UDC 378.014:813.021
DOI: https://doi.org/10.59694/ped_sciences.2026.20.155
FEATURES OF BUILDING THE COMPOSITION STRUCTURE OF A CHOREOGRAPHIC WORK BASED ON THE TRADITIONAL CHOREOGRAPHIC CULTURE OF THE GERMANS OF TRANSCARPATHIA
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SHEVTSOVA Iryna Mykolayivna
Honored
Worker of Culture of Ukraine, teacher of the
department of artistic disciplines Communal institution
of higher education «Academy of Culture and Arts» of
the Transcarpathian Regional Council.
ORCID іD: https://orcid.org/0000-0002-0956-3593
BARNA Olha Sergeyevna
second-year
student of the second (master’s) level of higher
education at the Department of Art Disciplines, the
Municipal Higher Education Institution «Academy of
Culture and Arts» of the Transcarpathian Regional
Council.
ORCID іD: https://orcid.org/0009-0000-7266-5974
Abstract:
The article examines specific principles and methods of creating the compositional structure of a stage choreographic work based on the authentic dance tradition of the Germans of Transcarpathia. It considers the key elements of the traditional choreographic culture of the Transcarpathian Germans (Swabians) that determine the architectonics of contemporary productions: spatial-temporal organization, dramaturgical development, features of choreographic vocabulary, musical-rhythmic structure, and principles of interaction between performers.
The main focus is on the analysis of the compositional features of authentic German dances of the region (waltz, ländler, polka, schottische) and ways of adapting them for stage performance. Methods of preserving ethnocultural authenticity in the transformation of everyday dance into a stage form are explored. The author highlights specific compositional techniques characteristic of the German dance tradition: pair and group interaction, circular and linear structures, principles of contrast and variability, and features of tempo-rhythmic organization.
Three levels of compositional structure are considered: microcomposition (individual dance step, movement), mesocomposition (dance combination, figure), and macrocomposition (the overall dramaturgy of a choreographic work). The principles of combining different dance forms into a single composition, methods of creating climaxes, and the role of costume and musical accompaniment in the architectonics of a production are analyzed.
Particular attention is paid to the problem of the relationship between tradition and innovation in contemporary choreographic practice. The author explores the possibilities of using folklore material as a basis for creating both reconstructions of authentic models and original choreographic compositions with elements of stylization. Issues of dramaturgical integrity, the logic of the unfolding of the choreographic text, and the principles of editing dance episodes are considered.
The article is based on the analysis of ethnographic materials, archival sources, photo and video documents, as well as on practical experience in creating choreographic compositions based on the German dance tradition of Transcarpathia. The methodological basis of the study is a comprehensive approach that combines methods of choreography, ethnochoreology, composition theory, and art analysis.
The results of the study are of practical importance for ballet masters, choreographers, and leaders of folklore and folk stage groups working with the material of traditional culture of national minorities. The identified principles of compositional structure can be used in the creation of productions, the reconstruction of authentic models, and the development of teaching materials for choreographic educational institutions.
Keywords: traditional dance culture of the Germans of Transcarpathia, ethnochoreology, German folk dance, dance vocabulary, compositional structure of a choreographic work.
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