In the article, an approach to the analysis of the artwork that represented the image of the great ballerina, A. Pavlova in the choreographic miniature The Dying Swan was implemented for the first time. The article contains the solution of the problem of understanding and comprehension of all artistic components of visual characteristics of the created works, which can be used in reconstructions and modern interpretations of a choreographic performance. The main iconographic motives of The Dying Swan by different artists have been illustrated on the materials of fine art, and their comparative analysis has been given.

The author aims at tracing the way the idea and mechanisms of interpretation of A. Pavlova’s role are transformed into the structure of a still image. Based on the definitions considered, specific author's solutions are analysed, and their ideological-artistic originality (features of composition construction, mise en scene lighting plot of the performance, acting nuances) is revealed about the stage representation and perception of classical choreography. In the article, a significant place is given to the work of sculpture created by A. Pavlova on a topic of The Dying Swan, which has been scarcely examined, in which the specificity of the ballerina’s performing art has been interpreted as a secondary relatively independent actor's activity and her creativity has been revealed in the format of the figurative interpretation as the individual performing interpretation of a stage of primary (author's) scenic activities. The article concludes that the presented sculptural-plastic interpretation of A. Pavlova's dance as a performer of the act is further superimposed on the interpretation of the choreographic image and manifested in the expressiveness of the movements set by the ballet-master, resulting in a new semantic variant based on the previous one.