Abstract
The article deals with the image of the so-called femme fatale in Kazakh choreographic art in the case study of two ballets by Mukaram Avakhri: “Carmen” and “Salome”. The author analyzes the artist’s interpretation of the images of the two title characters as canonical cultural texts in the discourse on the history of female representation. At present, the choreographic theory is at the junction of feminist thought and choreographic interdisciplinary practice that strives to view the dancing female body through alternative means of cognition. The stereotype of femininity in dominant conceptions of the Western culture can be deconstructed through the new experience of female authors that influences the performer and the viewer in a new way. The directing and plastique-based approaches that help the young female Kazakh choreographer to achieve this are of interest to the authors.