BALLET CONDUCTING AS A SYNTHESIS OF MUSICAL, CHOREOGRAPHIC, AND DRAMATURGICAL INTERPRETATION: HISTORICAL-STYLISTIC AND CONTEMPORARY ASPECTS

Abstract

This article examines ballet conducting as a complex field of musical performance art that combines musical, choreographic, and dramaturgical interpretation of a stage production. The author, Dilyaver M. Osmanov, analyzes historical and stylistic aspects of the development of conducting practices from classical European traditions to contemporary Ukrainian ballet, emphasizing the transformation of the conductor’s role from a technical coordinator of the orchestra to an active co-creator of the artistic concept. The study is based on the analysis of scores, video recordings, and scholarly sources, including classical and contemporary productions such as Giselle, Don Quixote, La Bayadère, Coppélia, СіDaphnis et Chloé, Boléro, Zorba the Greek, and the Ukrainian ballet Princess Olga. Comparative, historical-stylistic, musical-dramaturgical, and video-analytical methods were applied, allowing the identification of patterns in the integration of music, dance, and dramaturgy, as well as the features of professional mastery of the conductor. The study demonstrates that contemporary ballet conducting in Ukraine combines national traditions with European approaches, forming a new professional model of the conductor-coordinator capable of synchronizing music, choreography, and modern technical stage elements. Using classical and contemporary works as examples, the article shows that the conductor serves not only as a musical director but also as an integrator of the artistic and dramaturgical concept of the production, ensuring the integrity of the stage image, the depth of emotional expression, and the development of the audience’s artistic and plastic perception. The article emphasizes the conductor’s essential role in shaping modern ballet performance and its integration into the global cultural context