Український танець «гопак» – обробка фольклорного першоджерела чи стилізація?
Ukrainian Dance "Hopak" – Processing the Folklore Primary Source or Stylization?

Summary/Abstract: Purpose of the article is to reveal the features of modern folk-stage forms of the hopak in the aspect of connections with the folklore source. Methodology. The methodology is based on a combination of the historical and chronological principle, methods of systematization, art criticism analysis. Scientific Novelty. Scientific novelty consists in revealing the peculiarities of the interconnection of folk-scenic versions of hopak's dance with folklore sources, namely, the creation of a hopak based on the general lexical fund of the male dance of Central Ukraine and the elements of figurative filling that are inherent in the folklore source. Conclusions. The absence of a universal system for fixing dance phenomena, a high degree of improvisation of the hopak did not contribute to the preservation of folklore sources. It is justified to single out stylization of the second order – an imitation of composition and style features of the "Hopak" by P. Virsky, the evolution of which occurred from the production by P. Virsky and M. Bolotov of "Hopak" in S. Gulak-Artemovsky's opera "Zaporozhets za Dunai" (1936) through the variant of "Hopak" by Virsky and Bolotov from the "Ukrainian Suite" in the first program of the State Folk Dance Ensemble of the Ukrainian SSR of 1937 until the subsequent editions of P. Virsky, as a result of which the work acquired a compositional form, is preserved in the repertoire of H the national deserved academic dance ensemble of Ukraine named after P.Virsky and is a model for staging interpretations for many years. In modern culture, "Hopak" acts as a kind of "archetype," in the world it is associated with the Ukrainian nation and has also become an emblematic symbol of the Ukrainian folk choreographic culture.

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