EPIC AND LITERARY SOURCES AS THE BASIS FOR ARTISTIC IMAGES

ЭПОСЫ И ЛИТЕРАТУРНЫЕ ИСТОЧНИКИ КАК ОСНОВА ХУДОЖЕСТВЕННЫХ ОБРАЗОВ

Тұрлыбай Аружан Жарасқызы

магистрант, кафедра хореографии, Казахская национальная академия хореографии,

РК, г. Астана

Кензикеев Руслан Владимирович

научный руководитель, д-р философии (PhD), Казахская национальная академия хореография,

РК, г. Астана

ABSTRACT

The article explores the significance of epics and literary sources as a foundation for the creation of artistic images in art, particularly in stage choreography and theatrical performances. It analyzes the role of oral tradition, epic poems, legends and folklore narratives in shaping authentic characters and plotlines. The study emphasizes the importance of preserving ethnocultural identity and historical memory through the artistic interpretation of literary sources.

АННОТАЦИЯ

В статье рассматривается значение эпосов и литературных источников как основы формирования художественных образов в искусстве, в частности в сценической хореографии и театральных постановках. Анализируется роль устного народного творчества, эпических поэм, легенд и фольклорных сюжетов в создании аутентичных персонажей и сюжетных линий. Подчеркивается значимость сохранения этнокультурной идентичности и исторической памяти через художественную интерпретацию литературных источников.

Keywords: Kazakh choreography, folklore, epic, tradition, culture, identity, stage art, mythology, artistic interpretation.

Ключевые слова: Казахская хореография, фольклор, эпос, традиция, культура, идентичность, сценическое искусство, мифология, художественная интерпретация.

Introduction

The question of the role of epic and literary sources in the formation of artistic images is one of the key issues in art as a whole. An artistic image in art does not arise in isolation from the cultural and historical context: it is nourished by oral tradition, written sources, mythology and folklore, which endow it with depth, complexity and authenticity. Epics, legends and literary monuments not only preserve the history of a people but also serve as a foundation for new artistic interpretations. Folklore and literary texts represent a rich statum of cultural heritage, reflecting the worldview, moral values and historical experience of a nation. For artists across various fields whether choreography, literature, theatre, painting or music epics and literary sources act as a kind of foundation that enables the creation of images imbued with historical and spiritual depth. It is precisely through the appeal to tradition that works of art acquire special expressiveness and symbolic significance. The practical significance of the study lies in the fact that the use of epic and literary sources in art allows not only for the preservation but also for the transmission of cultural heritage. In contemporary conditions, this becomes particularly important: mass culture often distorts traditional forms, whereas resource to primary sources contributes to the preservation of authenticity in artistic images and to the shaping of stable cultural reference points. For choreographers, writers, directors and composers, this opens opportunities to create works that are both relevant and deeply rooted in national culture. The relevance of the topic is determined by the need to study the mechanisms of interaction between folklore, literature and contemporary artistic works.

In the context of globalization and intensive cultural exchange, it is especially important to identify ways of preserving the authenticity of artistic images and their connection to traditions. Otherwise, there is a risk of losing the unique system of imagery that has been formed over centuries. In addition, research on this topic contributes to a deeper understanding of how traditional epics and literary monuments are transformed into new artistic forms – whether in stage productions, literary sources as a foundation for artistic images not only makes it possible to understand the internal logic of image formation in art but also to reveal the regularities of artistic development, where traditions an innovation form a unified whole. Thus, the study of artistic images through the prism of epic and literary sources has not only theoretical but also practical significance: it helps develop approaches to preserving cultural identity, enriches contemporary artistic practice and fosters dialogue between the past and the present within the space of art.

Main Part

Materials and Methods of research.

In the history of Kazakh stage choreography, a consistent tendency toward dialogue with literary and folkloric sources can be traced. These texts serve not only as a narrative basis also define the figurative and symbolic field for plastic interpretation. Researchers note that epic and mythology “ function not only as carriers of the plot but also as sources of archetypal images that determine the structure of a stage work” [1, с. 112-113]. In that way, in the first half of the 20th century, choreographers turned their attention to poetic heritage and oral literature, which was reflected in productions where tragic or mythological stories were recreated through the language of dance. In later periods, interest shifted toward images connected with archetypes and symbols, confirming D.M. Mergaliev’s observation that “folkloric traditions, passing through stage art, acquire new forms while retaining their cultural significance” [2, с. 57]. Contemporary stage practice demonstrates theaters tendency to reinterpret historical-epic and lyrical dastans. In this context, dance becomes not only an artistic expression bur also a form of cultural memory, as noted by N.A. Netuzhinova: “the language of myth and ritual in ballet creates a unique space where plasticity unites the individual and the collective” [3, с. 4]. That way, from classical plots to the latest authorial interpretations, we observe not only a diversity of forms but also a gradual complication of artistic tasks. Literary and folkloric sources act less as an illustrative basis and more as a source of artistic reflection, setting the direction for the search for new plastic solutions. To achieve the stated goal, a set of research methods was applied:

1. The historical method made it possible to trace the process of evolution in Kazakh choreography in relation to national literary sources, to identify the stages of transition from oral epic and folklore to the professional stage and to determine the role of epic plots in the formation of artistic images.
2. The comparative method allowed for the juxtaposition of different literary sources and their stage interpretations, revealing similarities and differences in the treatment of images.
3. The empirical method included the analysis of specific productions, interviews with specialists and the comparison of artistic solutions with their literary prototypes.
4. The method of theoretical analysis made it possible to generalize the collected material and systematize the artistic features of stage interpretations.

At present, there is a noticeable lack of studies in domestic scholarship that comprehensively examine the embodiment of literary and folkloric images in choreography. However, the turn to epic and mythological plots performs an essential function in preserving cultural identity: “through the symbolic language of dance, the national history and its spiritual values are reinterpreted” [4]

This statement allows us to consider stage art as a medium that brings together the personal experience of the spectator and collective archetypes. An important direction of development has been work with oral tradition and its modern interpretations. Research emphasize that choreography, by turning to epic and myth, performs the function of preserving identity, actualizing the nation’s spiritual values [4, с. 2]. What becomes important here is not so much a literal adherence to the source as the search for a plastic equivalent capable of conveying the depth of its meaning. Modern scholar point out that in national stage choreography “a synthesis of traditional folklore and contemporary artistic forms emerges” allowing one “to preserve the authenticity of the image while simultaneously expanding the means of expression” [5, с. 37]. By that, today’s artistic practice relies on a rich layer of ethnocultural heritage while integrating it with innovative forms of dance. Form classical plots to the latest authorial interpretations, one observes not only a diversity of forms but also a gradual complication of artistic tasks. Literary and folkloric sources act less as an illustrative basis and more as a sources of artistic reflection, setting the direction for the search for new plastic solutions. This is precisely why the appeal to mythology, epic, and historical legends remains a key factor in shaping the artistic system oh Kazakh stage choreography.

Conclusion

The analysis of the role of epic and literary sources in Kazakh stage choreography shows that these materials consistently serve as a foundation for the development of artistic imagery. Folklore and mythology not only provide choreographers with narrative material but also enrich the stage with archetypal symbols that carry cultural memory. By turning to oral tradition and written monuments, stage art fulfills the function of preserving identity and transmitting values that remain relevant in contemporary culture.

At the same time, the interaction between folklore and modern artistic practices demonstrates that tradition is not static. Folkloric material undergoes transformation, acquiring new forms and meanings while maintaining its cultural significance. This process makes it possible to preserve the authenticity of images and, at the same time, expand the expressive possibilities of choreography.

Thus, epic and literary sources act not merely as illustrative components but as a driving force in the development of stage art. They provide continuity between past and present, ensure the preservation of cultural heritage and open space for new artistic searchers. It is precisely this connection between tradition and innovation that defines the unique character of Kazakh stage choreography.

References:

1. Lobia, M. Folk Art (Folklore). Kazakh Myths. — Moscow, 2023. — 218 p.
2. Mergaliev, D.M. Folkloric Traditions and Their Reflection in Art. — Almaty, 2022. — 133 p.
3. Netuzhilova, N.A. The Language of Myth and Ritual in the Art of Ballet. Article. — St. Petersburg, 2009. — 120 p.
4. Gongalo, V. “Folklore and Choreography as Cultural Memory.” — Semey, 2009. — 391 p.
5. Tani, A., Nusipzhanova, B.N. Mythological Images in the Ballets of Choreographer-Director Anvara Sadykova. Article. — Astana, 2021. — 54 p.