Concepts of the artistic and pedagogical school of Myroslav Vantukh in developing choreographic education in Ukraine
DOI:
https://doi.org/10.32405/2308-8885-2022-3(105)-2-8Keywords:
Myroslav Vantukh, choreographic education, choreographic pedagogy, national choreographic school, artistic and pedagogical school, ballet master, teacher-choreographerAbstract
The article presents the relevance of the artistic and pedagogical school of Myroslav Vantukh as an outstanding Ukrainian ballet master, teacher, theoretician and practitioner of national choreographic pedagogy, populariser and researcher of Ukrainian folk dance. The stage-creative and pedagogical achievements of the artist in developing choreographic education in Ukraine are analysed. The phenomenon of three-stage choreographic training of performing personnel in the structure of Pavlo Virsky National Honored Academic Dance Ensemble of Ukraine was studied. The leading trends of educational activities of the teacher in the field of Ukrainian folk choreography were summarized.
We define the artistic and pedagogical school of M. Vantukh as reformatory in the formation of concepts of national choreographic pedagogy. In search of ways of stage interpretation of folk dance vocabulary, the choreographer remains consistent in implementing the principles of his outstanding predecessor P. Virsky and approves the author’s methods of choreographic activity. M. Vantukh declares the leading tasks of the ensemble’s creativity to be the popularization of the best examples of national choreography, the reproduction of the uniqueness of Ukrainian dance, its artistic and technical possibilities.
In today’s conditions, the leading professional choreographic team of Ukraine has formed into a real laboratory of choreographic creativity, which has not only artistic, but also pedagogical significance. Under the direction of M. Vantukh, the Ensemble is a model of professional skill, providing a test of the choreographic style of the performers and the choreographic style of the teaching staff. The conceptual directions of ballet master activity, which are formed in the ensemble, are: the awareness of the spiritual value of folk dance art, the actualization of the education of creative youth based on the best national cultural and artistic traditions, the constant improvement of the choreographic vocabulary, the development of its traditional and modernized properties, the approval of the author’s practice-oriented choreographic-pedagogical methods work. Prospects for further investigations will be the detailing of M. Vantukh’s style as a ballet master and choreograph-educator, as well as his multifaceted educational work.
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