In this thesis the complex analysis of P. Chaikovskyi's ballets interpretations of "Sleeping Beauty", "Nutcracker", "Swan Lake" at the end of the XXth – beginning of the XXIst cent. is carried out. These ballets became the academic samples of multi-active performances, canonical classical ballets, undergone numerous editions and, at the same time, they gained an extraordinary popularity throughout the world for postmodern interpretive experiments. An important aspect is the correlation of traditions and innovations, both in the context of the overall development of choreographic art (phylogenetic aspect), and in the consideration of a specific process of interpretation in reconstructions, versions and stages of choreographers-postmodernists (ontogenetic aspect).
The Introduction substantiates the choice of the topic of the thesis, defines the purpose, object, subject, tasks, methods of scientific research, reveals the scientific novelty and the practical significance of the obtained results, provides information about their approbation, indicates the personal contribution of the applicant, highlights the structure and volume of the thesis.
The first section reveals the state of the scientific development of the topic and systematizes sources. The works of N. Alovert, O. Rozanova a. o. are devoted to the reconstruction of P. Chaikovskyi’s ballets; they highlight not only the artistic aspects, but also unfold the discussion about the expediency of ballets restoration of the XIXth cent., the degree of their authenticity. Despite a significant number of scientific works, devoted to the choreographic interpretations of ballets by P. Chaikovskyi at the end of the XXth – beginning of the XXIst cent., and a large source array, the absence of a comprehensive study on a given problem can be stated.
In the second section, the notion of "interpretation" is conceptualized, the interpretation of ballets in classical heritage as one of the leading tendencies of modern times ballet theater is described. Interpretation, as one of the basic concepts of hermeneutics, is a process of understanding the meaning or meanings of the text, a certain dialogue between the transmitter and adressee, in the course of which actions are taken to decode the content of the text (G.-G. Gadamer). Interpretation takes a repeated character in the process of culture inheriting and developing, every time turning into a new work and differently perceiving by the audience.
In the third section peculiarities of restoration (reconstruction) as one of the tendencies in ballet art at the end of the XXth – beginning of the XXIst cent. and the phenomenon of P. Chaikovskyi's ballet editions are described, in particular the most famous reconstructions of S. Vykhrev, O. Ratmanskyi, Y. Burlak were analyzed, and attention was paid to the number of editions of the classical ballet within the framework of a primary imaginative structure. Some of the editions became canonical, the most widespread in the world ("Sleeping Beauty" by K. Serheev, "Swan Lake" by K. Serheev, Y. Hryhorovych, "Nutcracker" by V. Vainonen, Y. Hryhorovych).
In the fourth section, as a result of art analysis, the conditional differentiation of postmodern interpretations into performances was conducted, where the connection with the primary narrative ("Nutcracker" by M. Born and R. Poklitaru) was actualized, and radical changes of the plot happened ("Swan Lake" and "Sleeping Beauty" by M. Ek, M. Born, R. Poklitaru).
The transgressive aspect neutralizes the linear existence of the text, destroying the installation to build a single perspective. At the end of the XXth cent. – the beginning of the XXIst cent. a number of works appeared, in which the transgressive aspect becomes dominant ("Swan Lake" by M. Ek, M. Born a. o.). Postmodern interpretations of classical ballets became a creative laboratory where artistic solutions are invented, that stimulate the updating of the language of the ballet theater in various aspects (experiments with drama, movement, space, musical score, voice, multimedia technologies, light score, etc.).
The results of the study do not drain all the aspects of the above mentioned problem. Perspective directions for further consideration of P. Chaikovskyi’s ballets interpretation aspects are considered to be comparisons of choreographic methods, typology of works, periodization of the process, etc.
