DOI: 10.7256/2454-0625.2016.3.18138

Abstract: The subject of the research is the student movement at Novosibirsk State University (NSU) in 1963 - 1967 as part of a wider opposition movement in the Campus. Previous researches and articles devoted to this topic do not fully reveal the history or specify this phenomenon. According to the author of the article, civil activity was the unexpected side effect of the Siberian expirement. Analysis of the phenomenon may help to seek solutions aimed at the renovation of the society system. The article is devoted to the analysis of prerequisites and factors of the student movement as well as a full range of their activities including self-management, club forms of activity, antisemite trial, participation in the university's rector elections, preservation of the university's autonomy and academic freedoms, protection of teachers and students against political repressions. The article has been written at the intersection of several genres and methods: documented facts from the history of the student movement are accompanied with students' and teachers' memories, sociological observations are combined with statistical data. The main contribution of the author is the analysis of the student movement of NSU in the 1960s, its grounds, forms and main actions and activities, precedents and reasons why the movement stopped existing. This is the first analysis of this kind in the academic literature. It is shown that it was the first open, legal and longest student movement since the 1920s. It was the example of opposition without dissidence, independent movement aimed at self-management and transformation of the society system. It had the best effect on the development of the civil society than all the other famous student movements of that time. 

Keywords: civil society, NSU, independent style of life, cultural grounds of power, Novosibirsk State University, campus, social changes, university's autonomy, cultural life of the 60s, student opposition movement

DOI: 10.7256/2454-0625.2016.3.67821

Abstract: The subject of the research is the student movement at Novosibirsk State University (NSU) in 1963 - 1967 as part of a wider opposition movement in the Campus. Previous researches and articles devoted to this topic do not fully reveal the history or specify this phenomenon. According to the author of the article, civil activity was the unexpected side effect of the Siberian expirement. Analysis of the phenomenon may help to seek solutions aimed at the renovation of the society system. The article is devoted to the analysis of prerequisites and factors of the student movement as well as a full range of their activities including self-management, club forms of activity, antisemite trial, participation in the university's rector elections, preservation of the university's autonomy and academic freedoms, protection of teachers and students against political repressions. The article has been written at the intersection of several genres and methods: documented facts from the history of the student movement are accompanied with students' and teachers' memories, sociological observations are combined with statistical data. The main contribution of the author is the analysis of the student movement of NSU in the 1960s, its grounds, forms and main actions and activities, precedents and reasons why the movement stopped existing. This is the first analysis of this kind in the academic literature. It is shown that it was the first open, legal and longest student movement since the 1920s. It was the example of opposition without dissidence, independent movement aimed at self-management and transformation of the society system. It had the best effect on the development of the civil society than all the other famous student movements of that time. 

Keywords: civil society, NSU, independent style of life, cultural grounds of power, Novosibirsk State University, campus, social changes, cultural life of the 60s, student opposition movement

DOI: 10.7256/2454-0625.2016.3.17967

Abstract: The article proves the necessity of interdisciplinary study of complex cultural phenomena and individual persons. Placing the emphasis on psychoanalytic methodology and viewing association as the analogue to dreaming and creator as the analogue to a child, Zotnikova stresses the importance of interdisciplinarity in the study of creative personality. The 'Model of the Child' based on the example of Alexander Pushkin's personality and the principles of studying the leadership in the sphere of art are shown as the author's experience in interdisciplinary methodological research. Opportunities of interdisciplinarity are identified by the researcher based on the material of cultura; studies (I. Kondakov), art studies (B. Zingerman, G. Sternin), and theatre studies (G. Brodskaya). In relation to the needs of the study of mass culture, the researcher collects evidence of interdisciplinarity in the works of sociologists (Zh.Toshchenko), describes experience in synergetic research (I. Prigozhin, V. Arshinov, and M. Kagan), and philosophical and psychological ideas (K. G. Jung). Based on this,  the Olympics is presented as a text of mass culture. Archetype is defined to be the code of mass culture. The author also analyzes the presence of the male archetype (in so called retrodirectives written by B. Akunin and A. Chizh) and the female archetype (in the novels written E. Vilmont, D. Rubina, D. Dontsova, actresses I. Churikova and L. Gurchenko) in contemporary Russian mass culture. The conclusion is made about the productivity of the combination of several methods – psychoanalytic, synergetic, socio-cultural, artistic – in their integration and complementarity, i.e., interdisciplinarity.

Keywords: synergetics, sociology of culture, art history, psychoanalysis, cultural studies, interdisciplinarity, archetype, Russian culture, methodology, mass culture

DOI: 10.7256/2454-0625.2016.3.67822

Abstract: The article proves the necessity of interdisciplinary study of complex cultural phenomena and individual persons. Placing the emphasis on psychoanalytic methodology and viewing association as the analogue to dreaming and creator as the analogue to a child, Zotnikova stresses the importance of interdisciplinarity in the study of creative personality. The 'Model of the Child' based on the example of Alexander Pushkin's personality and the principles of studying the leadership in the sphere of art are shown as the author's experience in interdisciplinary methodological research. Opportunities of interdisciplinarity are identified by the researcher based on the material of cultura; studies (I. Kondakov), art studies (B. Zingerman, G. Sternin), and theatre studies (G. Brodskaya). In relation to the needs of the study of mass culture, the researcher collects evidence of interdisciplinarity in the works of sociologists (Zh.Toshchenko), describes experience in synergetic research (I. Prigozhin, V. Arshinov, and M. Kagan), and philosophical and psychological ideas (K. G. Jung). Based on this,  the Olympics is presented as a text of mass culture. Archetype is defined to be the code of mass culture. The author also analyzes the presence of the male archetype (in so called retrodirectives written by B. Akunin and A. Chizh) and the female archetype (in the novels written E. Vilmont, D. Rubina, D. Dontsova, actresses I. Churikova and L. Gurchenko) in contemporary Russian mass culture. The conclusion is made about the productivity of the combination of several methods – psychoanalytic, synergetic, socio-cultural, artistic – in their integration and complementarity, i.e., interdisciplinarity.

Keywords: synergetics, sociology of culture, art history, psychoanalysis, cultural studies, interdisciplinarity, archetype, Russian culture, methodology, mass culture

DOI: 10.7256/2454-0625.2016.3.19052

Abstract: The subject of the present research is the historical millitary orchestra Mehter depicted in Ottoman miniatures of the 16th - 18th centuries. The illustrative material consisting of 25 samples of Ottoman miniatures depicting the musicians of the Mehter band located in archives and museums of Turkey served as the empirical base of the research. In accordance with the objectives the author has reviewed and analyzed images of the band in the millitary campaign scenes, ceremonial rites, as well as in the scenes of the palace festivals and celebrations. In her research Gorbunova has used the historical and semiotic methods as well as the field survey. The scientific novelty of the work is caused by the fact that based on the Ottoman miniatures for the first time there the author has conducted a semiotic analysis of the composition of the orchestra, used musical instruments and identified the role and place of Mehter in the cosmos of Ottoman Turks. The study revealed that Mehter millitary band has a special place in Turkish culture, being one of the dominant features of the spiritual space of the Turkic world. During the military campaigns the orchestra does not only set up the army to victory but also plays the role of a certain religious talisman, "shield" that protects the Sultan and his army. During the court events orchestra seems to guide a higher power at ceremonies and rituals occupying a middle position between the divine and the earthly. Thus, Ottoman miniatures are not only a chronicle of Ottoman history but also represent the Turkic cosmos formed by the religious vertical and ethnic nomad horizontal. The results of the study will be useful in the preparation of lectures on Turkic studies, cultural studies and art history.

Keywords: nomadism, cultural symbol, cultural cosmos, musical instruments, Turkish culture, Mehter, millitary band, Ottoman miniature, military campaigns, circle

DOI: 10.7256/2454-0625.2016.3.67823

Abstract: The subject of the present research is the historical millitary orchestra Mehter depicted in Ottoman miniatures of the 16th - 18th centuries. The illustrative material consisting of 25 samples of Ottoman miniatures depicting the musicians of the Mehter band located in archives and museums of Turkey served as the empirical base of the research. In accordance with the objectives the author has reviewed and analyzed images of the band in the millitary campaign scenes, ceremonial rites, as well as in the scenes of the palace festivals and celebrations. In her research Gorbunova has used the historical and semiotic methods as well as the field survey. The scientific novelty of the work is caused by the fact that based on the Ottoman miniatures for the first time there the author has conducted a semiotic analysis of the composition of the orchestra, used musical instruments and identified the role and place of Mehter in the cosmos of Ottoman Turks. The study revealed that Mehter millitary band has a special place in Turkish culture, being one of the dominant features of the spiritual space of the Turkic world. During the military campaigns the orchestra does not only set up the army to victory but also plays the role of a certain religious talisman, "shield" that protects the Sultan and his army. During the court events orchestra seems to guide a higher power at ceremonies and rituals occupying a middle position between the divine and the earthly. Thus, Ottoman miniatures are not only a chronicle of Ottoman history but also represent the Turkic cosmos formed by the religious vertical and ethnic nomad horizontal. The results of the study will be useful in the preparation of lectures on Turkic studies, cultural studies and art history.

Keywords: nomadism, cultural symbol, cultural cosmos, musical instruments, Turkish culture, Mehter, millitary band, Ottoman miniature, military campaigns, circle

DOI: 10.7256/2454-0625.2016.3.17708

Abstract: The subject of the present research article is the analysis of the books devoted to Russian mass culture and published by scientists and educators from Yaroslavl. These books complete each other as a monograph and a text book, which is very important considering today's approximation of academic and university sciences. In her research Shapinskaya examines various aspects of mass culture represented both in theories and cultural practices and analyzes the authors' contribution to the shere of concepts of Russian mass culture. The results of the research have been regarded to be a valuable contribution to the development of cultural research. To analyze the aforesaid books, the author has used the method of discourse analysis as well as the descriptive method when describing different aspects of the monograph and text book. Despite the fact that there is quite a number of academic works on mass culture, partiuclar aspects of mass culture have not been thoroughly studied. By analyzing these books written by Yaroslavl scientists, the author includes them in the cultural discourse. Special attention is paid to the importance of the authors' cultural experience reflected in these books. The authors give examples not only from the cultural life in general but also from the life of the Russian province where the distribution processes and the nature of mass culture have their peculiarities. 

Keywords: cultural practices, education, values, aesthetics, globalisation, discourse, study guide, monograph, research, mass culture

DOI: 10.7256/2454-0625.2016.3.67824

Abstract: The subject of the present research article is the analysis of the books devoted to Russian mass culture and published by scientists and educators from Yaroslavl. These books complete each other as a monograph and a text book, which is very important considering today's approximation of academic and university sciences. In her research Shapinskaya examines various aspects of mass culture represented both in theories and cultural practices and analyzes the authors' contribution to the shere of concepts of Russian mass culture. The results of the research have been regarded to be a valuable contribution to the development of cultural research. To analyze the aforesaid books, the author has used the method of discourse analysis as well as the descriptive method when describing different aspects of the monograph and text book. Despite the fact that there is quite a number of academic works on mass culture, partiuclar aspects of mass culture have not been thoroughly studied. By analyzing these books written by Yaroslavl scientists, the author includes them in the cultural discourse. Special attention is paid to the importance of the authors' cultural experience reflected in these books. The authors give examples not only from the cultural life in general but also from the life of the Russian province where the distribution processes and the nature of mass culture have their peculiarities. 

Keywords: cultural practices, education, values, aesthetics, globalisation, discourse, study guide, monograph, research, mass culture

DOI: 10.7256/2454-0625.2016.3.17481

Abstract: The subject of the present research is the mythological subtexts that define how particular movies and films created in different periods are perceived by the audience. According to the author, these subtexts have a strong influence on mass consciousness of public, however, public is usually unaware of such influence. Among other things the content of mass reception includes out-of-cinematographic manifestations of collective unconscious. Mental projections of archetypic images which came into existence in different periods of cultural history and connected with utopian visions, myths, and religious symbols are coming to the fore. Noteworthy that projections on the city are precede the projections of collective unconscious on the cinema; they are transferred into the cinema later on. Finally, the cinema in principal makes a colossal intertext in which cultural history is reflected both in its axial and pre-axial aspects. The scope of analysis comes down to the projections which become realistic already at early stages of cinematography history. To define mythological and archetypical subtexts of cinematography reception, the author of the article has used methodology of such academic disciplines as receptive esthetics, psychoanalysis and analytical psychology. The main conclusions of the research are the following: a) the structure of the audience of early cinematograph was made up mostly of urban social groups which had folklore stereotypes in their consciousness; b) the city was perceived in accordance with the folklore stereotype of the festive revelry as a synonym for freedom; c) the aura around the city created by the mass consciousness defines many things including how cinematography is perceived. The author's contribution to the topic of cinematography reception is the recognition of the image of cinema containing the myth of the city. The  novelty of the research is caused by the fact that the author of the article describes specific archetypes that exist in the mind of the audience (recipients) and become evident in the process of cinematography perception. 

Keywords: rite, liminality, utopia, holiday, archetype, reception, folklore, myth, city, cinematography

DOI: 10.7256/2454-0625.2016.3.67825

Abstract: The subject of the present research is the mythological subtexts that define how particular movies and films created in different periods are perceived by the audience. According to the author, these subtexts have a strong influence on mass consciousness of public, however, public is usually unaware of such influence. Among other things the content of mass reception includes out-of-cinematographic manifestations of collective unconscious. Mental projections of archetypic images which came into existence in different periods of cultural history and connected with utopian visions, myths, and religious symbols are coming to the fore. Noteworthy that projections on the city are precede the projections of collective unconscious on the cinema; they are transferred into the cinema later on. Finally, the cinema in principal makes a colossal intertext in which cultural history is reflected both in its axial and pre-axial aspects. The scope of analysis comes down to the projections which become realistic already at early stages of cinematography history. To define mythological and archetypical subtexts of cinematography reception, the author of the article has used methodology of such academic disciplines as receptive esthetics, psychoanalysis and analytical psychology. The main conclusions of the research are the following: a) the structure of the audience of early cinematograph was made up mostly of urban social groups which had folklore stereotypes in their consciousness; b) the city was perceived in accordance with the folklore stereotype of the festive revelry as a synonym for freedom; c) the aura around the city created by the mass consciousness defines many things including how cinematography is perceived. The author's contribution to the topic of cinematography reception is the recognition of the image of cinema containing the myth of the city. The  novelty of the research is caused by the fact that the author of the article describes specific archetypes that exist in the mind of the audience (recipients) and become evident in the process of cinematography perception. 

Keywords: rite, liminality, utopia, holiday, archetype, reception, folklore, myth, city, cinematography

DOI: 10.7256/2454-0625.2016.3.17615

Abstract: The main purpose of the present research article is to summarize methodological peculiarities of art research. The author's approach to the topic has allowed to describe destructive and constructive aspects of defining methodological grounds for studying art and artistic forms from the scientific point of view. According to the author, the main problem is the unreasoned application of the so-called integrated approach and analysis. Not all researchers can handle this approach so their researches have methodological gaps. On the other hand, the author emphasizes the crucial role of the interdisciplinary approach in studying the phenomenon of art. The methodological basis of the research is defined by the systems analysis of arts in the human life and society. The main conclusions of the research are the following: 1) Reasoned and adequate application of the integrated approach and analysis is very important for studying the phenomenon of art. The idea of art studies as a plain combination of research methods and/or techniques makes it much easier to achieve the research objectives. 2) Interdisciplinary approach has certain advantages, however, important rules are to be observed in order to avoid the risk of obtaining declarative or invalid results. 

Keywords: interdisciplinarity, science, methodology, art, cognition, integration of sciences, values, philosophy, society, culture

DOI: 10.7256/2454-0625.2016.3.67826

Abstract: The main purpose of the present research article is to summarize methodological peculiarities of art research. The author's approach to the topic has allowed to describe destructive and constructive aspects of defining methodological grounds for studying art and artistic forms from the scientific point of view. According to the author, the main problem is the unreasoned application of the so-called integrated approach and analysis. Not all researchers can handle this approach so their researches have methodological gaps. On the other hand, the author emphasizes the crucial role of the interdisciplinary approach in studying the phenomenon of art. The methodological basis of the research is defined by the systems analysis of arts in the human life and society. The main conclusions of the research are the following: 1) Reasoned and adequate application of the integrated approach and analysis is very important for studying the phenomenon of art. The idea of art studies as a plain combination of research methods and/or techniques makes it much easier to achieve the research objectives. 2) Interdisciplinary approach has certain advantages, however, important rules are to be observed in order to avoid the risk of obtaining declarative or invalid results. 

Keywords: interdisciplinarity, science, methodology, art, cognition, integration of sciences, values, philosophy, society, culture

DOI: 10.7256/2454-0625.2016.3.19081

Abstract: The main subject of the present research is the human ability to appeal to unconsciousness by means of creating action-plastic stage settings that allow the stage director to evoke necessary associations in the minds of the audience. These images are capable of changing  the static character of one's world view of the reality into artistic action and image-bearing associations. According to the author of the article, the spiritual and philosophical basis of the theatricable way of thinking introduced by Clement Marty and his team of actors is a peculiar transformation of the reality of being into the sacral mysteric action. There is no personality in principle there. However, it is not a depersonalization. It is more likely to be a generalized archetypical image expressed intuitively. Unconscious displays of these images are a sublimate integration of the artistic imaginative vision into plastic action revealed in the original theatricable form. The article deals with artistic and aesthetic features of performances staged by the French equestrian theater 'Zingaro' of Bartabas. The author of the present article focuses on the analytical interpretation of the works of theatrical art created by Clement Marty (Bartabas) through the prism of anthropomorphism of the audiovisual, philosophical and psychological perception of the human cultural and historical experience initiated by the most noble animal, the Horse. In the course of her research Danilova has ued the systems approach, analysis and generalization. The new form of the metaphoric active-plastic expression established by the proper background music and lighting allows to convey information at the non-verbal level. This staging technique used at the plastic theatre allows to evoke certain emotion-and-action audiovisualization of unconscious images and fulfill the director's intention in a non-trivial way. 

Keywords: art, mystery, tempo-rhythmic pattern of the role, symbol-mask, active-plastic philosophy of Being, creative anthropomorphism, clip thinking, artistic action and image-bearing associations, demonstration and performance skills, horse

DOI: 10.7256/2454-0625.2016.3.67827

Abstract: The main subject of the present research is the human ability to appeal to unconsciousness by means of creating action-plastic stage settings that allow the stage director to evoke necessary associations in the minds of the audience. These images are capable of changing  the static character of one's world view of the reality into artistic action and image-bearing associations. According to the author of the article, the spiritual and philosophical basis of the theatricable way of thinking introduced by Clement Marty and his team of actors is a peculiar transformation of the reality of being into the sacral mysteric action. There is no personality in principle there. However, it is not a depersonalization. It is more likely to be a generalized archetypical image expressed intuitively. Unconscious displays of these images are a sublimate integration of the artistic imaginative vision into plastic action revealed in the original theatricable form. The article deals with artistic and aesthetic features of performances staged by the French equestrian theater 'Zingaro' of Bartabas. The author of the present article focuses on the analytical interpretation of the works of theatrical art created by Clement Marty (Bartabas) through the prism of anthropomorphism of the audiovisual, philosophical and psychological perception of the human cultural and historical experience initiated by the most noble animal, the Horse. In the course of her research Danilova has ued the systems approach, analysis and generalization. The new form of the metaphoric active-plastic expression established by the proper background music and lighting allows to convey information at the non-verbal level. This staging technique used at the plastic theatre allows to evoke certain emotion-and-action audiovisualization of unconscious images and fulfill the director's intention in a non-trivial way. 

Keywords: art, mystery, tempo-rhythmic pattern of the role, symbol-mask, active-plastic philosophy of Being, creative anthropomorphism, clip thinking, artistic action and image-bearing associations, demonstration and performance skills, horse

DOI: 10.7256/2454-0625.2016.3.19130

Abstract: The subject of the present research article is the theatre education in Korea and associated problems. The biggest problem of the modern Korean theatre is the relationship between actors and directors based on traditional Confucianism and traditional patterns of behavior. Even though contemporary Korean actors receive their education at universities, Korean system of higher theatre education is still in the process of development. Except for some universities, most Korean universities do not have individual departments of acting, stage directing or theatre history but have only general drama or cinematographical-theatrical faculties. The researcher has used the comparative method to compare the Korean system of theatre education with the Russian system of theatre education based on Stanislavsky's method. The main conclusion of the research is that Stanislavsky's system Koreans are already accustomed to should be completed with Meyerhold's method which may contribute to the development of the national theatre because conditionality is the main feature of Meyerhold's method and the basis of the Korean national theatre. Enrichment of Stanislavsky's method with Meyerhold's pedagogical techniques can be useful for the Korean acting school and provide the key to success of a Korean student in the theatre world. 

Keywords: professional theatre, Korean's mentality, Meyerhold, Stanislavsky’s system, Koreans, director, actor, Confucianism, Korean theatre, theatre education

DOI: 10.7256/2454-0625.2016.3.67828

Abstract: The subject of the present research article is the theatre education in Korea and associated problems. The biggest problem of the modern Korean theatre is the relationship between actors and directors based on traditional Confucianism and traditional patterns of behavior. Even though contemporary Korean actors receive their education at universities, Korean system of higher theatre education is still in the process of development. Except for some universities, most Korean universities do not have individual departments of acting, stage directing or theatre history but have only general drama or cinematographical-theatrical faculties. The researcher has used the comparative method to compare the Korean system of theatre education with the Russian system of theatre education based on Stanislavsky's method. The main conclusion of the research is that Stanislavsky's system Koreans are already accustomed to should be completed with Meyerhold's method which may contribute to the development of the national theatre because conditionality is the main feature of Meyerhold's method and the basis of the Korean national theatre. Enrichment of Stanislavsky's method with Meyerhold's pedagogical techniques can be useful for the Korean acting school and provide the key to success of a Korean student in the theatre world. 

Keywords: professional theatre, Meyerhold, Stanislavsky’s system, Koreans, director, actor, Confucianism, Korean theatre, theatre education

DOI: 10.7256/2454-0625.2016.3.18888

Abstract: The subject of the present research is the model of the repertoire theatre in terms of changes that have taken place over the past decade in the legal, economic, social, cultural and artistic environment of our country. The author of the article sets a goal to carry out the integrated analysis of the situation which predetermined the existence of the repertoire theatre as well as to analyze directions for its future development. The article touches upon legislative initiatives and results of their implementation leading to tranformation of their institutional arrangements. In addition, the author also focuses on the theatres' attempts to win a new socio-cultural status instead of the lost role of the theatre as the temple or faculty. Creative life is viewed by the author from the point of view of the Russian theatre's integration into the global development of the theatre as well as considering changes in Russia's state cultural policy. In terms of methodology, the research is based on the analysis of the four aspects of the adaptation of the repertoire theatre to modern economic, social, cultural and artistic conditions. In conclusion, the author generalizes conclusions for each aspect. According to the author, dynamic changes in the sphere of culture in our country create the need to constantly reflect on what's happening. The present research helps to fix the main trends in the modern theatre process and offer ways for its future development. The main conclusions of the research are the following: there is a need to review the existing federal and regional laws and make them fairer towards the sphere of culture. Professional community should also struggle to create the multichannel system of supporting arts, strengthen communicative and educative functions of the theatre contributing to raising and extending the theatre audience as well as develop the favorable competition between conventional and innovative movements in the theatre art. 

Keywords: multicultural centre, director, theatre manager, targeted financing, postdramatic theatre, performativity, cultural policy, repertoire theatre, artictic director, theatre art

DOI: 10.7256/2454-0625.2016.3.67829

Abstract: The subject of the present research is the model of the repertoire theatre in terms of changes that have taken place over the past decade in the legal, economic, social, cultural and artistic environment of our country. The author of the article sets a goal to carry out the integrated analysis of the situation which predetermined the existence of the repertoire theatre as well as to analyze directions for its future development. The article touches upon legislative initiatives and results of their implementation leading to tranformation of their institutional arrangements. In addition, the author also focuses on the theatres' attempts to win a new socio-cultural status instead of the lost role of the theatre as the temple or faculty. Creative life is viewed by the author from the point of view of the Russian theatre's integration into the global development of the theatre as well as considering changes in Russia's state cultural policy. In terms of methodology, the research is based on the analysis of the four aspects of the adaptation of the repertoire theatre to modern economic, social, cultural and artistic conditions. In conclusion, the author generalizes conclusions for each aspect. According to the author, dynamic changes in the sphere of culture in our country create the need to constantly reflect on what's happening. The present research helps to fix the main trends in the modern theatre process and offer ways for its future development. The main conclusions of the research are the following: there is a need to review the existing federal and regional laws and make them fairer towards the sphere of culture. Professional community should also struggle to create the multichannel system of supporting arts, strengthen communicative and educative functions of the theatre contributing to raising and extending the theatre audience as well as develop the favorable competition between conventional and innovative movements in the theatre art. 

Keywords: multicultural centre, director, theatre manager, targeted financing, postdramatic theatre, performativity, cultural policy, repertoire theatre, artictic director, theatre art

DOI: 10.7256/2454-0625.2016.3.19114

Abstract: The importance of the present research is caused by the growing popularity of the romantic music genre and orientation at romantic styles and trends demonstrated by contemporary composers and players. In this regard, it is very important to appeal to the creative life and work of the most brilliant representatives of the romantic movement in music, Polish violinist and composer Henryk Wieniawski. Remarkable and spectaculous and at the same time philosophical compositions of Wieniawsky opened the door to new discoveries, heights and directions for the development of the violin art, thus helping to develop the genre of violin concert. The subject of the research is the two compositions of Henryk Wieniawski in the genre of violin concert as the brightest example of his creative style. The author of the article makes an attempt to draw attention of modern music teachers and players to the composer's intention and profound conceptual solutions, in particular, in his Second concert. The research is based on the integrated theoretical and practical approach and the method of comparative analysis of these two Henryk Wieniawski's violin concerts in terms of the research subject. The scientific novelty of the research is caused by the fact that the author describes parameters for the comparative analysis of the two violin concerts composed by Henryk Wieniawski from the point of view of their concent and style. As a result of the research, the author makes conclusions about the development of the Polish composer's style and way of thinking, peculiarities of his expressive means and symphonization principles. The results of the research can be important for further researches of the creative life and work of the Polish composer and violonist Henryk Wieniawski as well as encourage further studies of European romantic art. 

Keywords: virtuosic romantic genre, romantic lyrical genre, narrative methods, monointonationalism, monothematism, composition logic, instrumental ornamentality, conceptual way of thinking, violin concert, Henryk Wieniawski

DOI: 10.7256/2454-0625.2016.3.67830

Abstract: The importance of the present research is caused by the growing popularity of the romantic music genre and orientation at romantic styles and trends demonstrated by contemporary composers and players. In this regard, it is very important to appeal to the creative life and work of the most brilliant representatives of the romantic movement in music, Polish violinist and composer Henryk Wieniawski. Remarkable and spectaculous and at the same time philosophical compositions of Wieniawsky opened the door to new discoveries, heights and directions for the development of the violin art, thus helping to develop the genre of violin concert. The subject of the research is the two compositions of Henryk Wieniawski in the genre of violin concert as the brightest example of his creative style. The author of the article makes an attempt to draw attention of modern music teachers and players to the composer's intention and profound conceptual solutions, in particular, in his Second concert. The research is based on the integrated theoretical and practical approach and the method of comparative analysis of these two Henryk Wieniawski's violin concerts in terms of the research subject. The scientific novelty of the research is caused by the fact that the author describes parameters for the comparative analysis of the two violin concerts composed by Henryk Wieniawski from the point of view of their concent and style. As a result of the research, the author makes conclusions about the development of the Polish composer's style and way of thinking, peculiarities of his expressive means and symphonization principles. The results of the research can be important for further researches of the creative life and work of the Polish composer and violonist Henryk Wieniawski as well as encourage further studies of European romantic art. 

Keywords: virtuosic romantic genre, romantic lyrical genre, narrative methods, monointonationalism, monothematism, composition logic, instrumental ornamentality, conceptual way of thinking, violin concert, Henryk Wieniawski

DOI: 10.7256/2454-0625.2016.3.19225

Abstract: The article continues the elaboration of new methods of tonal melody analysis initiated by the author in previous works. These methods are based on the original interpretation of Heinrich Schenker's theory. The subject of the research is F. Schubert’s song "Das Wandern" (from the cycle "Die Schöne Müllerin") and Lied ohne Worte No 20 by F. Mendelssohn. Melody is considered in four aspects: 1) in the context of harmonic four-part texture; 2) in the context of linear progressions (the Urlinie and middleground pitch-lines according to Schenker); 3) within the melodic ambitus (identifying the primary, secondary and intermediate stable tones); 4) as the intoned conjugation of tones or chords. The researcher describes initial and/or final arrays of keynotes ('solid particles'). Melodic principles are divided into basic, auxiliary and intermediate ones. The final stage of analysis is the producing both detailed and concise schemes of melody. The methods offered by the researcher adequately demonstrate the movement of melody in the context of the linear-harmonic continuity of the mode. The article also includes a brief history of studying melody in the USSR.

Keywords: Heinrich Schenker, dynamic triangle, stable tone, intonation, ambitus, linear-harmonic analysis, melody, history of the music theory, Franz Schubert, Felix Mendelssohn

DOI: 10.7256/2454-0625.2016.3.67831

Abstract: The article continues the elaboration of new methods of tonal melody analysis initiated by the author in previous works. These methods are based on the original interpretation of Heinrich Schenker's theory. The subject of the research is F. Schubert’s song "Das Wandern" (from the cycle "Die Schöne Müllerin") and Lied ohne Worte No 20 by F. Mendelssohn. Melody is considered in four aspects: 1) in the context of harmonic four-part texture; 2) in the context of linear progressions (the Urlinie and middleground pitch-lines according to Schenker); 3) within the melodic ambitus (identifying the primary, secondary and intermediate stable tones); 4) as the intoned conjugation of tones or chords. The researcher describes initial and/or final arrays of keynotes ('solid particles'). Melodic principles are divided into basic, auxiliary and intermediate ones. The final stage of analysis is the producing both detailed and concise schemes of melody. The methods offered by the researcher adequately demonstrate the movement of melody in the context of the linear-harmonic continuity of the mode. The article also includes a brief history of studying melody in the USSR.

Keywords: Heinrich Schenker, dynamic triangle, stable tone, intonation, ambitus, linear-harmonic analysis, melody, history of the music theory, Franz Schubert, Felix Mendelssohn