Abstract A privileged position in discourse on 19th-century opera is occupied by narration concerning the emancipation of national styles. In order to work out a fresh approach in scientific study of this subject, it seems crucial that we should abandon the ethnocentric perspective. This was one of the main postulates of Jean-Marie Pradier’s utopian project of ethnoscenology. Importantly, Pradier also stressed the physical aspect of all stage practice. In the times of Rossini, Verdi, Gounod and Moniuszko, the physicality of the spectacle was associated not only with singing, but also with choreography. The links between 19th-century opera and its broadly conceived dance component are the subject of a highly inspiring essay by Maribeth Clark, whose arguments, theses and conclusions we also present here in detail. Stanisław Moniuszko’s operatic style is commonly associated with Polish dance rhythms. Still, salon dance should also be considered, apart from national dances, as one of the keys to the composer’s entire oeuvre. In a study of his stage works from both the Vilnius and the Warsaw periods, the dance idiom will not be limited to the presence of dance rhythms in the protagonists’ arias or to the ballet sections. Dance qualities can be discerned in Moniuszko’s music on a much deeper, fundamental level of the construction of operatic narration. Dance is frequently a hidden mechanism that serves as an axis of development for the presented events or as an element that organises the dramaturgy of entire scenes and instrumental passages. This paper is an attempt to take a fresh look at the role of the dance idiom in Moniuszko’s operatic narrations, an initial reconnaissance, in which I point to the sources of the composer’s inspirations and illustrate my theses with specific examples.

中文翻译：

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超越“民族风格”的教条：

摘要 民族风格解放的叙事在 19 世纪歌剧的论述中占据了优势地位。为了在这个主题的科学研究中找到一种新的方法，我们应该放弃种族中心主义的观点。这是让-玛丽·普拉迪埃乌托邦民族学计划的主要假设之一。重要的是，普拉迪尔还强调了所有舞台练习的身体方面。在罗西尼、威尔第、古诺和莫纽什科的时代，奇观的物理性不仅与歌唱有关，而且与编舞有关。19 世纪歌剧与其广泛构思的舞蹈成分之间的联系是玛丽贝斯·克拉克 (Maribeth Clark) 一篇极具启发性的文章的主题，我们也在此详细介绍了他的论点、论文和结论。Stanisław Moniuszko 的歌剧风格通常与波兰舞蹈节奏有关。尽管如此，除了民族舞蹈之外，沙龙舞也应该被视为作曲家整个作品的关键之一。在研究他的维尔纽斯和华沙时期的舞台作品时，舞蹈习语将不仅限于主角咏叹调或芭蕾舞部分的舞蹈节奏。Moniuszko 音乐中的舞蹈品质可以在歌剧叙事结构的更深层次和基本层面上体现出来。舞蹈通常是一种隐藏的机制，作为呈现事件的发展轴或作为组织整个场景和器乐段落的戏剧结构的元素。本文试图重新审视舞蹈习语在莫纽什科歌剧叙事中的作用，