STAGE LIFE OF ANIKO REKHVIASHVILI’S BALLETS AT THE NATIONAL OPERA OF UKRAINE

Abstract

The article explores the stage life of the ballets choreographed by Aniko Rekhviashvili, one of the leading figures in Ukrainian ballet theatre of the late 20th and early 21st centuries. The research is based on historical-chronological, interpretative, and cultural methods, which enable a comprehensive understanding of Rekhviashvili’s choreographic legacy. The study aims to identify new approaches to examining ballet heritage as a dynamic cultural phenomenon in the context of wartime and social challenges. Rekhviashvili’s artistic work is viewed as part of the transformational processes in Ukrainian choreography, encompassing the period of national independence, shifts in repertoire policy, reforms in academic theatre, and the intensified process of reinterpreting the role of Ukrainian culture following Russia’s full-scale invasion of Ukraine. The article analyzes Rekhviashvili’s productions staged at the National Opera of Ukraine, tracing their chronology, artistic characteristics, and place in the theatre’s repertoire. Special attention is paid to such works as “Viennese Waltz”, “Daniela”, “The Lady of the Camellias”, “The Snow Queen”, “Julius Caesar”, “Daphnis and Chloe”, “Nights in the Gardens of Spain”, and “El sombrero de tres picos”. The text outlines the choreographer’s key aesthetic principles: a synthesis of academic tradition and contemporary movement, attentive engagement with musical dramaturgy, flexibility in directorial choices, and stylistic refinement. At the same time, the article highlights how shifts in the sociocultural landscape – particularly public attitudes toward Russian culture – have influenced the revision of certain productions, updates to musical scores, and reinterpretations of stage direction.