Guzel Ramilevna Sagitova,
Kazan State Conservatoire named after N.Zhiganov,
38 Bolshaya Krasnaya Str., Kazan, 420015, Russia,
Mileusha Mukhametzyanovna Khabutdinova,
Kazan Federal University,
18 Kremlevskaya Str., Kazan, 420008, Russia,
The article reviews cultural and educational projects, based on the ancient Tatar bayt “Sak-Sok” and aimed to preserve and develop Tatar culture1. They include the musical “Sak-Sok kanatlarynyŋ sere” (‘The Mystery of Sak-Sok’s Wings’), a collective creative work of teachers and students of the Kazan State Conservatoire named after N.Zhiganov, teachers and pupils of Kazan Children’s School of Arts named after M.A.Balakirev (“Junior Academy of Fine Arts”), the team of the youth orchestra “Sforzando” (conducted by Ilnar Fayzutdinov), and the State Puppet Theatre in Naberezhnye Chelny. The authors summarized the material on the history and staging of the bayt “Sak-Sok”, revealed the main problems, analyzed the composition of this literary work, and identified the mythopoetic potential of the key images. The musical is based on the play “Sak-Sok tavyshy” (‘The Voice of Sak-Sok’) (1987) by R.Khafizova. The comparative analysis of the libretto and the original text identified the features of a modern interpretation of the ancient text. As a genre, it is a musical fairy tale; by the form, it is a musical with dialogues. The equality of music, dance and a conversational genre is a characteristic feature of the musical “Sak-Sok kanatlarynyŋ sere” (‘The Mystery of Sak-Sok’s Wings’). The puppet show “Sak-Sok” (directed by I.Zayniev) is also based on the ancient bayt. The dominant theme is the theme of loneliness and human relationships in the modern world. The article identifies the potential of the key symbols and archetypal images of the production. It also reveals the originality of intertextual links and investigates the role of the twin myth both at the level of problematics and poetics of the performance.
Key words: bayt “Sak-Sok”, musical, puppet show, twin myths, archetype, symbol.