Relevant bibliographies by topics / Lviv Opera and Ballet Theater

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Lviv Opera and Ballet Theater'

Author: Grafiati
Published: 4 June 2025
Last updated: 1 August 2025

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Journal articles on the topic "Lviv Opera and Ballet Theater"

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Petryk, Oleh. "Interpretations of Classic Heritage Ballets on the Stage of the Lviv Opera and Ballet Theater in the Middle 20th – the Beginning of the 21st Century." Dance Studies 3, no. 1 (2020): 46–57. https://doi.org/10.31866/2616-7646.3.1.2020.203938.

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The purpose of the article is to analyze the ballets of the classical heritage in the repertoire of the Lviv Opera and Ballet Theater of the mid-twentieth – early 21st century. Methodology. Based on the analysis of theatrical reviews, scientific articles and monographs, using the historical and chronological principle, the panorama of the classical heritage ballets on the stage of the Lviv Opera and Ballet Theater is reproduced. The scientific novelty lies in the introducing into the scientific circulation of new materials that significantly complement the picture of
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Petryk, Oleh. "Ballet Company of Lviv Opera Theatre in the late 30's - early 40's of the Twentieth Century." Dance Studies 3, no. 2 (2020): 104–13. https://doi.org/10.31866/2616-7646.3.2.2020.220527.

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The purpose of the article is to reveal the peculiarities of the formation and the personal composition of the Lviv Opera Theatre ballet company in the late 30s – early 40s of the 20th century. Methodology. Analytical, historical-chronological, biographical approaches were used to reveal the topic, which made it possible to conduct scientific and objective research. Scientific novelty. For the first time, a special study regarding the creative work of the ballet company of the Lviv Opera and Ballet Theatre in the late 30s – early 40s of the 20th century was
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Churpita, Tetiana. "Ballet Master's Works by Mykola Trehubov in the Touring Repertoire of the Lviv Opera and Ballet Theater in 1953." Dance Studies 6, no. 2 (2023): 155–62. https://doi.org/10.31866/2616-7646.6.2.2023.295179.

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<strong>The purpose of the article&nbsp;</strong>is to analyse M. Trehubov&rsquo;s choreographic work in the context of the Lviv Opera and Ballet Theatre&rsquo;s tour to Kyiv in 1953.&nbsp;<strong>Research Methodology.&nbsp;</strong>Historical (consideration of events in chronological sequence, taking into account historical and cultural circumstances), historiographical (consideration of the existing base of scientific works on the subject of the article) and analytical (analysis of the source base, events, facts, etc.) approaches are applied.&nbsp;<strong>Scientific novelty.&nbsp;</strong>Th
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ROMANIUK, Mariia. "YEVHEN LYSYC’S SCENOGRAPHIC CODES IN “ROMEO AND JULIET” BALLET (SOLOMIYA KRUSHELNYTSKA LVIV STATE ACADEMIC THEATRE OF OPERA AND BALLET, 2014)." Bulletin of the Lviv University. Series of Arts Studies 280, no. 20 (2019): 185–91. http://dx.doi.org/10.30970/vas.20.2019.10623.

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Relevance of the study. The relevance of this study is that for the first time in Ukrainian theater studies, a comprehensive analysis of the scenographic decision of “Romeo and Juliet” ballet by V. Shakespeare was performed on the stage of Solomiya Krushelnytska Lviv State Academic Theatre of Opera and Ballet in 2014 and an analysis of its ideological, content and stylistic features. The first and the second editions of stage design by Yevhen Lysyk were mentioned and compared for the ballet «Romeo and Juliet» by V. Shakespeare on stage of I. Franko Lviv State Academic Opera and Ballet Theater
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Lehka, Svitlana. "The History of the Ukrainian Ballet Theater of the Late 20th – Early 21st Centuries: Creative Work of Serhii Bondur." Bulletin of KNUKiM. Series in Arts, no. 42 (July 14, 2020): 36–41. https://doi.org/10.31866/2410-1176.42.2020.207630.

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The purpose of the article is to study the creative heritage of the dancer, teacher and choreographer Serhii Bondur, who was at the origin and development of the stage repertoire of several Ukrainian theatres. The research methodology comprises the following research methods: art studies, cultural and historical, systemic, typological, comparative, artistic and stylistic analysis. The research novelty is that the analysis of the S. Bondur&rsquo;s career biography was presented in details for the first time, main phases of his stage work were identified, his most known roles were analysed, his
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PLAKHOTNYUK, Oleksandr. "CHOREOGRAPHERS OF THE STATE THEATER OF MUSICAL COMEDY IN LVIV FROM 1946-1953." Bulletin of the Lviv University. Series of Arts Studies 280, no. 20 (2019): 203–11. http://dx.doi.org/10.30970/vas.20.2019.10625.

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A study is conducted of the historical processes of the formation of dance traditions in musical theaters, as well as operetta theaters on the example of the activities of choreographers of the Lviv Theater of Musical Comedy in the period from 1946 to 1953. The study outlines the historical processes of the formation of the above dance traditions. This study identifies the personalities of the choreographers of the directors of this theater and their creative result; there is a careful attitude to the traditions of the past and the introduction of modern techniques of theatrical choreographer.
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Demchenko, Mariia. "MARKETING MANAGEMENT IN THE FIELD OF THEATRE ARTS." Vìsnik Sumsʹkogo deržavnogo unìversitetu 2024, no. 2 (2024): 55–63. http://dx.doi.org/10.21272/1817-9215.2024.2-06.

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Even taking into account the difficult conditions of life in Ukraine, society always strives to restore itself by filling itself with positive emotions. Considering these aspects, the theater industry is still growing even faster than during the pandemic since 2020. Accordingly, today marketing is an important tool for the successful functioning and development of theatrical art, ensuring its accessibility, popularity and financial stability. The purpose of the article is to analyze the effectiveness of marketing management support in the field of theatrical art. The results of the analysis of
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YUZYUK, Nataliya. "WITH UKRAINE IN HIS HEART. IN MEMORY OF PEOPLE’S ARTIST OF UKRAINE, PROFESSOR BOHDAN BAZYLYKUT (TO THE 85TH BIRTHDAY ANNIVERSARY)." Bulletin of the Lviv University. Series of Arts Studies 218, no. 24 (2023): 95–108. http://dx.doi.org/10.30970/vas.24.2023.95-108.

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The future opera singer Bohdan Basylykut, People’s Artist of Ukraine, professor was born and raised in 1938 in the Ternopil region, in a family of simple laborers. He passed away after a long illness in 2020 in the city of Lviv. B. Basylykut sang in the school choir, mastered musical literacy on his own and learned to play the trumpet. At first, the future artist chose the profession of a school teacher. Although in 1955, he entered the philological faculty of the Lviv State Pedagogical Institute for two specialties at once: “teacher of Ukrainian language and literature” and “teacher of music
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Churpita, Tetiana. ""The Great Waltz" Ballet in the Production of Mykola Trehubov." Dance Studies 2, no. 2 (2019): 168–76. https://doi.org/10.31866/2616-7646.2.2.2019.188817.

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The purpose of the article&nbsp;is to analyze the scenic path of the romantic ballet &quot;The Great Waltz&quot; directed by Mykola Trehubov.&nbsp;Methodology. The historical, historiographic and analytical approaches are applied.&nbsp;Scientific novelty. The article, for the first time, made a detailed analysis of the sсеnic life of &quot;The Great Waltz&quot; performance staged by M. Trehubov in various ballet theatres of the USSR.&nbsp;Conclusions. In 1957, the famous choreographer M. Trehubov, together with the conductor of Lviv Opera, S. Arbit, staged The Great Waltz ballet to the music o
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Drach, Irina. "Lviv musical impressions on the pages of A. Bennett’s diary." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 59, no. 59 (2021): 9–20. http://dx.doi.org/10.34064/khnum1-59.01.

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Background. Objectives and methodology of the research. The article contains a commentary to the separate pages of A. Bennett’s diaries, in which the impressions of the famous English writer, playwright, actor and journalist from visiting the cities of Moscow, Orel and Lviv were recorded in May 1988. This trip took place at the invitation of the Writers’ Union of the USSR. As part of the British delegation, A. Bennett carried out a mission of “cultural diplomacy”, whose goal was to open the “Iron Curtain” between the West and the countries of Eastern Europe. The program of the visit of the for
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Dissertations / Theses on the topic "Lviv Opera and Ballet Theater"

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Wiese, Helen Lloy. "Lully's Psyché (1671) and Locke's Psyche (1675) : contrasting national approaches to musical tragedy in the seventeenth century." Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/42070.

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The English semi-opera, Psyche (1675), written by Thomas Shadwell, with music by Matthew Locke, was thought at the time of its performance to be a mere copy of Psyche (1671), a French tragedie-ballet by Moliere, Pierre Corneille, and Philippe Quinault, with music by Jean- Baptiste Lully. This view, accompanied by a certain attitude that the French version was far superior to the English, continued well into the twentieth century. This view is misleading; although the English play was adapted from the French, both were representative of two well-developed native theatrical traditions.
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Burke, Devin Michael Paul. "Music, Magic, and Mechanics: The Living Statue in Ancien-Régime Spectacle." Case Western Reserve University School of Graduate Studies / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=case1449258139.

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Zhiltsova, Maria. "Le transfert des ballets de Paris à Saint-Pétersbourg au milieu du XIXe siècle, entre copie et création : le cas de Jules Perrot (1810-1892), chorégraphe français dans l'Empire russe." Thesis, Paris 1, 2020. http://www.theses.fr/2020PA01H054.

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Cette thèse cherche à comprendre le phénomène de la circulation des spectacles chorégraphiques de Paris à Saint-Pétersbourg au milieu du XIXe siècle et relève de l’histoire des relations culturelles internationales. La recherche se focalise sur les ballets créés à l’Opéra de Paris et remontés au Grand théâtre de Saint-Pétersbourg par Jules Perrot (1810-1892), danseur et chorégraphe français qui travaille en Russie de 1848 à 1861, et vise à montrer dans quelle mesure les ballets parisiens donnés à Saint-Pétersbourg correspondent à leurs versions originales. Le problème du transfert des spectacl
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Books on the topic "Lviv Opera and Ballet Theater"

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Budak, Muzaffer. Tiyatro, opera, operet, bale yazıları. Budak Yayınları, 1985.

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1918-, Schierbeek Bert, ed. Theatertekeningen: Toneel, opera, ballet 1958-1965. Uniepers, 1987.

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Mūqan, Amankeldī. Tăuelsīzdīk kezen︠g︡īndegī Qazaq opera teatry. Tīl, 2011.

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Norkin, Sam. Sam Norkin, drawings, stories: Theater, opera, ballet, movies. Heinemann, 1994.

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Audronė, Girdzijauskaitė, ed. Lietuvių teatro istorija. Gervelė, 2000.

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editor, Ilić Miodrag author, ed. Madlenianum: Opera & theatre. Zepter Book World, 2017.

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Nechaev, V. P. (Vi︠a︡cheslav Petrovich), writer of introduction and Ross, Norman A., 1942- translator, editor, writer of preface, eds. Repertoire of the Bolshoi theater, 1776-1955. Ross Publishing LLC, 2022.

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Gekijō, Shin Kokuritsu. Shin Kokuritsu Gekijō kaijō kinen kōen. Shin Kokuritsu Gekijō Unʼei Zaidan, 1997.

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Polis, Juozas. Lietuva: Tėvynė mūsų. Agvila, 1998.

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A, Baeva A., Kurilenko E та Gosudarstvennyĭ institut iskusstvoznanii︠a︡ Ministerstva kulʹtury Rossiĭskoĭ Federat︠s︡ii., ред. Muzykalʹnyĭ teatr XX veka: Sobytii︠a︡, problemy, itogi, perspektivy. URSS, 2004.

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Book chapters on the topic "Lviv Opera and Ballet Theater"

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Cruz, Gabriela. "The Diorama, Apparitions, and Dream Image in Robert le diable." In Grand Illusion. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190915056.003.0004.

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The far-reaching transformation of grand opera into a modern medium of spectacle was inaugurated by Giacomo Meyerbeer’s Robert le diable. In the Act III ballet, with the theater darkened, the dead left their graves, and, phantom-like, haunted the stage. Those “ghosts” of deceased nuns clad in white ushered in a new genre, the ballet blanc, while another phantom—Robert’s mother—bestowed on grand opera the gift of lyric spectrality when Alice, in Act V, relayed the woman’s last words. Parisian mélomanes regarded this moment of song with special reverence after the 1830s and, arguably, its lyrica
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Tontiplaphol, Betsy Winakur. "Classic Pas—Sans Flaw." In The Pointe of the Pen. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781800859487.003.0003.

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Chapter 3 considers the degree to which virtuosic display had, despite Noverre’s revolutionary emphasis on expressivity, endured as a feature of balletic performance; indeed, the value of technical flair increased when Napoleon sought to establish meritocracy at the Paris Opera. Ballet’s newly virtuosic bodies exerted a profound influence on Byron and Shelley, whose exposure to ballet was extensive in the 1810s, when Byron managed the Drury Lane Theater and Shelley, a close affiliate of prolific dance critic Leigh Hunt, frequented the ballet both in England and, later, Italy. Chapter 3 argues
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Skeel, Sharon. "“An enormous macédoine of musical comedy, patriotism, and burlesque, spangled with American history—that is ‘American Jubilee.’ ”." In Catherine Littlefield. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190654542.003.0013.

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Joan McCracken leaves the Littlefields to perform at Radio City Music Hall and eventually on Broadway. Catherine stages dances for the large-scale “American Jubilee” pageant at the World’s Fair in New York in 1940. Her innovative bicycle ballet in the pageant is a tremendous hit. Al Jolson hires her for his comeback show on Broadway, Hold On to Your Hats. She is then enlisted to choreograph ice-skating routines for New York’s Center Theatre, which has been converted into an ice theater by Chicago entrepreneur Arthur Wirtz and his business partner, Olympic skating champion Sonja Henie. Wirtz so
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Fulcher, Jane F. "Wartime Nationalism, Classicism, and Their Limits." In The Composer as Intellectual. Oxford University PressNew York, NY, 2005. http://dx.doi.org/10.1093/oso/9780195174731.003.0002.

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Abstract On 16 December 1915, the director of the recently reopened Paris Opera displayed his political acumen to a government still skeptical of opera’s relevance in wartime. Drawing on innovations in his own private theater, Jacques Rouche mounted a seemingly anodyne work, resembling classic “Opera-ballet” and bearing the pallid title of Mademoiselle de Nantes.1 The production, in reality, was ingenious-a brilliant departure in wartime propaganda-not through blatant “brainwashing” but through means far more powerful for being so insidiously indirect. Central to the work’s scenario is a conce
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Aloff, Mindy. "Hands and Things That Can Fill Them." In Dance Anecdotes. Oxford University PressNew York, NY, 2006. http://dx.doi.org/10.1093/oso/9780195054118.003.0006.

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Abstract The Spontaneous Dance Gestures of Maria Callas During the early 1970s, the ballerina Natalia Makarova performed in a production of Verdi’s opera I Vespri Siciliani at the Reggio Theater in Turin, Italy. The choreography was by Serge Lifar, but the invitation to dance came from Maria Callas, making her debut as an opera director. Makarova knew Callas’s recordings; however, she had never seen the diva on stage and didn’t realize how potent her gifts were for pure physical expression: Callas was an actress from head to toe. In her gestures and her manner of holding herself, there was som
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Lena, Jennifer C. "The Invention of American Art, 1825–1945." In Entitled. Princeton University Press, 2019. http://dx.doi.org/10.23943/princeton/9780691158914.003.0001.

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This introductory chapter analyzes the institutional and organizational factors that led to the invention of “the arts” in America. Wealthy reputational entrepreneurs seeking to establish domestic arts organizations contributed to the birth of highbrow arts as both idea and organizational practice. This first wave established the pathway by which creative forms came to be seen as art. As new orchestras, art museums, and symphonies were formed, advocates for ballet, modern dance, theater, and opera employed the same process to generate legitimacy. This second wave of legitimation was initiated
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O'Leary, James. "Heightened Realism." In The Middlebrow Musical. Oxford University PressNew York, NY, 2025. https://doi.org/10.1093/9780190265243.003.0003.

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Abstract The middlebrow style attained its most visible exemplar in Rodgers and Hammerstein’s Oklahoma!, and this chapter charts the intellectual background for their collaboration. Rodgers had long worked with Lorenz Hart, who was frustrated that Broadway seemed out of touch with modern audiences. The duo sought to create novel musical theater by experimenting with modern opera and ballet, while retaining their works’ popular-culture appeal. Meanwhile, Hammerstein had been complaining that Broadway had become too lowbrow, and therefore he tried to invoke the higher values of operetta or opera
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Vinogradov, Igor A. "“Taras Bulba” and Russian History of the 19th–20th Centuries." In Literary Process in Russia of the 18th–19th Centuries. Secular and Spiritual Literature. Issue 3. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2022. http://dx.doi.org/10.22455/lit.pr.2022-3-97-168.

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The article is devoted to the study of readers’ receptions of N.V. Gogol “Taras Bulba” in Russia. This work, imbued with a deep religious and patriotic intention, occupies such a significant place in Russian culture that the reviews of readers and critics, the assessments and interpretations of its researchers, dramatizations in the theater, opera and ballet, etc. allows to analyze not only history of the story’s existence, but also to trace the key moments of Russian life in the second half of the 19th–20th centuries. The interaction of the patriotic story’s spiritual lyricism with the contra
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Garafola, Lynn. "Amazon of the Avant-Garde." In La Nijinska. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197603901.003.0002.

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Nijinska and her husband spend the 1914–1915 theatrical season in St. Petersburg (renamed Petrograd after Russia enters the war), where they are engaged by Narodny Dom. The following year they settle in Kiev, where they are hired to stage opera dances at the City Theater but soon begin producing evenings of ballet. In 1917 Nijinska tries to join her brother in Western Europe but because of the Russian Revolution is unable to secure travel papers. With Kochetovsky, she spends several months in Moscow, where she meets the avant-garde painter Alexandra Exter and drafts the first iteration of her
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Conference papers on the topic "Lviv Opera and Ballet Theater"

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Kosakovska, L. P. "THE FIRST NATIONAL BALLET “MR. KANYOVSKY” ON THE STAGE OF THE KHARKIV OPERA AND BALLET THEATER." In АКТУАЛЬНІ ПРОБЛЕМИ РОЗВИТКУ УКРАЇНСЬКОГО ТА ЗАРУБІЖНОГО МИСТЕЦТВ: КУЛЬТУРОЛОГІЧНИЙ, МИСТЕЦТВОЗНАВЧИЙ, ПЕДАГОГІЧНИЙ АСПЕКТИ. Liha-Pres, 2023. http://dx.doi.org/10.36059/978-966-397-317-3-131.

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Мир-Багирзаде, Ф. А. "Oriental symbolism of the ballet "Seven beauties" based on the poem by Nizami Ganjavi." In Современное социально-гуманитарное образование: векторы развития в год науки и технологий: материалы VI международной конференции (г. Москва, МПГУ, 22–23 апреля 2021 г.). Crossref, 2021. http://dx.doi.org/10.37492/etno.2021.91.54.086.

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автор исследует творческие интерпретации произведения поэта-гуманиста Низами Гянджеви (XII в.) из цикла «Хамсе» «Семь красавиц». Поэт, был подлинным эрудитом, знатоком не только коранических текстов, истории, античной и мусульманской философии, но и астрономии. Данная статья – попытка проследить ориентальную символику образов Гянджеви в одной из творческих интерпретаций поэмы «Семь красавиц», через призму хореографического и сценографического искусства. Метод исследования – семиотический анализ, объект исследования – балет «Семь красавиц», объединивший достижения современной европейской хореог
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Reports on the topic "Lviv Opera and Ballet Theater"

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Kolomiiets, Viacheslav. Ballet Art of Soviet Ukraine from the Late 1910s to the Early 1930s: Classical Performances, Modern Intentions, Socialist Realism Canon. Intellectual Archive, 2024. http://dx.doi.org/10.32370/ia_2024_03_11.

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The article conceptualizes the development of ballet art in Soviet Ukraine from the late 1910s to the early 1930s. The active use of ballets of classical heritage (Corsair, Futile Warning, Swan Lake, etc.) in the repertoire of opera theaters of Kyiv, Kharkiv, Odesa and the penetration of modern features into the ballet stage (Flying Ballet) were demonstrated. It is noted that elements of modern dance were cultivated in the activities of private choreographic and theater studios. The collapse of modernism with the introduction of the method of socialist realism in art with a focus on ideology,
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Kolomiiets, Viacheslav. Ballet Art of Soviet Ukraine from the Late 1910s to the Early 1930s: Classical Performances, Modern Intentions, Socialist Realism Canon. Intellectual Archive, 2024. http://dx.doi.org/10.32370/ia_2024_01_11.

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The article conceptualizes the development of ballet art in Soviet Ukraine from the late 1910s to the early 1930s. The active use of ballets of classical heritage (Corsair, Futile Warning, Swan Lake, etc.) in the repertoire of opera theaters of Kyiv, Kharkiv, Odesa and the penetration of modern features into the ballet stage (Flying Ballet) were demonstrated. It is noted that elements of modern dance were cultivated in the activities of private choreographic and theater studios. The collapse of modernism with the introduction of the method of socialist realism in art with a focus on ideology,
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