DOI: 10.7256/2454-0625.2022.3.37642

Abstract: The subject of this article is the interpretation of J. Kranko images of Katarina and Petruchio in three duets of the ballet "The Taming of the Shrew", studied in contextual comparison with the original text – the comedy of W. Shakespeare. The purpose of the study is to determine the place of the three duets of the main characters in Kranko's performance, drawing ideological and figurative parallels with the text of the original source, and to identify expressive means and choreographic elements used by the choreographer in their production. The methods of ballet studies analysis approved by ballet historians Dobrovolskaya, Krasovskaya, Surits were used as a theoretical basis; the works of choreographer and ballet art theorist Lopukhov became the methodological basis for the analysis of choreography. Other sources used include video materials from the archives of the Stuttgart State Opera and the Bolshoi Theater. The work on the article required a historical approach – the involvement of materials (videotapes and reviews) from 1969 to 1996.. The methods of ideological and artistic analysis and semantic analysis of the choreographic construction of the duets of Katarina and Petruchio were also used. The detailed semantic analysis of the choreography and composition of the duets of the main characters has become the main research tool. The new results include the identification and comparison of staging tools developed and used by the choreographer. In the first duet it is an alternation of syncopated pas, acrobatic elements, movements on the floor; in the second – plastic imitations of funny and awkward situations; in the third – technically rich choreographic development of duet dance (which corresponds to the three phases of the development of the relationship of the heroes: duel, ridicule, harmony). So, the modification of the images and relationships of the main characters of J. Kranko concludes The Taming of the Shrew in three duets, making them meaningful fragments that form the concept of ballet, as well as the author's view of the plot of the comedy by W. Shakespeare.

DOI: 10.7256/2454-0625.2022.3.35720

Abstract: The subject of the study is the transformation of farcical performances and carnival culture in the absence of a physical location and their transfer to the Internet environment. The object of research is the farcical art of display, Internet video content, carnival culture. In this article, through the culturological prism of research, such a kind of display art as a farce is studied and analyzed. This visual art has had the greatest popularity among the audience of ordinary people, that is, the most numerous, throughout the entire time that theatrical creativity has existed. However, recently it is difficult to find something like this in the areal spaces and exteriors of cities, since the main audience attention has shifted to the Internet space. The main conclusions of the study are the following theses: -the farce has reincarnated in the Internet space as a kind of special entertainment video content -carnival has reincarnated as a way of communication within the Internet environment -the farce art also continues to have the function of moral discharge of viewers -The existence of the farce in virtual space deprives its sacred significance for the viewer, because of the loss of real and meaningful space, as well as because of the main goal - the vivid emotions of the crowd. A special contribution of the author to the research of the topic is an expanded bibliography, including 5 foreign sources. The novelty of the research lies in the fact that the described situation in the Internet space related to screen culture has acquired its current form only in the last 10-15 years, respectively, research on this topic is usually quite new.

DOI: 10.7256/2454-0625.2022.3.37288

Abstract: In this article, the concept of ʻөpei xөөmeiʼ is a male lullaby sung by the substyle xөөmei, based on the basic type of Tuvan throat singing. The type of folk music playing that exists in traditional culture is considered by the authors in historical, musicological, psychological and ethnopedagogical aspects. The purpose of the article is to determine the essential meanings of the lullaby xөөme, reflecting the worldview, type of management, religion; poetic thinking, conveying the attitude to the child as the highest value of the family. The article shows the performing traditions of the lullaby xөөmey (chants and chants, verbal texts, specific timbre signs, etc.). The authors pay attention to the presence of a single binding in the system of performing traditions of Tuvinians (throat singing, shamanic kamlaniya, training of queens of domestic animals), which are based on belief in the magical power of words (spells, appeals, well-wishes). In the study of this phenomenon, a set of methods was used: systemic, historical-typological, cultural-historical, ethno-cultural. In the system of throat singing of Tuvinians, distinguished by a variety of species and their varieties, the lullaby xөөmei has completely preserved its original meaning and function as a form of sound-making with an original way of sound production. An in-depth analysis of this phenomenon in Tuvan culture has shown that its structural components are its own performing traditions (chants and chants, verbal texts, timbre colors, etc.); meanings characterizing the traditional worldview, type of management, ethno- and cultural genesis, spiritual element of consciousness, religion, etiquette, etc. Research and popularization lullaby xөөme are in demand in modern society in solving the problems of upbringing at an early age, when it becomes important to take into account the patterns of reflection of consciousness associated with the area of development and landscape, worldview and value orientations of the family, clan and people.

DOI: 10.7256/2454-0625.2022.3.37588

Abstract: The subject of the study is the historical accidental font used in the works of members of the Jewish art organization. "Culture League".The object of the study is the accidental font as an instrument of semantic and stylistic definition of these works within the framework of Jewish culture. The research uses methods of analysis of visual symbols in the works of members of the art section of the "Culture League" and their semantics, methods of synthesis and historicism in the formulation of the definition of historical accidental font. On the basis of the studied works of A. G. Shitsgal, T. O. Ivanenko, V. I. Lesnyak, the definition of historical accidental font is formulated; on the basis of the works of A. Amishai-Maisels, G. Kazovsky, B. Khaimovich, the prerequisites for the emergence of the Jewish artistic avant-garde and the foundation of the association "Culture League" are determined; works on avant-garde stylistics and semiotics of Jewish art by I. A. Sergeeva, O. A. Lagutenko, E. Frenkel made it possible to carry out a semantic and stylistic analysis of the accidental font in the works of artists of the "Culture League".       The main conclusions of the study are: 1. The historical accidental font is a marker of a certain epoch and ethno-national culture. Its application allows artists to convey at the semiotic level not only the verbal meaning of the text, but also to expand its meaning to a global, socio-cultural level. 2. The Jewish association "Kulturliga" was part of the global artistic avant-garde of the first third of the twentieth century. The main goal and program of the association was the development of Jewish culture using new stylistic methods in the spirit of the times, with the use of avant-garde styles. The accidental Jewish traditional font was a clear indication that the work belonged to the Jewish branch of the artistic avant-garde. A special contribution of the authors is the formulation of the definition of "historical accidental font". For the first time, the authors analyzed the use of accidental font in the works of artists of the "Culture League". Keywords: historical accidental font, "Culture League", avant-garde, cubo-futurism, expressionism, Jewish shtetl.

DOI: 10.7256/2454-0625.2022.3.37697

Abstract: The article considers the reflection of the basic laws of the mystery of the XIV–XVI centuries in the musical and theatrical works of the French "synthetic theater" of the twentieth century. These are "The Martyrdom of Saint Sebastian" by G. d'Annunzio — C. Debussy (1911) and "The Good News of Mary" by P. Claudel (1912-1948). The purpose of the work is to establish the peculiarities of the operation of the principles of semantics and composition of the genre, revived at the end of the XIX century and further developed in the French musical theater. In interdisciplinary, hermeneutical and art criticism approaches to achieving this goal, we distinguish a comparative method that allows us to draw conclusions about the identity and difference of the elements of these works, as well as about the genre "codes" of mystery dramas that enter into dialogue over a significant (about 300 years) time interval. We are talking about a dialogue within the history of Western European theater. In favor of the scientific novelty and significance of the work, we present theses on the integration of the spiritual dimension into the space of the mystery drama of the twentieth century, as well as on the relevance of the spiritual messages of the French composers of the twentieth century, who created mystery dramas in line with the Christian tradition. Conclusions are drawn: About the functions of liturgical choirs in Latin in French mystery dramas of the twentieth century, revealing the spiritual meaning of the works considered in this article. On the interaction of the sacred and profane as the leading genre feature of the mystery drama of the XIV–XVI centuries and the twentieth century. About the preservation of the spatial vector "earth — sky" by the French mystery drama of the twentieth century. On the connection of the French mystery drama of the twentieth century with the spiritual problems of modernity. About the search by the French mystery drama of the twentieth century for the possibility of overcoming the discrepancies between the world, God and man. About the inclusion of the French mystery drama of the twentieth century in the general cultural context.

DOI: 10.7256/2454-0625.2022.3.37528

Abstract: The article attempts to analyze the genre stylistics of Andrei Eshpai's symphonic painting "Suvorov's Crossing the Alps" - a composition combining traditions and innovations. The composer's interest in historical and patriotic themes and the personality of the commander A.V. Suvorov is emphasized. The compositional and dramatic features of the work, revealed through the specifics of language modeling, are chosen as the subject of the study. Awareness of picturesqueness as the main genre-forming factor made it possible to concretize the type of symphonic painting, to identify signs of theatricality in the text. Special attention is paid to programming as the key to understanding the plot of the essay. The author analyzes the language models of the text in the most detail from the perspective of the interdependence of the content and genre-stylistic components. The scientific novelty of the research lies in the musical material under study, which has not been studied before. The research process allowed us to draw conclusions about the uniqueness and individual author's interpretation of the work. It was found that the methods of concretization of the content of language models confirm the presence of a theatrical code not only in the compositional logic, but also in the text of the work itself. The antinomic nature of language models was discovered. Antinomianism in combination with transformational poetics, the high-wave principle of development allowed us to conclude that the combination of signs of symphonism and picturesqueness in the compositional and dramatic solution of the composition determines the universality and synthetism of the composer's thinking.