Peculiarities of Spatial Composition of Folk and Stage Dances of Ukrainians in Zakarpattia

The purpose of the article is to reveal the stage interpretations’ specifics of folklore dances of Ukrainians in Zakarpattia based on the analysis of the spatial composition of folk stage dances in the second half of the 20th – early 21st century. Research methodology. The methods of structural and formal analysis of the spatial composition of the folk stage dances’ choreography were used; the typological method is aimed at identifying the local features of the traditional dance culture of Ukrainians in Zakarpattia; the comparative method is used to compare folk and folk stage dances through the prism of the concept of ‘formation’ (according to A. Giurchescu). Scientific novelty. The stage interpretation specificity of traditional dances of Ukrainians in Zakarpattia through the prism of the concept of ‘formations’ by A. Giurchescu is analyzed. Conclusions. The structural-spatial composition of folk-stage dances of the Ukrainians in Zakarpattia is built on specific mise-en-scenes and formations. Mise-en-scenes in the analyzed choreographic compositions (‘Droboika’, ‘Uvyvanets’, ‘Dibrovchanka’, ‘Chynadiika’, ‘Dubkany-skakany’, ‘Bereznianka’, ‘Dubotanets’, ‘Lisoruby’, ‘Kolomyika’, ‘Vodychanskyi skakanyi’, ‘Karpatske chudo-ozero’, ‘Maramoroshchyna kvitucha’) are completed scenes with harmonious formations in each dance from an artistic and aesthetic point of view. Regular changes of static and dynamic figures are characteristic. The changes in the mise-en-scène mostly correspond to the musical accompaniment. Within the framework of the mise-en-scene, there are various components of the formation – a grouping (from solo to numerous groups (16 or more dancers), the number (depending on the number of dancers in the ensemble), the gender composition of the participants; geometric configuration (drawing) – a semicircle and a vicious circle, lines predominate; mutual orientation of dancers, the way of communication between dancers – arms crossed in front, behind the belt, etc. The differences between the analyzed choreographic compositions of folk and folk-stage dances are a consequence of the individual creative vision of the choreographer-director. This is noticeable at the level of grouping and the number of dancers, their connections, order using the selected geometric configurations