The dance as well as the art is a part of the life of each individual, but they are also a part of the general processes in society. Dance very frequently absorbs, and nevertheless at the same time reflects the conditions that are distinctive of a specific time and space. The dance body is a medium through which the reactions and responses to a specific problem or condition are articulated. In some examples, the body is used as an instrument to promote values often dictated by the centers of power and authority. However, the dancing body is also a channel through which one can follow reactions and answers to a real problems and hardship. This characteristic will be the subject of this analysis. The Middle Ages was chosen to show the manner and forms of reaction created in crisis situations. Although we have very few authentic sources for this period, it was an additional challenge to go deeper, to explore and to emphasize another function of the dance that is not aesthetic, yet socially engaged. The body is a strong articulator and although it is rarely included in general social research, it provides very interesting material and opportunities to decoded states, attitudes and positions on a collective level. The analysis deals with presenting events that feature the medieval period that have been followed and resulted in specific reactions shaped through several dance forms.

Defining the Balkans as a geographic, cultural and semantic entity triggers an interpretation of them as some idea, concept, oftentimes even a stereotype. The Balkans are usually interpreted as a singular entity, generalized and set in a single framework. That generalized view is often ambivalent. The Balkans are often interpreted and presented as a ‘powder keg’, a ‘bridge between the East and the West’, a part of Europe that is simply different, a place of strong emotions and attractive forms of music and dance, etc. However, the Balkans represent a set of cultural units that are in constant interaction, with each of the cultures of the Balkans being specific and authentic. Macedonia, as one of the pages of the ‘Balkan story’, will be presented at three levels—regarding its drama, music and dance. The specific characteristics of the music and the dance fields will be presented through their most significant features and examples, and the treatment of the topic of the Balkans in Macedonian drama will be covered as well. The analysis confirms that generalization is impossible even within a single culture, as each artist and medium of performance has its own unique expression. The cultural forms of Macedonian culture are only part of the wider pluralistic representation of the Balkans. It may be offered under the Balkans as the common denominator, but the truth is that this/representation/concept is polyvalent, multicultural, polysemic and extremely rich.

A macedón balett 1949-ben alakult, 2019-ben az együttes fennállásának 70. évfordulóját ünnepelte. Ez adja az apropóját a repertoár elméleti áttekintésének és elemzésének. A macedón balettrepertoár értelmezésének kiindulópontja a feladat, hogy meghatározzuk a felismerhető kifejezésmódokat, azok legjelentősebb jegyeit. Az időkeret két végpontja: 1949, a professzionális balettcsoport megalapításának éve a Macedón Nemzeti Színházban, és a a 2019/2020-as évad. A teljes repertoárt elemezve három réteg különböztethető meg. A szerző kutatási érdeklődését az első rétegre irányul: a klasszikus balettprodukciókra, és olyan darabokra amelyek e stílushoz közel állnak. Macedonian ballet was founded in 1949, and in 2019 the ensemble celebrated its 70th anniversary. That was a reason for a theoretical review and analysis of the repertory. A starting point in the interpretation of the Macedonian ballet repertoire is the task to determine a recognizable expression with emphasized characteristics and features. The time frame comprises 1949, the year of founding of the professional ballet group within the Macedonian National Theatre, and its cease with the season 2019/20. Analyzing the whole repertoire, three layers can be distinguished. The research interest of the author will be put on the first this layer: classical ballet productions, and the performances that gravitate towards this stylistic format.

Работата на руските кореографи во Македонија. Зачувување на балетското наследствоАпстракт: Генезата на балетската уметност во Македонија ја поврзуваме со пр-вите форми на сценаски изведби, во дионисиските празнувања и првите театарски претстави за што потврда ни се откриените археолошки артефакти и локалитети. Но вистински проектиран развој балетот во Македонија бележи кон средината на ХХ век, поточно од 1949 до денес. Тогаш се поставени темелите на оваа уметност преку формирање на трупа, едукативни институции, репертоар. Голем удел за професионал-ниот раст на трупата имале руските уметници кои во различни периоди работеле во Македонија. Од нив би издвоиле тројца кореографи Нина Кирсанова, Јуриј Мјачин и Михаил Крапивин. Нивната работа е поврзана со неколку сегменти -кореографија, балетска репетиција, едукација. Овој текст се бави со анализа на едена специфична група која припаѓа на класичното балетско наследство. Тоа се дела кои ја задржале својата кореографија во речиси непроменета форма и припаѓаат на постановките од XIX век, но едновремено претставуваат синоним на балетската уметност -'Лебедово езеро', 'Заспаната убавица', 'Рајмонда', 'Жизел' и др. Тие се мерило за зрелоста и ква-литетот на една трупа. Македонскиот балет посветува особено внимание и ги вграду-ва во својот репертоар од самите почетоци. Најзалужни за нивниот пренос и адекватна подготовка се имено тројцата кореографи кои беа споменати. Тие на македонска сцена ги пренеле 'Заспаната убавица', 'Дон Кихот', 'Рајмонда', 'Оревокршачка', 'Копелија', 'Есмералда'. Нивната работа ја карактеризиал високопрофесионален однос, посвете-ност и многу љубов. Резултат тоа се претстави кои го одбележале Македонскиот балет и останале десетици години на репертоарот.Клучни зборови: танц, балет, класично наследство, кореографија, Македонија Sonja Zdravkova Djeparoska (Skopje, Macedonia) The Work of Russian Choreographers in Macedonia. Preserving the Ballet LegacyAbstract: The genesis of ballet art in Macedonia is assiciated with the initial forms of stage performances such as Dionysias festivals and the fi rst theater plays, what is confi rmed by the discovered archaeological localities and artefacts. But the actual projected development of the ballet in Macedonia started only in the middle of the 20 th

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