Закономірності твочого процесу в постановочній роботі П. Вірського (на прикладі хореографічної картини «Запорожці»)

The purpose of the article is to reveal the role and significance of the regularities of the creative work of ballet master Pavel Virskyi in the process of searching for the compositional construction of choreographic works. Research methodology. To achieve the goal, a historical-analytical method was used, which allowed us to study historical sources and literature. The use of general scientific, comparative, and art-historical methods allowed us to analyse the directorial and production work of the outstanding Ukrainian ballet master Pavlo Virskyi. A historical-analytical method was also used, which allowed the author to study historical sources and literature. The scientific novelty lies in the fact that the work for the first time examines the regularities of the creative process of Pavlo Virskyi’s stage work using the example of the choreographic painting ‘Zaporozhtsy – military games and dances of the Zaporozhian army of Hetman Bohdan Khmelnytskyi’. Conclusions. An analysis of the creative work of choreographer-director Pavlo Virskyi in the State Honoured Academic Dance Ensemble of Ukraine proves that the staging of each choreographic work of the artist was subject to certain laws. It was a laborious process that did not turn into a mechanical ‘building up’ of the amount of knowledge. Its results were determined not by the time spent, but by the artistic and ideological content of the work, the expressive power, the originality of the figurative and formal solution, the degree of talent, experience, and professional skill of the choreographer. From the idea that arose in the choreographer to its embodiment on stage, the distance was in many cases large, and the director did not always manage to pass it without creative losses. Nurturing the themes of his productions, Pavlo Virskyi imbued them with thought, a true choreographic idea that corresponded to his choreographic individuality. The action was born in the organic union of choreographic and musical imagery, which dictated to the director its laws of reflecting the figurative theme.