UDC 398
DOI: 10.36871/hon.202304182
Authors
Tatiana S. Sergeeva,
Kazan State Conservatory named after N. G. Zhiganov, Kazan, 420015, Russian Federation
Abstract
The article is devoted to the problems of stage folklore, its functional and stylistic specifics.
On the example of two state folk ensembles of Tatarstan, the result of authentic folklore adaptation
to the modern socio-cultural situation is considered. Both ensembles occupy their
own niches in the cultural process, distinguished by a certain autonomy with their own style,
artistic and performing specificity. They share the goal of preserving, studying and promoting
the best examples of folk art, and differ in their composition, repertoire, methods of using folk
material, and tour map.
The author comes to the conclusion that stage folklore is a bright, large-scale artistic
movement that plays a huge role in the promotion and popularisation of authentic folklore.
Among the new forms of folklore presentation on stage and television, programme concerts
and video clips stand out. Although the stage modernises song and dance folklore into a
spectacular show (according to the laws of pop art), the values of ethno-culture are preserved
with a focus on stylistic originality and on the reconstruction of tradition in all its semantic
and contextual completeness. Despite the different creative strategies of the ensembles, they
perform their main educational and popularising functions.
Keywords
stage folklore, State Folk Music Ensemble of the Republic of Tatarstan, Kryashen State Folk Ensemble “Bermyanchek”
