DOI: 10.7256/2454-0625.2019.6.29880

Abstract: The article is devoted to the study of Poem of Seven Fairy Tales (1901-1926), the only pictural cyclus in the art of V.M. Vasnetsov. The study aims to analyze the biographical context, which can reveal a personal aspect of the creative concept, what is especially important under the conditions of an almost complete absence of archival documents related to the concerned fairytale works. The story of the creation of the Poem of Seven Fairy Tales is examined in the context of the artist's world view, his creative and public activity in the first quarter of the XX century, which predetermined the vector of the creative idea development. The biographical method and the method of reconstruction were chosen as a methodological base, which allows achieving the set goals. The article recreates the history of the Poem of Seven Fairy Tale and identifies the stages of the artist's work on the paintings. For the first time, the idea that the starting point for the addition of the idea of Poem of Seven Fairy Tales was Vasnetsov's unsuccessful performance at the world exhibition in Paris in 1900, which prompted him to create a great and truly national work, is offered. There are three stages in the story of the creation of the Poem of Seven Fairy Tales: paintings of middle 1910-s - Sleeping Princess, The Princess Who Never Smiled, and Kashchei the Immortal - are devoted to the reconstruction of the old Russian world, and also to the religious and philosophical thoughts of the artist; works of 1917-1918 - Baba-Yaga and Frog Princess - became a specific artist's reflection on current events; in final works of 1920-s - Magic Carpet and Sivka-Burka - the attitude of Vasnetsov, who renounced the hardships and plunged into the world of fairy-tale dreams at his declining days, was reflected.

DOI: 10.7256/2454-0625.2019.6.29837

Abstract: The subject of the study is inter-theatrical communications between China and the USSR of early-middle XIX century, Chinese theatrical performances of 1950s-1960s in Soviet theatres. The aim of the study is to conduct a brief survey and determine the key directions of the interaction of Soviet and Chinese theatrical art; to determine the ratio of the contribution to the development of Soviet and Chinese theatrical art. Citizens of the Soviet Union got acquainted with life in China not only through the media and scientific publications but also through the heritage of Chinese dramatic theatrical art. All this indicates that in the 1950s-1960s the Chinese drama theatre had really wide popularity among Soviet audiences. The basis of the study - works by Soviet and Chinese people of art, culturologists, theatre critics, and publicists. In the study, the analysis of the interaction of Soviet and Chinese theatrical art and the process of popularization of Chinese plays in the Soviet Union in the 1950s-1960s is carried out. Author's special contribution to the study of the topic is the definition of the main ways of inter-theatrical communication between China and the USSR of the early-middle XIX century. It is noted that in the Sino-Soviet cultural exchange there is a one-sidedness of the process. This one-sidedness is noted in the fact that Soviet culture had a much greater spread in China than Chinese culture in the USSR. The demand for Chinese theater in the middle XX century in the USSR was associated with the reinterpretation of works of Chinese drama by Soviet directors, their productions on the Soviet stage.

DOI: 10.7256/2454-0625.2019.6.29950

Abstract: Christianity proceeds from the ontologically defined unity of the human race as the addressee of the mission, but humanity as the addressee of the mission is not identical with the people of God in the person of the Church. On the contrary, the Church and humanity, throughout its history and to its end, are tragically disestablished. The addressee of the mission is not identical with the Church and is opposed to it as the outside world. Initially, the mission of the apostles is addressed to the external addressee, so the external mission is the original form of Christian missionary service. The article discusses the concept of the mission addressee through the ontological definition, as well as through its attitude toward the boundaries of the Church. The situation from the apostolic age to the present day shows the conventionality of the division of the mission into an external and internal one. Initially, the Church consists of people united by faith based on the living experience of communication and presence. In this regard, the article shows that any addressee of the testimony of this faith is an external addressee in relation to the apostolic mission. 

DOI: 10.7256/2454-0625.2019.6.29973

Abstract: The article analyzes the color spectrum as an aesthetic intonation of transcendentalism, that most fully embodies everything from which follows the condition of existence a priori and a posteriori of the given matrix of knowledge of the world, our ontological place in it, creating the preconditions for the philosophical description of the contours of the meaning of a work of art, its semantic features, matrix for the visual synthesis of color, perspective in painting. Being a predestinated by the transcendental nature of the artistic subject, coloristic art project builds a prospect to imagine a color as a cryptic substance, as a direct manifestation of spiritual light, images spirituelles structure, as a blaze of pure reason, memory coloring. Solving a question on how to give a color aesthetics a transcendental meaning, how the aesthetics itself is inserted into the transcendental philosophy structure, the author invokes from Kantian approach, showing as far as coloring as science can be seen as scientia transcendens, realizing the intention of questioning the artistic truth and coinciding with the phenomenology of see-as-color. The following methodology was used: historical-philosophical and aesthetic research, analysis of art in the system of culture, the interdisciplinary methodology of the Humanities to describe artistic reality. The main conclusions are statements about the possibilities of considering color in the context of a global typology of artistic perception, explaining a color as something equivalent to a projection in space, allowing contemplate aesthetically in it. For the first time, transcendental exposition of the aesthetic sense of color is analyzed at the current level, the understanding of structures, primordial in relation to the light wave and color perception of the subject, which can be called transcendental coloristics, is brought to light. 

DOI: 10.7256/2454-0625.2019.6.29768

Abstract: The article presents the ideas of the author's postculture concept. Firstly, the problems forcing to revise the traditional concept of culture, which is given through four procedures (comparison of cultures, setting their integrity, degree of development, and uniqueness) are set. Afterward, the author characterizes the connection between the definition of culture and the concept of modern. Meanwhile, the modern is observed as a project of the organization a new world based on man's mastery of nature. The author explains the introduction of the concept of culture by the problems that arose during the implementation of the project of modernity. The author includes, on the one hand, the processes of transformation and transition characteristic of our time, on the other ‒ the formation of a new culture ("future culture"), into the postculture. Both sides of this new cultural formation are outlined. The following methodology is implemented in the research: problem statement, situational analysis, cultural and historical constructions, the introduction of new concepts, their explanation and justification. As a result of the study, it was possible to show that the traditional concept of culture is set by specific procedures and is connected with the concept of modern. Currently, in modernity, which the author calls postculture, he proposes distinguishing between the processes of transformation of sociality and transition, as well as the formation of the culture of the future. He characterizes the latter one in terms of a new vision of reality, sociality, and values.

DOI: 10.7256/2454-0625.2019.6.30018

Abstract: The subject of the study is Three Fragments of the Opera Wozzeck by A. Berger. Opera Wozzeck is a peak of the embodiment of ideas and expressionism. Detecting the traditions, from which a musical language and musical forms of this piece of work grow, can become a fascinating research problem. However, the whole opera is too great for the short article, while Three Fragments as if includes the key moments of opera, so it is possible to compile an impression of the whole work relying on them. The subject of the study is the traditional and innovative techniques of musical language, presented in the given cycle. The article provides a detailed analysis of the use of traditional musical genres, forms, techniques. Also, tone continuity is observed. Along with it, the analysis of the composer's innovative techniques is carried out, and also a new use of traditional means in the context of the expressionist concept is identified. In the course of the research was concluded that in A. Berger's artistic work, particularly in Three Fragments of the Opera Wozzeck, occurs a synthesis of musical language, inherent to the tradition of romanticism and innovative, expressionistic techniques. This method gives rise to a unique, inimitable composer's style, which allowed A.Berger to create one of the principal compositions of the XX century. 

DOI: 10.7256/2454-0625.2019.6.29125

Abstract: The pedagogical activity of outstanding Kazakh dancer Ramazan Salikovich Bapov (194702014) was a result of the fusion of the academic school of Russian ballet, national features of Kazakh choreography, and more than twenty years of performing experience. Absorbed the basis of the Russian ballet school in Moscow State Academy of Choreography, he brilliantly performed the leading roles in the repertoire of the Kazakh State Academic Opera and Ballet Theatre named after Abay. After the end of performing career, R.S. Bapov started pedagogy, teaching in schools in Turkey, America, and Kazakhstan. Until today, his pedagogical system stayed out of scientific researches. The subject of the study is the research and description of R.S. Bapov pedagogical methods during the period of his work in Turkey (1988-1995). Authors applied such methods as an empirical, descriptive, method of comparative studies and source analysis, and also a method of an interview as the main way of collection and comparison of the information required for the study, which totaled the objectivity and the volume of statements. The novelty of the study is due to the primary comprehension and analysis of R.S.Bapov's pedagogical methods in choreographic art, and their total introduction into scientific use. The study can make a certain contribution to the development of choreographic education and will become a source work in this field. Authors restore an accurate course of events, list of main students in Turkey from the original sources. The work includes the most complete list (to date) of identified pedagogical methods Of R. S. Bapov during his work in Istanbul.