Faces of character dance and flamenco dance in the theater performances The Three-Cornered Hat and The Madman

The article discusses the images of Spanish dance in general and flamenco dance in particular in the theatrical performance The Three-Cornered Hat (El sombrero de tres picos, 1919) by L. Massine and Manuel de Falla, as well as The Madman (El loco, 2022) by Paco Lopez and Javier Latorre to the music of de Falla, M. Sotelo and Cañizares. At the beginning of the last century, elements of flamenco dance were added by Leonid Massine to the choreographic material of the ballet The Three-Cornered Hat, responding to the request of the time, namely the interest in national traditions and orientalism, and at the beginning of the 21^st century, classical Spanish dance was introduced into the flamenco performance of the National Ballet of Spain The Madman, where entire scenes of the ballet The Three-Cornered Hat were parts of the plot.

The purpose of this article is to study the influence of character dance on flamenco and the other way round at the premiere of the ballets The Three-Cornered Hat by L.F. Massine to the music of de Falla (1919) and The Madman (2022) by Javier Latorre to the music of de Falla, M. Sotelo and Cañizares by analyzing the dance movements in both performances: the characteristic flamenco movements of the arms, legs and body, the musical material as an illustration of images and the introduction of national color into the musical performance.

L. Massine enriched the character dance of the ballet The Three-Cornered Hat with elements of flamenco dance, which made it possible to take it to a new level, allowing the authentic folklore heritage of the South of Spain to enter the theater stage and gain a foothold there. And classical Spanish dance was brought into the flamenco performance of the National Ballet of Spain The Madman, where entire scenes of the ballet The Three-Cornered Hat were part of the plot, as an appeal to the legend. The named components can be considered as parts of the whole.

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