Тo the Issue of Choreographic Interpretation of Tragic Events in the History of a Nation (on the Example of Edgar Hovhannisyan's «Antuni» Ballet Staged by Choreographer Maxim Martirosyan)

The purpose of the research is to reveal the peculiarities of “Antuni’s” performance by Edgar Hovhannisyan staged by choreographer Maxim Martirosyan (1969) it is the first ballet on the Armenian Genocide in Turkey and the first ballet on Komitas as a variant of the choreographic interpretation of tragic events in the history of Armenians. Methodology. By a detailed analysis of the video recording of the ballet “Antuni”, artistic features of the ballet were revealed. Scientific novelty. The correspondence of the script of M. Martirosyan and his statement has been revealed, the genre affiliation of the ballet has been determined, its forms are structures, types of dramatic development, interpretation features of the characters, especially the main character, the specifics of the choreographic language. Conclusions. The drama of the ballet “Antuni” is built on a cross-cutting principle and is akin to a number of works of cinematic genre. The principles of interpretation of events and the image of the hero are allegorical. The choreographic text combines elements of classical, national dance and free movement. In “Antuni” there are no variations of forms, codes, etc., characteristic of classical ballet. There are choreographic monologues and dialogues that always accompany and complement the corps de ballet. The development action in two stage planes creates an opportunity for the “polyphonic” transmission of both the hero’s thoughts and experiences, as well as the visualization of polyphonic music works. Martirosyan did not set himself the task of visualizing a musical score created by E. Hovhannisyan, but a choreographic interpretation of polyphonic choral arrangements, in some cases of Komitas’ piano dances. In the first part, the mass scenes visualize the variety of Komitas’ multi-vocal works, and in the second part – his perception of the horrors of genocide and deportation and his mental attempts to get out of the nightmarish impasse. After the performance of Martirosyan, a number of Armenian choreographers created many choreographic interpretations of a large and small form about Komitas and the Armenian Genocide, but none of them has yet surpassed “Antuni”