CRITICAL DISCOURSE OF INTERPRETATION OF BALLET CLASSICS OF THE SECOND HALF OF THE 1920 – THE FIRST HALF OF THE 1930 s

Abstract

The article clarifies the role of critical discourse in the formation of the phenomenon of «Soviet classical ballet». An opportunity was noted to distinguish two strategies in relation to the interpretation of classical ballet heritage in Soviet ballet - an authentic reproduction of the author’s edition (restoration) and interpretation of a ballet performance in accordance with the ideological prescriptions of party instances. Using the classical heritage for power purposes, filling it with ideological content, the parity of the cognitive and effective functions of art in the process of interpreting the heritage, bringing the ballets of the past closer to the new audience, focusing on his interests (A. Lunacharsky, M. Lifshits, I. Sollertinsky) are discursive the perspectives were fully consistent with realistic trends in art, and were not denied by representatives of various discourses, as well as by the ruling elite.