Lithuanian Ballet. The Beginning of the Formation of the National Repertoire

The restoration of the ballet and the classical repertoire in the post-war period was one of the most difficult in the history of Lithuanian ballet. However, with the appearance of ballet master in chief V. Grivickas, his quests and development of a heroic theme in Lithuanian ballet, bringing ballets “Ant marių kranto” (On the Seashore, 1953) and “Audronė” (Audrone, 1957) to the national repertoire laid the foundation for the formation of national art.The purpose of this research was to identify, analyze and bring into the art science the stages of the formation of the national repertoire of the Lithuanian ballet that were not previously actualized.Research methodology. The phenomenon of Lithuanian ballet is considered as a multidimensional subject, which includes the actual stage form, musical and choreographical lexicon, the problems of the formation of the performing school, as well as the historical and cultural context of the creation of stage choreography works in Lithuania 1928–1987. The research uses the principles developed by Russian art criticism to describe and analyze artistic processes and works of choreographic art.This article is a part of the first scientific work of such scale, dedicated to the performances of the national repertoire of the Lithuanian ballet and the problems of its national identity.