

An important stage was the development and creative interpretation of European folklore. The program “Dances of the Slavic peoples” (1945) was created in unique conditions: not having the opportunity to travel abroad, Igor Moiseev recreated living samples of dance creativity, in consultation with musicians, folklorists, historians, and musicologists. On tour in 1946 in Poland, Hungary, Romania, Czechoslovakia, Bulgaria, Yugoslavia, the audience was amazed at the accuracy of the performances, the true artistic meaning of the stage works of the ensemble. From that time until now, the ensemble has been a school and creative laboratory for choreographers from different countries, and its repertoire serves as a kind of choreographic encyclopedia of dance culture of the peoples of the world. With the direct participation of famous connoisseurs of folklore choreographers Miklos Rabai (Hungary), Lyubusha Ginkova (Czechoslovakia), An Song Hee (Korea), whom Igor Moiseev brought to work, the program "Peace and Friendship" (1953) was created, where European and Asian dance folklore of eleven countries.

The folk dance ensemble is the first Soviet collective to be released on tour during the Iron Curtain. In 1955, the ensemble artists first performed in Paris and London. The triumph of the Soviet dance troupe served as the first step towards international detente. In 1958, the Igor Moiseev ensemble was also the first of the domestic groups to perform in the United States. Successful tours, the American press acknowledged, melted the ice of distrust of the USSR and became the basis for establishing new, constructive relations between our countries.

Another important merit of the Folk Dance Ensemble is the creation of the unique, the only Moses Dance School in the world (1943). Its distinguishing features are high professionalism, masterly technical equipment, and the ability to convey the improvisational nature of folk performance. Acting dancers, brought up by Igor Moiseyev, are widely educated, universal artists who are fluent in all types of dance, able to embody the national character in an artistic image. The dancer of the Moses school is the best recommendation anywhere in the world, in the choreographic collective of any direction. The artists of the ensemble were awarded the titles of Honored and People's Artists of the USSR and Russia.

A vivid expression of the creative principles of educating actors and dancers is the Road to Dance program (Class Concert), which clearly shows the team’s creative path from mastering individual elements to creating full-scale stage paintings. For the program “Road to Dance” (1965), the collective was the first of the folk dance groups to be awarded the title of Academic, and Igor Moiseyev - the Lenin Prize.

For their concert activities, the team was awarded the Order of Friendship of Peoples. From the first foreign tour (Finland 1945), the ensemble has been the unspoken "ambassador of peace and good." The ensemble has rightfully been and remains the hallmark of our country abroad.

On different continents, viewers of different generations fell in love with the ensemble’s “crown” numbers, which became the band’s “calling cards”: the legendary Partisans, the Yablochko naval suite, the old city Kadril, the Moldavian Jock, the Ukrainian Hopak, the Russian dance “Summer”, the fiery Tarantella . The ensemble was very successful in its vivid one-act performances staged by Igor Moiseyev with the use of funds and techniques of world folk and theater culture - Vesnyanki, Tsam, Sanchakou, Polovtsian Dances to music by A. Borodin, On the Rink on music by I. Strauss, “Night on the Bald Mountain” to the music of M. Mussorgsky, “Spanish Ballad” to the music of Pablo di Luna, “Evening at the Tavern” to the music of Argentine composers, etc.

For a record number of tours, the ensemble is listed in the Russian Guinness Book of Records.

And now, after the death of the permanent leader of the ensemble Igor Moiseyev, the choreographic level of the collective still serves as an unsurpassed benchmark, and the title of “Moses” is synonymous with high professionalism.

For over 60 years I.A. Moiseev was the permanent artistic director of the ensemble. Under his leadership, all programs were put on: “Dances of the peoples of the USSR” (1937), “Peace and Friendship” (1953), “Visiting and at home” (1983), and the program “Road to Dance” (1965). Moiseev is also the director of several one-act performances in the ensemble: “Polovtsian Dances” to the music of A. Borodin (1971), “On the ice rink” to the music of R. Strauss (1980), “Night on the Bald Mountain” to the music of M. Mussorgsky (1983) , "Evening at the Tavern" (1986) and many others. In total, the ensemble’s repertoire contains several hundred folk dances - these are paintings, suites, choreographic poems and short stories. From recent works, a suite of Greek dances to the music of M. Theodorakis (1991), a suite of Jewish dances "Family Joys" (1994) should be singled out. Igor Moiseyev's dancers were the first Soviet artists to represent our country abroad: in Finland (1945), China (1954), France (1955), and the USA (1958). The ensemble has successfully conducted tours in more than sixty countries of the world.

Now the team is led by Elena Shcherbakova.

In 1969 she graduated from the Moscow Academic Choreographic School at the Bolshoi Theater. Before the final exams, Igor Alexandrovich invited her to his ensemble as an artist. A few years later she became a soloist, danced in the ensemble for 23 years and, having retired, began teaching at the ensemble school, and in 1994 became the director of the ensemble.

5 years after the choreographer’s death in 2007, the Moiseyev ensemble calls its main task to preserve its unique heritage.

"We must return to the stage all the productions of the master, which are not in the repertoire today, we are trying to preserve the Moisey school of dance, to teach young artists the methodology and repertoire, to educate young tutors within the collective, and also to fill up new interesting dances started by Igor Alexandrovich" Dances of the peoples of the world, "says the director of the ensemble, Elena Shcherbakova.

Following the model of the folk dance ensemble Igor Moiseyev, choreographic groups were created in all the republics of the USSR (now the CIS countries), as well as in many European countries.

2 State Academic Ensemble "Birch" named after N.S. Nadezhdina

folk dance ensemble choreographic

The choreographic ensemble of Russian folk dance, created in 1948 by Nadezhda Sergeevna Nadezhdina, since June 2000, bearing the name of its creator - State Academic Choreographic Ensemble "Birch" named after N. S. Nadezhdina.

In the spring of 1948, Muscovites saw a girl’s round dance “Birch” staged by N. S. Nadezhdina to the music of the folk song “There was a birch in the field”. At that time, prefabricated concerts in the theater were very popular in Moscow. There were not only pop luminaries led by Utesov, but also opera singers, ballet and circus performers. And in May 1948, among this starfall, a round dance of lovely girls in red sundresses with birch branches in their hands suddenly appeared - they both sailed and bewitched. The next day there was only talk: they saw Birch ? The result was immediate: Nadezhdin was invited to the highest authorities and offered to lead the state folk dance ensemble.

Sixteen unknown girls from Kalinin conquered the Moscow public with a single speech and, together with their leader Nadezhda Nadezhdina, suddenly turned from an amateur group into a professional state.

The team got the name "Birch", we can say that it was called by the public, who saw their performance in the Hermitage.

The "Birch" immediately became popular. Her frequent trips to the Soviet Union were followed by triumphal success. A tour abroad brought world recognition. The creations of Nadezhda Nadezhdina enthusiastically applauded on all continents of the planet. During the Cold War, the foreign press wrote about the ensemble’s performances as a “fiery sensation” and testified that the art of “Birch”, humane and spiritualized, “awakens good feelings and faith in brotherhood between people.” Back in 1959, the World Council of Peace Supporters awarded the Birch Gold Medal of Peace.

Nadezhda Nadezhdina, a man of the highest culture and erudition, she knew well what riches lurk in the work of the Russian people and saw this through the eyes of the poet. She was able to create a real Russian miracle, in which, in addition to virtuoso dance performance, there is a sincere love for rich national roots.

Most of the spectators who have already visited the concerts of the Berezka ensemble note the special atmosphere of Russian art, as if they were watching not dances, but the very history of performing folk art of Russia.

“At the center of any of our work, whether it be a lyrical dance or a fun dance, is the poetic image of a Russian girl ... We want to reflect the purity and grandeur of Russian folk art as brightly as possible. This is a source of inspiration for our ensemble, ”said N.S. Nadezhdin.

All the years that Nadezhda Sergeevna was the artistic director of the collective and never ever backed down from her words. Perhaps this also to some extent explains the phenomenon of "Birch", which very quickly became one of the peculiar and beautiful symbols of Russia.

Initially, the team was female, but in 1959 this principle was violated. It was very difficult for N. Nadezhdina to take this step, since there were many opponents.

And 10 years the ensemble existed as a purely female. But a constant round dance makes the viewer tired, it becomes a music hall and, besides, when there was only a female group, they made such quick movements in dances that imitated almost male movements - hooking, something else. Moreover, the female team could dance only the forerunner of love, the expectation is neither genre scenes, nor any plot numbers, the scope is very limited. And Nadezhdin invites a number of men. And the hardest dance Troika she put two men. Later Carousel . Men entered both ready-made and new productions. This is humor, enthusiasm, grotesque, this is an epos, these are tales, these are epics - everything you want. Nadezhdina has created a completely new genre. And for this we need not only beautiful young ladies - emotional, but also men. At the same time, musicians appear in the group.

People's Artist of the USSR, USSR State Prize Laureate, Hero of Socialist Labor N.S. Nadezhdina enthusiastically led her brainchild for more than 30 years until the last days of her life. Such masterpieces of Russian folk choreography as: Waltz “Birch”, “Swan”, “Chain”, “Pryalitsa”, “Sudarushka”, “Big Cossack Dance”, “Balagurs”, “Festive Dance”, were staged by N. Nadezhdina, “Bachelors”, “Siberian Suite”, “Coachmen”, triptych “Russian Porcelain”, a cycle of choreographic compositions “Seasons” and others. Nadezhdinsky "Birch" was a real discovery in the stage embodiment of Russian folk dance. She is the ancestor of not only a very special ensemble, but also a new style in modern choreography.

Nadezhdinsky masterpieces still occupy a central place in the collective repertoire. This is primarily the merit of the current artistic director and chief choreographer of the ensemble, people's artist of the USSR and Ukraine, professor, academician M.M. Ring. Mira Mikhailovna took the baton right from the hands of her beloved Teacher: the leading soloist of the ensemble became a worthy heiress and successor to N.S. Nadezhdina. She not only preserved, but also increased the creative credo of the founder of the ensemble.

Mira Mikhailovna Koltsova graduated from the ballet school of the Bolshoi Theater and GITIS. Since 1957 - soloist, since 1980 - artistic director of the State Academic Folk Dance Ensemble Birch them. N.S. Nadezhdina. In 1960, she starred in the title role in the film. Girl spring . People's Artist of the USSR and Ukraine, Professor of Moscow University of the Arts, Knight of the Order For Merit to the Fatherland III degree, prize winner Dance knight .

M. Koltsova carefully preserves the creative heritage of the founder of the ensemble, successfully develops and multiplies it. Her productions: round dance “Rainbow”, “Lacemakers”, dance “Razdolnaya”, folk stage “Parsley”, dance and game performance “Moscow Court” - the continuation of the Nadezhda style.

"Birch" gave concerts in more than 80 countries: USA, Japan, France, South Korea, Colombia, Argentina, Chile, Venezuela, Greece, China, Italy, North Korea, Turkey, Switzerland, Belgium, Croatia, Serbia, Poland and etc. More than 80 countries of the world had the opportunity to enjoy a magnificent performance - a demonstration performance of the dance ensemble "Birch". Without exception, the audience gives only the highest, best reviews about the ensemble, they wish to at least once again get to the choreographic concert.

3 State Academic Folk Dance Ensemble of the Republic of Bashkortostan named after Fayzi Gaskarov

The Bashkir State Dance Ensemble is one of the leading professional choreographic groups in Russia. It was created on March 11, 1939. The founder, inspirer and artistic director of the ensemble during the first three decades was a talented choreographer, student of Igor Moiseev Fayzi Adgamovich Gaskarov. A subtle connoisseur of Bashkir folk dance, his passionate propagandist, at that time one of the leading artists of the Bashkir Opera and Ballet Theater. A subtle and deep artist, Fayzi Adgamovich correctly guessed the essence of the Bashkir folk dance, made it close and understandable to people of different nationalities. At one time he worked as an assistant to the leader of the world-famous folk dance ensemble of the USSR I.A. Moiseev. It was then that he had the bold dream of creating such a team in his homeland in Bashkortostan. Having returned home, he began to scrupulously study the dance folklore of his native people, sparing neither his strength nor his time on countless trips to the regions of the republic. He collected, sketched, memorized hundreds and thousands of samples of dancing among the people, revealing features of female and male movements, elements of rural games, ritual and ritual scenes.

Performance in a concert program in Ufa, on the day of the celebration of the twentieth anniversary of the founding of the BASSR, is rightfully considered the birthday of the Gascar ensemble. The first rehearsals of young performers took place on a stage in the Lunacharsky Garden, later in the building of the Bashkir State Philharmonic Society, which included a dance ensemble.

The initial group of dancers was semi-professional, assembled by F.A. Gaskarov of the participants in amateur performances, most come from rural areas. Thanks, in many respects, to very strict selection, the original talent of the performers, already in the summer of 1940 the ensemble went on tour in the districts of Bashkiria and in the cities of Chelyabinsk and Magnitogorsk. The ensemble performed successfully and in July 1941 was to participate in the concert program of the Decade of Bashkir literature and art in Moscow, but the outbreak of war delayed these plans for many years. Military hard times scattered the members of the ensemble, some to the front, some with concerts of folk dances in hospitals, before working people in Siberia, Central Asia, the Far East, Central Russia, and Ukraine. In the postwar years, the folk dance ensemble as part of the Philharmonic went on tour in the Tatars, Chelyabinsk, Tyumen regions, Central Asia, successfully toured in the Primorsky Territory.

A combination of folk dance with ballet plastic, and the creation of their own dance compositions based on folklore brought the "Gascarians" well-deserved success. So, the lyric dances “Zagida”, “Zarifa”, “Gulnazira” set by Fayzi Gaskarov, the dance of the warrior “Baik”, the dance legend “Seven Girls” are still performed by the ensemble and are popular with the audience. In the following decades, new dance masterpieces appeared: “Northern Amurs” about the Bashkir horsemen who became famous in the war with Napoleon, “Tamers”, “On the Farm”, “Kosari”, “Friendship”, “At the Stream”.

The repertoire includes dances of the peoples of our country and the peoples of the world, in it are “Quadrille”, “Moldovenyask”, “Hopak”, “Aragona Hota”, “Yohr”, “Khoro”, “Sirtaki”. In 1955, the ensemble began to travel abroad, and the ensemble soloists took part in folk dance art competitions at the World Festivals of Youth and Students.

The first bright victory at the World Festival of Youth and Students in Bucharest, in 1953, when the soloists of the ensemble Mukhamet Idrisov, Mukhamet Shamsutdinov and Anvar Fakhrutdinov were awarded gold medals for the dance “Three Brothers”, opened the account for the future awards of the ensemble and its individual artists at various international and all-union competitions and festivals. This is the only team awarded the Salavat Yulaev Prize - "for his great contribution to the development and promotion of the Bashkir professional choreographic art and high performing skills."

In 1994, the ensemble won the bronze prize of the festival "Stars of the World" (Turkey).

In December 2005, the Fayzi Gaskarov State Academic Folk Dance Ensemble was awarded the Fame Prize, established by the Russian newspaper Izvestia.

Over the years, individual soloists of the ensemble, the creative team as a whole, have repeatedly become laureates, received prestigious awards and prizes. This undoubted merit of the creator of the ensemble, the constant leader for decades F.A. Gaskarova, as well as other creative leaders who replaced him. Their knowledge, skill, creative talent were in demand. Relying on the best performers, masters of dance, they looked for capable youth, rallying the team, aiming at fruitful creative activity, they put on new dances, tried to carefully preserve the old ones. Generations of dancers changed, but the "Gascar" style of performance, skill remained unchanged.

In 1988, the folk dance ensemble was given the name "Fayzi Adgamovich Gaskarov", in 1996 the title was "academic." Thanks to the speeches of the “Gascarites”, people around the world will learn about Bashkir culture, about Bashkortostan. Only in recent years, the folk dance ensemble toured in France, Italy, Spain, Switzerland, Germany. Turkey, Great Britain, in the countries of Southeast Asia. The famous team is an unchanging participant in significant cultural events of federal scale, regional cultural programs. In 2007, the ensemble moved to its own premises, which meets all the requirements of professional choreographic art.

Today, the illustrious team is the hallmark and pearl of the choreographic work of Bashkortostan. The ensemble’s creative luggage contains more than 150 of the best samples dance artrepresenting the culture of Bashkortostan, Russia and the whole world. The ensemble of ballet dancers employs 70 people. The orchestra consists of 16 people. The creative leaders of the ensemble are Absatarova Guzel Rashidovna and Abdulmanov Rim Salimyanovich.

This year for the ensemble team will be marked by a significant date - the 100th anniversary of Fayzi Gaskarov. The same event was timed to coincide with the band's recent tour to the south of Russia. The first city where Bashkir artists performed was Saratov. Bashkirs from all over the region gathered at the concert of the famous collective. The event was held with the support of the representative of the Republic of Belarus in the Saratov Region Kamil Ablyazov. At the end, the Deputy Chairman of the Government of the Saratov Region - the Head of the Governor’s Office Pavel Lysov handed the team a letter of appreciation “For high performing skills”. Then the dancers visited Rostov-on-Don, Krasnodar, Maykop, Armavir, Stavropol, Essentuki, Elista.

Considering these three well-known collectives, we can conclude that the folk stage dance is very diverse, each collective brought to this genre of choreography something different, individual, inherent only to this collective, which makes each collective unique and easily recognizable throughout the world. The creativity of these groups develops and strengthens the folk-stage choreography as a separate kind.

Conclusion

Over the centuries, one of the universal means of upbringing has been and remains art, representing an integral picture of the world in the unity of thought and feeling, in a system of emotional images. In the process of historical development, art acts as a guardian of the moral experience of mankind. By saving and transmitting true popular movements, we continue to carry our culture.

The use of folk dance as an independent and only expressive means of creating an artistic image according to the laws of stage embodiment and perception makes it possible to most vividly and fully recreate a truly folk color in all the variety of movements, methods of their performance, musical accompaniment, costume, etc.

On the modern stage The school of folk dance is a powerful factor in the evolution of folk dance in its everyday and stage existence.

And of course, the ensembles described in this work made a huge contribution to the development and formation of folk stage dance as a separate type of choreographic art. Considering the different groups of folk dance, we see that they are all unique in their own way.

We will not dispute the global contribution of the Igor Moiseyev Folk Dance Ensemble to the development of world choreography and the promotion of folk stage dance. This ensemble reveals to us the history and culture of the peoples of the world in its numbers, clearly revealing the coloring and peculiarities of a particular nationality, not only in choreography but also in costumes and music.

The ensemble "Birch" brightly reveals our national culture performing folk dances of our country.

And the Bashkirian folk dance ensemble introduces us to the culture of this republic, raising it to a new, high level. And despite the fact that this ensemble has numbers of other nationalities, the Bashkir dances are still the main thread here.

Currently, in our country there are many ensembles of folk stage dance. There is no city in which the ensemble of Russian dance does not exist, all children’s dance groups include folk dances in their repertoire.

And let one choreographer transfer the numbers of other countries and peoples, another takes the basis of Russian folk dance, the history of Russian choreography, the history of Russia as a whole, and on this basis creates a new work, the third takes its national culture, the culture of the Bashkir people, but together they open up the folk stage dance as a separate type of choreographic art.

And we can say with confidence that folk dance is the ancestor of all areas of dance that have been formed over many centuries on its basis. Fashion and the passage of time could not affect him, much less make him completely disappear from the face of the Earth, because he carries the history of the people who created him. Each generation sacredly keeps the memory of their ancestors and cherishes everything that reflects their life.

List of references

Bagumanov, A.I. State Academic Folk Dance Ensemble of the Republic of Belarus named after G. F. Gaskarov // Laureates of the Salavat Yulaev Prize [Text] / A.I Bagumanov, F.A Faizov. - Ufa: Kitap, 1999 .-- 272 p.

Ballet. Encyclopedia [Text]: Encyclopedia. 1981 / ed. Yu.N. Grigorovich. - M.: Soviet Encyclopedia, 1981. - 623 p.

Valukin, E.P. Heritage Issues in Choreographic Art [Text] / E.P. Valukin. - M .: GITIS, 1992 .-- 169 s.

Zyryanov, A.V. Composition and statement of dance; [Electronic resource] Access mode: <#"justify"> Appendix No. 1

Dances staged by Igor Moiseyev

Russian dances: "Glade", "Seasons. Suite of two dances", "Monogram", "Sixer. Ural dance", "Bullied ditties", "Russian dance", "Snowstorm (Snow Maiden)"

Belorussian dances: "Lyavonikha", "Kryzhachok", "Polka" Yanka "," Bulba "," Polka "Mom", "Yurochka (Rural Don Juan)"

Ukrainian dances: "Vesnyanki. Suite" ("Girls exit (Girl’s sorrow)", "Farewell", "Fortune-telling (Scene with wreaths)", "Big dance", "Heel", "Exit of the couple", "Return", " Meeting and Majesty "," Hopak "

Moldavian dances: "Zhok Ulmare (big zhok). Suite" ("Chora (Dance of the girls)", "Chiokirlia (Lark)", "Zhok", "Moldavenenaska", "Koasa (Kosari)", "La Spalat (Laundress) "," Sfredelush (agricultural dance) "," Moldavanochka "," Tricky Makanu. Suite "(" Dance of guys "," Dance of girls "," Declaration of love "," General exit "," Syrba (very fast dance) "," Yula ")

Kyrgyz dances: "Yurt", "Kyz Kumai (Catch a Girl)", "Dance of Kyrgyz Girls"

Uzbek dances: "Buttermilk (Cotton)", "Dance with a dish", "Ugur dance" Safaili "(national rattle instrument)"

Tajik dances: "Girls' dance", "Male warlike dance with a dagger", "Dance with doira (eastern name of a tambourine)"

Kazakh dance Kok-Par

Mongolian dances: "Mongolian riders", "Mongolian figurine", "Dance of the Mongolian wrestlers"

Bashkir dance "Seven Beauties"

Buryat dances (Suite "TsAM" of ten dances)

Dance of Kazan Tatars

Dance of the Crimean Tatars "Black Sea"

Kalmyk dance "Chichirdyk (Soaring Eagle)", "Ishkymdyk (Two Horsemen)"

Ossetian dance "Simp"

Torgut dance

Hutsul dances: "Arkan" (male shepherd's dance), "Dance of a girl and two guys"

Georgian dances: "Kartuli (Lekuri)", "Horumi" (Adjarian dance)

Azerbaijani dances: "Shepherds" (Dance of the Karabakh shepherds), "Desmols" (female dance), "Gazakhs" (male dance)

Armenian-Kurdish suite “Minuki” of four dances

Gypsy dance

Latvian dances (Suite of three dances)

Lithuanian Dances (Suite of Five Dances)

Estonian dances: "Estonian polka through the leg", "Hiu-waltz. Estonian suite of three dances"

Polish dances: "Polonaise", "Troyak", "Oberek", "Krakowyak", "Mazurka", "Polka Labyrinth"

Hungarian dances: арда Chardash ’, Пон Pontozoo’ (Х Flappers ’; dancing with dots with boots on the boots), Про Farewell’, ’Maiden dance with bottles on her head’, Тан Dance with spurs ’

Bulgarian dances (Suite of five dances)

Romanian dances: "Briul", "Mushamahua" (funny mass dance), "Oash dance"

Finnish dance "Comic polka"

German dance "German Waltz"

Chinese dances: "Dance with drums", "Dance with ribbons", "San cha kou" (At the crossroads), Big pantomime "

Korean dance

Yakut dance "Good hunter"

Nanai dances: "Nanai folk game" Fencing on sticks "," The struggle of two kids "(scene)

Chuvash dance

Mari dance

Vietnamese dance "Dance with Bamboo"

Czech dance "Czech polka"

Slovak dance

Greek dances: "Sertaki" (male dance, music of M. Theodorakis "," Girls' dance "," Round dance "," Male dance with fours "," General final dance "

Italian dance "Sicilian tarantella La karetta"

Spanish dances: "The Spanish Ballad", "Aragonese Hota" (music by M.I. Glinka)

Irish dance "Youth"

Yugoslav dances: “Serbian” (Serbian dance), “Kukunesti” (Serbian male dance), Macedonian female dance, “Dziurdevka” (Montenegrin warlike dance), “Villager” (Serbian dance)

Argentinean dances: "Malamba", "Gaucho" (Dance of the Argentine shepherds), "Tavern" (one-act picture)

Mexican suite

Venezuelan dance "Horopa"

Dancing USA: "Square Dance", "Back to the Monkey" (a parody of rock and roll)

CYCLE OF PAST PICTURES

Lyrics near Moscow, City Factory Quadrille, Trepak (music by P. Tchaikovsky from the ballet The Nutcracker), Suite from Ancient Russian Dances, In the Yards, The Boyfriends, Polish Beauty with figures and compliments "," Good-for-nothing merrymaking "," Jewish suite "Family joys" "

CYCLE "SOVIET PICTURES"

“Kolkhoznaya Street”, “Russian Red Army Dance”, “Draftees”, “Partisans”, “Labor Day - Fifteen Dance Fragments”, “Navy Suite Day on the Ship”, “Football” (choreographic scene)

ROAD TO DANCE (Concert Class): "Machine", "Middle", "Walking", "Dance", "Ukrainian Dance", "Hopak-Kolo", "Polka"

ON THE SKAT (music by Johann Strauss): "Waltz of Skaters", "Girl and Boy", "Competitions of the Vertunas", "Parade", "Gallop and the Finale"

NIGHT ON THE BALD MOUNTAIN (In two scenes): "Fair folk music", "Night on the Bald Mountain" (music by M.P. Mussorgsky)

POLOVETSKY DANCE (music by A.P. Borodin): "Khan's Exit", "Captive's Dance", "Boys' Dance", "Archers' Dance", "Riders' Departure", "General Dance", "Shepherds Dance", "Warlike Dance" , "The final"

DANCES FROM THE BALLET "SPARTAK" (music by A.I. Khachaturian): "Bacchanalia", "Exit of the gladiators", "Andobats (Fight in blind helmets)", "Retiars and Mermelon (Fisherman and Fish)", "Battle of the Thracians and Samnites "

Pop number "Polka-labyrinth"

Appendix No. 2

The repertoire of the ensemble "Birch"

Girl dance

“Birch”, “Swan”, “Chain”, “Sudarushka”, “Pryalitsa”, “Severny”, Waltz “Birch”, “Lacemakers”, “Wave my handkerchief”. “Necklace”, “Oh, viburnum is blooming”, Choreographic composition, “Northerner”, “Rainbow”, “Balalaika”, “Remember”, “Song of Labor”, choreographic scene “Parsley”, “Coachmen”

“Flea”, “Carousel”, “Patterns”, “Bachelors”, “Jokers”, “Topotukha”, “Festive dance”, “Dance with a scarf”, “Razdolnaya”, Comic dance “Comic - Heart”, “Komarik” , “Passage”, “Russian Souvenir”, Quadrille “On a die”, “Khokhloma bench”

Choreographic Suites

Siberian Suite

Gatherings

Bear hunt

Dance "Dedicated to the Defenders of the Fatherland"

Russian Porcelain (Triptych)

One-act ballet

"Seasons"

"Northern Lights"

"Maslenitsa"

"Spring dance"

"Quadrille"

"Russian field"

"Troika"

"At the autumn fair"

Moscow yard

"Red round dance"

* Morning walk

“At the inn. Quadrille"

"First meeting"

"Little man with bast shoes"

* Midday fun

"Song of the coachman"

"Skating young"

"The Story of an Old Soldier"

"The melody of the yard"

"Girl with a Basket"

* Evening walk

"Lyric dance"

City Romance

"Quadrille"

Appendix No. 3

Repertoire of the folk dance ensemble named after F. Gaskarov

Dances from the Golden Fund (staged by Fayzi Gaskarov)

"Zarifa", the mountain-Bashkir dance "Gulnazira", the comic dance "Mischief", the Tatar dance "Kosari", the Tatar dance "Spring Stream", the Bashkir lyrical dance "Seven Girls", the Bashkir dance "Tamers", the Mari dance "In the evening wickets ”,“ Amur Cupids ”,“ Hunter ”(“ Perovsky ”),“ Friendship ”, comic Tatar dance“ Bridegroom ”, comic dance“ Three Brothers ”, soldier's dance“ Road of the Fathers ”(post with K. Almukhametov) , lyrical dance "Zagida".

Bashkir dances

Comic dance “Ringing of bracelets”, “French shawl”, “Blooming kurai”, “With kubyzy”, “Azamat”, “Burzyanochki”, “Irandek”, “Dala mono”, choreographic composition “Saptar”, “Song of the herder”, “Coralay - Forest Doe”, “Bashkir Cracow”, Bashkir Dzhigits dance “Copper Heel”, choreographic composition “Berkutistan”, “Youth of Bashkortostan”.

Dances of the peoples of Russia and neighboring countries

“Russian Suite”, Russian dance “Tver Festivities”, “Ural freaks”, “Russian dance”, Belarusian dance “Veselukha”, Ukrainian dance “Hopak”, Chuvash dance “Kariya”, Tatar dance “Play, accordion”, Ingush festive dance, Udmurt festive dance, jewish dance “Shalom”, Altai dance “Kurely”, Koryak dance “Kamchatka sketches”, dance “Kazakh Suite”, Khorezm dance “Lyazgi”, Uighur dance “Echilan Kizilgul”.

One of the most common and ancient types of folk dance is Russian.
... a folk dance, creates different images on the stage in content. This is the choreographic ensemble "Constellation" GOU SPO "Volsk School of Music named.

Introduction

The history of folk stage dance as a separate type of stage art

Folk Dance Ensembles

1 State Academic Folk Dance Ensemble named after Igor Moiseyev

Conclusion

application

Introduction

The object of research is the folk dance - as the basis of the folk stage

The subject of the research is folk dance ensembles in Russia.

To analyze the literature on the research topic.

Trace the historical basis of folk stage dance.

The structure of the work. Course work consists of introduction, two chapters, conclusion, list of references and applications.