The dialectics of traditions in the choreographic art of ballet
Choreographic art is multifaceted and ambiguous. The study of the sense, role and meaning of dance is one of the key problems in the theory of choreography. The integral content of the dance is largely determined by its components (dance vocabulary, costume, make-up, accessories), which are natural for the culture of a particular historical era. The nature of the dance is revealed through its functions - moral, communicative, psychological, hedonistic, regenerative, educational, developing, etc. Regardless of the context of a particular era, dance art has always sought to express some kind of eccentric originality and has arisen not as a process of creative search, but as a system of declarations and self-affirmation. Thus, there was a fragmentation of the so-called ''great style'' of dance art into small styles, which not only existed on their own, but could also integrate into each other or exist in unity. The roots of this phenomenon should be sought in the rapid change of socio-political ''climate'' within the framework of modern history. In today's world, imbued with all sorts of crises and dynamic changes as well as the loss of social ''supports'' in the form of a nation / collective / family, a person begins to feel the emptiness of his existence. All this affects the person, being in a state of transitivity. The person undergoes endless changes, due to which he loses himself and his identity. Dance art should be considered as one of such, both symbolic, and real, ''pillars'', helping a person to cope with the sensation of the meaninglessness of his being. Let us consider the key aspects of dance nature on the example of ballet art.