G. N. Emelyanova
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The article is devoted to the performing tradition of the role of Albert in the “Giselle” ballet, with its origins in the French ballet theater of the 19th century (G. Perrault, L. Petipa) and the creative development and enrichment of the Russian ballet of the 19th — 20th centuries (V. Nijinsky, B. Shavrov, K. Sergeev, N. Dolgushin). In the research the
author applied the cultural-historical method, using the method of the comparative analysis. The theoretical and methodological foundation of the research was the works of outstanding ballet historians V. Krasovskaya, Y. Slonimsky, A. Guest. The author analyzed new trends that emerged in the art of Russian dancers in the 20th century,
studied the main stages of main character evolution in the Russian ballet of the 20th century, explained the reasons for creating a new version of the musical fi nale by Boris Asafi ev in 1914, which later was established in the Russian and international ballet of the 20th century.
Keywords: Giselle ballet, Albert’s role, performing tradition, G. Perrault, L. Petipa, V. Nijinsky, S. Shavrov, K. Sergeev, N. Dolgushin, B. Asafiev
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