Народно-сценічний танець Тернопільщини в хореографічній культурі України радянського періоду
Folk-Stage Dance of the Ternopil Region in the Choreographic Culture of Ukraine of the Soviet Period

Summary/Abstract: Purpose of the article is to identify the main directions of the development of the folk stage choreographic art of the Ternopil region in Soviet times. Methodology. A set of methods has been applied, including analysis of the literary and source base, systematization of facts according to the chronological principle, analysis of the holistic system of choreographic art as a trinity of amateur and professional art, as well as the educational process for the training of choreographers. Scientific novelty. For the first time, the development of folk stage choreography of the Ternopil region of the Soviet period through the prism of national trends was comprehensively meaningful. Conclusions. The main vectors of the development of folk scenic choreographic culture in the Ternopil region of 1945–1991 are identified that correlate with national trends, the main of which are the creation, with state support, of a wide network of amateur dance groups of folk stage dance (Chaika, Chortkiv; Veselka, Pochaiv; Prolisok, Pidvolochysk etc.), the opening of choreographic education institutions with the aim of training personnel for amateur performances and professional dance groups (Terebovlyanska Cultural and Educational School), the creation of professional ensembles of folk stage dance ("Nadzbruchanka", Ternopil). The system of amateur performances and professional folklore stage art has become a means of ideological education within the country and the propaganda of Soviet achievements beyond its borders. At the same time, there were positive trends in the popularization of scenic forms of folk dance, and in some cases, the conservation of certain lexico-compositional structures that were lost in the folklore environment.

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