Abstract
The article examines musical intertextuality as a structure-forming mechanism of cultural translation in the one-act ballets by Brazilian choreographer Ricardo Amarante – “Gaia”, “Love Fear Loss”, and “A Fuego Lento” – staged at the Astana Ballet Theatre. Applying intertextual, semiotic, and comparative-analytical methods, the study identifies four types of musical intertextuality with an explicit description of translation parameters (rhythm, harmony, thematics, texture → choreographic equivalent). An analytical model “Music → Intertext → Choreography → New Meaning” is proposed and three levels of cultural translation are described: emotional, semantic, and philosophical. It is demonstrated that Amarante’s method is characterized by a systematic intercultural approach – Brazilian, French, and Russian musical traditions are translated into the language of contemporary Kazakhstani choreography – distinguishing it from the practices of Forsythe, Kylián, and Eifman, who operate within analogous paradigms.