vaganovВестник Академии Русского балета им. А.Я. ВагановойBulletin of Vaganova Ballet Academy1681-8962Vaganova Ballet Academyvaganov-1510Research ArticleТЕОРИЯ И ИСТОРИЯ ХОРЕОГРАФИЧЕСКОГО ИСКУССТВАTHEORY AND HISTORY OF CHOREOGRAPHIC ART«Медея» С. Барбера – М. Грэм в контексте американского танца модерн«Medea» by S. Barber – M. Graham in the context of American modern dancehttps://orcid.org/0000-0003-3606-5829КривцоваА. С.KrivtsovaA. S.

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casseto@mail.ruРоссийская академия музыки имени ГнесиныхРоссияGnesins Russian Academy of MusicRussian Federation202030122020062038Copyright © Кривцова А.С., 20202020Кривцова А.С.Krivtsova A.S.Данная работа распространяется под лицензией Creative Commons Attribution 4.0.This work is licensed under a Creative Commons Attribution 4.0 License.https://vaganov.elpub.ru/jour/article/view/1510

Настоящая статья посвящена первому сценическому опусу американского композитора С. Барбера (1910–1981) — балету «Глубины сердца» (1946), ныне известному как «Медея». Эта партитура была заказана композитору кумиром американского танца модерн — хореографом М. Грэм (1893–1991) и продолжила ее коллекцию балетов на сюжеты древнегреческой мифологии. В статье рассматривается история создания балета «Медея», разбирается сюжет, проводятся параллели с литературным первоисточником либретто (трагедия Еврипида «Медея»). Анализируются архетипы героев и их музыкальные характеристики. Рассматривается оригинальная хореография (М. Грэм) и сценография (И. Ногучи) спектакля, неразрывно связанная с драматическим действием. Уделяется внимание сценической судьбе сочинения и его рецепции в США.

This article is devoted to the ballet «Cave of the Heart» (1946) the same known as «Medea» — the first stage opus by the American composer Samuel Barber (1910–1981). This score was commissioned by the idol of American modern dance, choreographer M. Graham (1893–1991) and continued a collection of ballets based on subjects from ancient Greek mythology. The article tells the story of the composition’s creation; analyzes the plot, draws parallels with its literary source (Euripides tragedy). The heroes’ archetypes and their musical characteristics are analyzed. The original choreography (M. Graham) and setting (I. Noguchi) of the performance, linked inextricably with the dramatic action, are considered. Attention is paid to the composition’s stage fate and its reception in the American musical world.

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The authors declare that there are no conflicts of interest present.