Features of the realization of the sea maiden’s myth in the ballet The Mermaid by Wu Zujiang and Du Mingxin
Abstract
The article is devoted to the peculiarities of interpretation of the myth of the sea maiden, universal for many peoples, in the ballet The Mermaid by Wu Zujiang and Du Mingxin, staged in 1959. An effective tool for identifying the specifics of the Chinese interpretation is a comparative analysis of the scenic realizations of the plot about the Sea Maiden in European, Russian and Chinese cultures. Attention is paid to the philosophical and mental foundations of national interpretations regulating the intonation drama of musical and stage works, ways of implementing the concept of two worlds in the stage conditions. The national differences in the productions are responsible for the searches and finds of various compositions in the techniques of embodying the image of the Sea Maiden in music; an appeal to national folklore and its use in a work of fiction on a mermaid plot.
The article focuses on the fundamentally different foundations of the Chinese interpretation of the mermaid myth from European and Russian ones, due to the concept of the unity of man and nature, which has been entrenched in the centuries-old cultural tradition. This interpretation of the myth under consideration helps to better understand the cultural codes of China in the context of multiple interethnic contacts.
About the Author
N. I. Verba
Herzen State Pedagogical University of Russia
Russian Federation
Russian Federation
Dr. Habil. (Art), Ass. Prof
48, Moika Emb., St. Petersburg, 191186
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Review
For citations:
Verba N.I. Features of the realization of the sea maiden’s myth in the ballet The Mermaid by Wu Zujiang and Du Mingxin. Bulletin of Vaganova Ballet Academy. 2024;(2):53-68. (In Russ.)
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