Culture and Art - rubric Scenic arts

Abstract: This article is a topical conversation about interpretation of A. P. Chekhov’s dram in modern world theatre and festivals of the recent years. The article analyzes concrete stage plays shown in 2010 in Moscow during the International Chekhov’s Theater Festival. The author questions whether those plays actually refl ected the main tendencies of the global Chekhov’s theatre and were a decent even in art. If so, then the plays shown during the festival create a vast fi eld for polemics – not only in the sphere of interpretation of this author in our directing practice but, which is the most important, in the sphere of established principles of the theatre festival policy in our country.

Keywords: history of art, A. P. Chekhov, drama, play, inter national festival, anniversary, Moscow, interpretation, theatre life.

DOI: 10.7256/2454-0625.2022.5.37921

Abstract: In this article, the author continues to study the choreographic interpretations of the works of J. Neumeier, in particular, the ballet "Lady of the Camellias". The identification of expressive staging means and choreographic elements used by Neumeier in the production of the "white" duet of Marguerite and Armand is carried out in this work in order to determine the place of this choreographic fragment in the performance and its significance both for the plastic embodiment of the images of the main characters and in the context of the evolution of the author's style. The author applied comparative-historical, ideological-artistic and analytical methods, as well as the method of included observation (based on personal experience of working with Neumeier). Video materials from the archives of the Hamburg "Ballettzentrum" and the Moscow Bolshoi Theater and lectures conducted by Neumeier on the eve of the Moscow premiere of "Lady of the Camellias" (recordings from the author's archive) were also used. A detailed analysis of the "white" duet allows us to conclude that the studied choreographic fragment is markedly different from the other two duets of Marguerite and Arman. From the point of view of developing the images of the main characters, this is the only episode of the play in which Neumeier allows the audience to see the light lyrics in the relationship between Marguerite and Armand. In the "white" duet, the choreographic innovations of the choreographer in the field of technically saturated duet dance, replete with upper supports, with a lack of preparation for them and constant control by the partner of the ballerina's movements, are especially justified. They are the main means of plastic expressiveness, creating the effect of flight, an unbroken flow of movements, as well as the visualization of musical legato. It is this duet technique (later actively used by the choreographer) that can be called a distinctive feature of the choreographic style of J. Neumeier.

Keywords: Armand, Marguerite, John Neumeier, Frederic Chopin, Choreographic interpretation, Lady of the camellias, Duet, full-length ballet, Literature subject, Alexander Dumas

DOI: 10.7256/2454-0625.2018.7.26835

Abstract: Based on the example of several amateur theaters in Vladivostok, the author of the article analyzes their social mission. The author focuses on teh role and benefits of an amateur theatre. Based on the appointed criteria, the author provides an insight into each amateur theatre (director, repertory, number and age of actors, touring, commercial and charity activity, etc.). Based on the results of this analysis, the author defines positive sides of amateur theatre as well as the main challenges that an amateur theatre usually faces. This includes the following: 1. No physical infrastructure. 2. No premises of their own. 3. No touring activity. The research methods used by the author include observation, description and comparison of contemporary amateur theatres in Vladivostok. The author of the article has discovered 40 amateur theatre associations and about 10 amateur theatres in Vladivostok. Karpechenko pays special attention to the activity of an amateur theatre association aimed at overall socialization of a human into a society. As a result of the analysis, the author emphasizes the need to support amateur theatres by state and municipal authorities.

Keywords: socialization, repertoire, creative work, dramatic art, children's theater, drama school, amateur theater, charity, leisure, collective

DOI: 10.7256/2454-0625.2020.2.32195

Abstract: The object of this research to one-man production “Lear is Here” based on W. Shakespeare's tragedy, “King Lear”. The theatrical director and actor of Beijing Opera Wu Xing Guo (born 1953, Taiwan) bravely edits the Shakespearian text and principles of the National Theatre of China. Since 1980’s, Wu Xing Guo uses the traditional Eastern scenic elements (line of roles, symbolic face painting, acrobatics) and Western European texts, forming a unique theatrical language. The peculiarities of his directing are examined within the Russian theatre studies for the first time. In accordance with the methodology of formal school, the article presents reconstruction of the play and analysis of scenic text from the perspective of Eastern theatre traditions, as well as the modern theatrical context. The author’s special contribution lies in the observation that in the spectacle “Lear is Hear”, Wu Xing Guo conceptually forgoes the narrative composition in order to reveal the playing nature of the theatre: his goal is not to tell the history of Lear or rendition of Shakespearian storyline. Playing ten different characters solely, and fusing in a complex role structure the Eastern and Western theatrical traditions, Wu Xing Guo exposes another storyline of “King Lear”– the pursuance of actor’s identity.

Keywords: King Lear, Performance, Acting, The Tragedy of King Lear, Peking opera, Wu Xing Guo, Shakespeare, Theatre studies, role, reworking

DOI: 10.7256/2454-0625.2020.9.33669

Abstract: The subject of this article is K. Wheeldon's interpretation of the female images of Shakespeare's "Winter's Tale" in the context of its ideological and figurative identity to the literary source. The research is carried out in order to determine the expressive means and elements of choreographic vocabulary used by the choreographer in the production of female roles, as well as their contextual comparison with the text of the original source. In the course of the research, the author of the article, due to the versatility of the problem of interpreting W. Shakespeare's play on the ballet stage, used an integrated approach. The theoretical basis of the work was the principles of critical and semantic analysis of choreographic vocabulary developed by historians and theorists of ballet art (Dobrovolskaya, Krasovskaya, Slonimsky, Lopukhov, Surits). In the process of source analysis, English-language reviews of the world premiere of the ballet were reviewed (quotes from the articles are translated by the author), as well as video materials from the archives of the London Royal Opera House and the Moscow Bolshoi Theater. In addition, the included observation method was used (based on personal experience of working with Wheeldon as a performer of the Loss part in a Bolshoi Theater performance), accompanied by an analysis of rehearsal recordings for March вЂ“ April 2019, which are in the author's archive. So, the detailed semantic analysis of the composition and choreographic vocabulary of female images of Shakespeare's late play "The Winter's Tale", interpreted by Wheeldon in the ballet of the same name, carried out in this article, was the main tool in the development of the scientific problem posed. The new results of the study include a significant groundwork in the aspect of identifying classical and innovative artistic elements of the dance language developed and used by Wheeldon, which allowed us to draw the following conclusions. Conceptually starting from Shakespeare's text, the choreographer adapts the interpretation of female images to a certain extent, guided by the expressive potential of conventional ballet art. At the same time, in the production of female roles, individualized plastic interpretations of the heroines become the main means of expression.

Keywords: multi - act ballet, late play, female images, Pauline, Loss, Joby Talbot, Hermione, Winter Fairy Tale, Christopher Wheeldon, William Shakespeare

DOI: 10.7256/2454-0625.2020.10.33879

Abstract: The subject of this article is the interpretation of male images from W. Shakespeare’s “The Winter’s Tale” by the choreographer C. Wheeldon in the context of its conceptual commonality with the literary original. The goal of this research is to determine the stage means and elements of choreographic language used by the choreographer for creation of male roles, as well as to draw ideological-imagery parallels with the original text. Methodological foundation of this study features the principles of critical analysis of text of the play along with the semantic analysis of choreography, developed in the scientific works of such theoreticians of ballet art as Lopukhov, Dobrovolskaya, Krasovskaya, Surits, Slonimsky. Comprehensive approach towards interpretation of the literary original on the modern ballet stage required the analysis of such sources, as the English-language peer reviews of the world premiere of the ballet and video materials from the archives of the Royal Opera House in London and the Bolshoi Theater in Moscow. The author also applied the method of overt observation based on the personal experience of working with Wheeldon in Bolshoi Theatre, and accompanied by the analysis of rehearsals from the author's archive (over the period from March to April 2019). The author carried out a detailed semantic analysis of the stage interpretation and choreographic language of the male images of W. Shakespeare's play of the later period “The Winter's Tale” in the eponymous ballet of C. Wheeldon (which served as the key instrument for this research). The conclusion is made that the conceptual ground of Wheeldon’s interpretation of the male images is based on the Shakespeare’s text adapted to the realities of a stage performance. He employs a wide array of plasticity and other innovative means of expression, applying an individual approach towards staging each male role.

Keywords: literature subject, Florizel, Leontes, Joby Talbot, The Winter’s Tale, Christopher Wheeldon, William Shakespeare, male roles, the late romance, full-length ballet

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 вЂ“ 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 вЂ“ 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 вЂ“ plastic imitations of funny and awkward situations; in the third вЂ“ 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.

Keywords: Marcia Heide, Petruchio, Katarina, Stuttgart Ballet, comedy, William Shakespeare, Domenico Scarlatti, John Kranko, The Taming of the Shrew, Richard Cragan

DOI: 10.7256/2454-0625.2022.4.37829

Abstract: In this article, a meaningful interpretation of the plastic solution is carried out by choreographer J. Neumeier created images of Titania and Oberon in order to identify their choreographic features in the context of the ballet "A Midsummer Night's Dream" and the choreographer's work as a whole. In the course of the research, the author applied comparative-historical, ideological-artistic and analytical methods. The theoretical basis of the research was the methods of ballet analysis approved by the historians of the ballet Dobrovolskaya, Krasovskaya, Surits; the methodological basis for the analysis of choreography were the works of ballet master and ballet theorist Lopukhov. In the course of the source analysis, the author used video materials from the archives of the Hamburg "Ballettzentrum" and the Moscow Bolshoi Theater.A detailed analysis of the choreographic score of Titania and Oberon's parts made it possible to identify the following author's solutions related to the new research results. In the first duet of Oberon and Titania, Neumeier forms plastic leitmotifs, which are developed in further appearances of the characters. The choreographer uses emphatically profiled, graphic and carefully geometric positions of the performers' bodies, additionally accentuating this with tight-fitting costumes; the parties receive active choreographic development based on a technically saturated duet dance, replete with high supports with acrobatic elements using extreme flexibility and stretching of the ballerina. So, when setting the analyzed roles, J. Neumeier used qualitatively new, including non-traditional plastic methods, which were significant in the context of his production of A Midsummer Night's Dream and influenced the further formation of the choreographic style of the choreographer.

Keywords: Felix Mendelssohn, Oberon, Titania, literary plot, choreographic interpretation, William Shakespeare, multi - act ballet, A midsummer night's dream, John Neumeier, Gyorgy Ligeti

DOI: 10.7256/2454-0625.2022.6.38010

Abstract: In this paper, the author continues to study and comprehend the author's interpretation of J. Neumeier images of the main characters of the ballet "A Midsummer Night's Dream". A meaningful interpretation of the choreographic embodiment of Hippolyta and Theseus, one of the two hypostases of the main characters of the ballet, is carried out in order to identify their features in the context of the performance and the choreographer's creativity. Based on the methods of ballet studies analysis approved by historians and ballet theorists Dobrovolskaya, Krasovskaya, Surits, the author used comparative-historical, ideological-artistic and analytical methods, as well as the method of included observation (based on personal experience with Neumeier). In the course of the source analysis, the author used video materials from the archives of the Hamburg "Ballettzentrum" and the Moscow Bolshoi Theater. A detailed analysis of the choreographic score of the roles of Hippolyta and Theseus allows us to conclude that Neumeier makes two detailed duets that differ from each other as the main fragments characterizing these characters. In the first of them, the choreographer uses a rich duet technique: upper supports without approaches (often starting from kneeling positions), non–standard combinations of paired rotations - elements that determine the further line of development of his choreographic style. The composition and means of choreographic expressiveness of the second duet are rather atypical for Neumeier's work. Here, the choreographer, with poses and technical solo fragments of the dancers, hints at the similarity with the ballets of the classical heritage, with the help of which he emphasizes the ceremonial and ceremonious solemnity of this duet. It also uses such an additional attribute as a train, which gives the ballerina's movements even more weight and royalty. Thus, the choreographic development of the images of Hippolyta and Theseus occupies one of the key positions (along with Titania and Oberon) in the play "A Midsummer Night's Dream", and also becomes an important stage in the evolution of the author's style of J. Neumeier.

Keywords: Gyorgy Ligeti, Felix Mendelssohn, Literary plot, Hippolyta, Theseus, Choreographic interpretation, William Shakespeare, Multi - act ballet, A midsummer night's dream, John Neumeier

DOI: 10.7256/2454-0625.2023.10.44182

Abstract: The work of Polish stage designer Andrzej Pronaszko embodied in a particular manner a certain turn to a new approach to the organization of stage space, which appeared to be a characteristic process for the Polish and European theatre of the first half of XX century. Pronaszko cooperated intensively with professional architects, which had a considerable effect upon his conception of stage space. The article reviews projects of the artist, which proved to be a realization of his conception of stage space referred to the „theatre of the future”: the stage design for the „Golem” play (1928), set up on the circus arena and the theatrical architectural projects of Simultaneous theatre (1928-1929) and the Mobile theatre (1934). Each of those three was created in cooperation with an architect (with Szymon Syrkus in the first two cases and with Stefan Bryła in the third one). In Polish theatre between two World Wars, scenography came out as a special domain of an avant-garde activism manifesting an uprise of the „theatre of the future”, which offered prospects of some extraordinary perceptional experience. The reviewed projects presuppose overrunning the boundaries of conventional theatre and using innovative engineering solutions in stage organization, lightning and sound engineering. They became an ambitious attempt to change drastically the mode of theatrical event at the level of the space architectonics and extend thereby theatre’s capabilities in dealing with dynamics of spectacle. The artist created new conditions for affecting the spectator’s comprehension of the stage performance.

Keywords: architectonics of stage space, theatre of the future, mobile theatre, simultaneous theatre, theatrical avant-garde, Andrzej Pronaszko, theatrical architecture, stage space, scenography, Polish theatre

DOI: 10.7256/2454-0625.2023.2.39800

Abstract: For the first time, the author of this article considered a set of themes related to Christian spirituality in the works by P. Claudel, A. Honegger and O. Messiaen which were created for the XXth century French synthetic theater and offered a new reading into the holiness and Christian behavior. New plastic forms of stage movement and dance, which depicted modern ways of organizing stage space, have been defined as an integral part of French works for musical theatre. What has also been found is the results of perceiving visual formulas in some of the XIIIth and XVth cenury paintings. Special plastic forms, which are subject to the laws of dance, shaped about a concept of "dancing form" in the XXth century French musical and theatrical works. In synthetic musical and theatrical works, a game of form, proportions, light and color was designed. Some XXth century French playwrights and musicians perceiving visual formulas in the XIIIth and XVth century paintings led to expanding the range of interacting elements pertaining to various arts in several musical and theatrical works. Those by P. Claudel, A. Honegger and O. Messiaen play a significant role on the stage and reveal both a “considerate attitude towards the past” and “mediation with modern life”, as H. G. Gadamer said.

Keywords: opera, Fra Angelico, Cimabue, Giotto, dance, plasticity, spirituality, Christianity, mystery play, the saints

DOI: 10.7256/2454-0625.2023.8.43584

Abstract: The article examines the ancient and unique culture of the mask, analyzes the features of its perception, understanding and interpretation in different theatrical traditions of the West and East (ancient Greek tragedy, comedy dell'arte, Chinese no-si theater, Peking opera, etc.). Particular attention is paid to how the mask is interpreted and used, based on tradition, to create and enhance stage effects and deepen meaningful symbolism in modern performances. The relevance of this work lies in the typology and classification of common and distinctive characteristics of similar, but at the same time unique artifacts of various theatrical cultures of the East and West on the example of the use of masks in productions in the past and present. Addressing this topic can help to establish intercultural ties, facilitate intercultural communication and reduce the degree of civilizational contradictions in a multipolar world. The scientific novelty of the study lies in the results of processing the original selection of case studies, scientific publications and literary sources. The purpose of the study is to search for the features of the perception and understanding of masks in various theatrical systems. To achieve this attitude, the history of masks in different countries, their semantics are analyzed, in particular, the ancient Chinese thermal culture and the ancient Greek theater, as well as the Italian comedy dell'arte are compared. In conclusion, we note that in different theatrical systems, the mask has unique symbols and uses. Thus, it reveals the complex and contradictory human nature, reveals the unknown and people's fear of reality, embodies and expresses emotions, provides the rhythm and sharpness of the development of the drama, deepens the meaning of ongoing events.

Keywords: Chinese, performance, Peking Opera, drama therapy, Comedy del arte, classical dramaturgy, No Xi, theatre, symbolic meaning, mask

DOI: 10.7256/2454-0625.2018.11.27903

Abstract: The subject of this research is the theatre of the Byzantium Empire era as an institutional and artistic phenomenon viewed as part of continuous Ancient artistic tradition. There is a belief that Byzantium did not have a theatre at all because the latter was destroyed by the Christians. However, this research proves right the opposite: there was the theatre in Byzantium but it changed a lot and thus did not recall the Ancient theatre at all. The theatre was changed as a result of new social concepts and perceptions that were changed under the influence of Christian religion. The theatre refused from the dramatical nature of a play and focused on entertainment, gesture, music, play and pantomime. The methods of historical and systems analysis used by the author to analyze the Byzantium culture demonstrate that traditional ancient theatre classification and dramatic structure remained unchanged and demanded by the cultural environment. The author gives the reasons that make the analysis of the Byzantium theatre complicated such as the absence of texts, new theatre terminology, little evidence and witness description, and the bias of polemic writings of Christian authors. The novelty of the research is caused by the fact that the author gives new prospects for understanding the Byzantium theatrical culture and proves the fact that there was ancient theatre in the Byzantium Empire and it actively developed and functioned, the theatre was never given to anathema or cursed by Christian canons, it is just that the church disaproved of immoral behavior on the stage.

Keywords: byzantine theater, Christianity, performance, actor, dramaturgy, pantomime, mime, Constantinople, Byzantium, school education

DOI: 10.7256/2454-0625.2022.1.37381

Abstract: This article reveals the basic techniques and approaches formed at the dawn of two important and relevant vector of interaction between theater and cultural anthropology in modern theater art, anthropological theater and theatrical anthropology. The goal of this research lies in the analysis of basic techniques and terms that emerged at the early stages of establishment of practical and theoretical approaches towards studying the ritual and theatrical forms. P. Brook's expeditions raised the question of the key elements of theatrical art. For achieving the result, the English the director and screenwriter used bodily techniques and work with space and objects existing in ritual forms. E.Barba, while working in Amazon jungle, resorted to the tactics of participant observer B. Malinowski. The technique of cultural exchange, which appeared in 1970s, is used by K. Kazimierzczuk and modern Polish anthropological theater. The methods of cultural anthropology underlies the formation and development of new ways of interaction and communication between the actors and audience. The experimental works of Peter Brook and Eugenio Barba of the 1970s are analyzed from the perspective of using the methods of cultural anthropology by stage directors. Anthropological theater and theatrical anthropology reveal to modern practitioners and theorists of theatrical art a wide variety of unique methods of work with corporeal nature of the actor, and become the foothold for the development of new relations between the actor-performer and viewer-copartner in performative practices and multicultural phenomena.

Keywords: liminal stages, collective unconscious, included observer, acting training, field research, cultural exchange, body techniques, anthropological theatre, cultural anthropology, theatrical anthropology

DOI: 10.7256/2454-0625.2019.12.31653

Abstract: The subject of this research is the factors of consistent success of concert tours of the Russian cabaret theatre “The Blue Bird” in Vienna. The author presents a brief review of the various aspects related to the work of Russian theatres abroad. Special attention is paid to the cultural-historical context of Vienna of the 1920’s, in which there was demand for performances of the Russian cabaret theatre. The article describes the Austrian cabaret and its traditions, as well as provides information on the Russian component in the theatrical life of Vienna over the period under consideration. Examination of the memoire and scientific sources allowed obtaining the historical and culturological records. The main conclusion consists in the thesis that in the 1920’s the Russian cabaret theatre had sensational success among the indulged Viennese audience due to the unique qualities unlike anything made in Austria or Germany – theatricality, aesthetism, delicacy, impressive performance, and unique style of conferencier Jascha Juschny. The presented materials may be valuable for further research in the theatrical-aesthetic distinctness of the Russian cabaret theatres in Western Europe, particularly avant-garde in scenography of the Russian artists.

Keywords: miniature cabaret, entertainer, German cabaret, Viennese cabaret, theater of Russian emigration, Russian emigration, Russian cabaret, Russian identity, theatrical aesthetics, Vienna public

DOI: 10.7256/2454-0625.2018.3.24979

Abstract: The subject of this research is the performance art of a great French artist of the 21st century, singer, composer of songs and verses Pierre Levassor (1808 - 1870). Pierre Levassor had an amazingly virtuosic acting technique that was based on using transformation in vaudevilles, musical imitiations, verses, monologues, etc. Despite all being said, there are no special researches devoted to Pierre Levassor and information about his real and creative life is very scarce. The object of this research is the influence of Pierre Levassor on Russian performance art during the period when stand-up genres (short stories, verses, parodies) developed. Within the framework of this research the author has used the contextual, historical cultural, comparative and theatre analysis. For the first time in the academic literature the author analyzes stand-up performances that were put on using the method of theatrical transformation in the first half of the 19th century. The results of the research demonstrate that being one of the founders of the stand-up genre, Pierre Levassor had a great impact on performance traditions of stand-up in Russia and brought in the style of virtuosic intonation music declamation. The art of stage transformation created by Pierre Levassor allowed to reveal all potential of the 'artistic narration' (short story) on the stage for the Russian stage including the founder of that genre in Russia, Ivan Gorbunov (1831 - 1896).

Keywords: Ivan Gorbunov, vaudeville, short story, imitation, verse, stand-up genre, stage, transformation, Pierre Levassor, entertainment

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.

Keywords: Claudel, Debussy, DAnnunzio, grace, The Martyrdom of Saint Sebastian, miracle, mystery drama, drama, music, The Good News of Mary

DOI: 10.7256/2454-0625.2020.7.33383

Abstract: The author examines four main things taught by Confucius: virtue, speech, political questions, and literature in the context of their use in teaching scenic art. The author claims that speech is extremely importance, as it is not only a criterion for assessing virtue, but also necessary means for participating in political affairs and mastering literature. The article describes asset of guidelines for speech practice, their application in teaching acting techniques, and significance for practicing “dialogue” in scenic speech class. Attention is focused on teaching improvisation dialogue to the actors. Such practical course is intended for logical organization of speech skills of the students. A conclusion is made that Confucius' understanding of speech practices allows teaching improvisation dialogue to the future actors. At the initial stage of teaching improvisation dialogue, it is important to instill the sense of self-consciousness into students, dispose towards self-education, teach to be in a stable work condition, and only then organize speech based on the suggested circumstances. During this practical course, it is necessary to follow true emotions, mutual trust, sincerity of communication and, and how the student overcomes difficulties if logically structures the line of dialogue. The next step is to teach the future actor a rational attitude towards a situation.

Keywords: Self-education, Educational actor, Impromptu dialogue training, Performance training, Chinese philosopher Confucius, Chinese educator, Dialogue, Stage speec, Confucianism, Logic of life

DOI: 10.7256/2454-0625.2020.6.31526

Abstract: The subject of this research is poetics of the spectacle “Don Juan” created by the stage director Vladimir Magar in Lunacharsky Russian Drama Theatre in Sevastopol in 2006. Analysis is conducted on the main peculiarities of the directing artistic manner: creation of fiction atmosphere and romantic plot, montage and musical means of structuring action, montage of literary-dramaturgical material. The author reviews fiction method and experience as the conditions for formation of an actor ensemble; examines the role of scenography, eurythmics, music and other elements of dramatic action. The article is based on the use of comparative-historical method, personal audience experience of its author and analysis of publications dedicated to the spectacle. The research of Vladimir Magars’ directing manner, which is insufficiently studied and can become illustrative for determination of patterns common to the regional theatrical life. This article is a continuation of a series of publication of the topic. Analysis of poetics of the spectacle “Don Juan” is important for understanding the fundamentals of his directing activity, which contributed to the fact that Sevastopol Theatre became a noticeable phenomenon within the Russian theatrical space.

Keywords: Directing methodology, musical build, the production Don Juan, the Sevastopol theatre named after A. V. Lunacharsky, Boris Blank, Vladimir Magar, Directing plot, multi-piece basis, montage construction, double counterpoint

DOI: 10.7256/2454-0625.2018.10.27628

Abstract: The article is devoted to the critical evaluation of Marius Petipa's ballets by an editor, playwright and ballet addict Sergey Khudekov. In his articles published in the newspapers of the second half of the XIXth century ('Russian Stage', 'Musical Light', 'Petersburg Paper', 'Petersburg News', etc.) Sergey Khudekov gave a varied evaluation of the events that were happening on the Petersburg ballet stage. Khudekov, who wrote those articles, showed himself as a great expert in ballet, ballet-master profession and creation of a ballet show. Besides descriptions of the ballet theatre everyday life and evaluations of Marius Petipa's premier ballets, Sergey Khudekov drew the reader attention to the civil and moral state of the ballet environment. The conclusion of the article is that Marius Petipa's ballets proved the important role of art in the aesthetic education of the society, that being the mission Khudekov believed the ballet to have.

Keywords: Le Roi Candaule, The Pharaoh's Daughte, Arthur Saint-Léon, periodicals of the XIX century, Petersburg newspaper, ballet criticism, Petipa Marius, Khudekov Sergey, The Sleeping Beauty, The Nutcracker

DOI: 10.7256/2454-0625.2021.2.34621

Abstract: The subject of this research is the analysis of choreographic art of the Altai Republic in the context of reconstruction of the concepts of traditional culture of the Altai people on the example of the State National Dance Theater “Altam”. Relevance of the selected topic lies in the fact that Altai dance is studied virtually for the first time. The article reviews the traditional culture of the Altai people, namely dance culture. The goal is to examine Altai dance as an independent form of choreographic art in reconstruction of the artistic stage imagery. The theoretical and practical significance consists in proving the relevance of analysis of the activity of the Altai Dance Theater “Altam” as a laboratory of practical implementation of the results of research work on studying traditional culture of the Altai people. The acquired results on the development of choreographic art in the Altai Republic give a better perspective on the artistic-imagery structure of stage performance. The methodological framework is based on the art, historical, and comparative methods that allows clarifying the specificity of development of the Altai folk choreography in the context of ethnic theatrical art, as well as revealing the peculiarities of such organics in creating the artistic-imagery structure of stage performance. Scientific novelty lies in the attempt to generalize and analyze the sources for studying the Altai dance. The author traces the evolution of the national choreographic art, beginning with the folklore origins. The article introduces into the scientific discourse the factual material, such as examination of dance elements in petroglyphs, folk epic tales, folklore, cultural rites, folk games and songs. The author observes the transformation of the indicated range of sources in various genres of national choreography. The analysis of ethnic creativity of the Altai National Dance Theater “Altam” demonstrates that for many years Altai dance integrates the typical for Altai people motions, poses, gestures, substantiated by ethno-genetic identification. The article directly connects the traditional Altai dance and formation of the Altai folk stage dance for the purpose of establishment and development of the professional choreographic art of the Altai people.

Keywords: ethnic creativity, musical and drama performances, theater, stage art, Republic of Altai, Dance Theater, Choreographic art, dance culture of Altai, national choreography, laboratory for practical implementation

DOI: 10.7256/2454-0625.2019.4.29371

Abstract: The matter under research is two operas of a German opera genius George Handel, Florindo and Daphne. Due to the fact that there is no music for these two operas left, the researcher focuses on the analysis of libretto texts. Kosheleva makes an attempt to bring together bits of information about the creation and first performances as well as what happened to the operas later. In addition, the researcher also provides a brief review of the narration in order to describe specific features and represent two operas as one whole. The researcher primarily uses the historical method to research and describe historical events. To analyze specific features of the narration, Kosheleva applies a variety of theoretical methods, most of all,l analysis, comparision and inductive-deductive method. As part of the overall inerest in Baroque musical art, this article represents a new page in Russian music studies of George Handel's early opera composition and The Hamburg theatre's traditions in early XVIIIth century. Florindo and Daphne represent Handel's first appeal to the opera pastoral genre and are a bright example of opera dilogy, performances that were put on on Gänsemarkt stage.

Keywords: opera seria, librettology, The Hamburg theater, double opera, history of the opera, plot formation, Heinrich Hinsch, George Handel, baroque opera, Florindo and Daphne

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.

Keywords: pedagogical methods, choreographic art of Kazakhstan, Kazakh ballet, Ramazan Bapov, ballet dancer, pedagogy of ballet, pedagogical activity, ballet teacher, dancer, ballet

Abstract: The article analyzes the evolution of the term ‘theatre puppet’ in Russian researches. It is fair to say that the theatre puppet is a changing and unsteady cultural phenomenon which depends on the transformation inside the theatre arts. The article shows that there are two approaches to the definition ‘theatre puppet’. The first definition defines the theatre puppet as a product of a modern puppet theatre and the second contains key characteristics of the puppet theatre as the space for fine arts.

Keywords: cultural studies, sign, imitationability, puppet, culture, image, synthetic theatre, stage culture, puppet theatre.

Abstract: This article contains an analysis of E. A. Malikov’s book ‘Myth and Dance. Experience of Fun Hermeneutics’ (published in Moscow in 2012). The author decided to analyze that particular work because in her book Malikov created a methodological strategy of studying dance and its esthetics. In his opinion, what a researcher thought about the role of myth, ritual, cult and image was very important for the morphology of choreographic study. Special attention is paid at Malikov’s cultural typology of discourses. The author gives a high evaluation of Malikov’s mechanisms of creating new meanings and forms of dance. These problems are topical for specialists both in the sphere of history of art and cultural studies.

Keywords: history of art, myth, dance, ritual, cult, custom, magic, suggestion, discourse, ballet.

Abstract: The article studies the stage version of P. I. Tchaikovsky’s opera ‘The Queen of Spades’ directed by A. Galibin from the point of view of mass culture being the context for an opera performance. The study results in the two conclusions. Firstly, it is concluded that the features of mass culture in a performance include: dominance of the reproductive beginning or over the creative one, actualization of specific behavior of a ‘mass human’ in acting, external visual appeal and formal illustrations of scenography and stage direction, absence of integrality and consistency of solutions in acting. Secondly, it is concluded that such a performance realizes the principles of mass culture: simplicity, accessibility, regularity and easy perception.

Keywords: cultural studies, mass culture, classics, art, music, theatre, opera, interpretation, stage direction, scenography.

DOI: 10.7256/2454-0625.2022.7.38420

Abstract: The author connects the analysis of the formation of the ancient theater with the formation of art in ancient Greece, theatrical communication (including the positions of the author, artist and viewer), theater as a special space, awareness of the art and nature of ancient Greek drama in the "Poetics" of Aristotle. In the culture of modern times, the ancient canon of the theater is being established anew, since ancient Greek works are being reinterpreted from the point of view of the relationship to the medieval heritage and the social reality of the emerging new time. The new socio-cultural situation has predetermined three important consequences for the theater: firstly, the content of the stories written by playwrights is radically changing, secondly, the audience is changing, and thirdly, the rapid growth of theaters in emerging national states begins. These innovations are illustrated by the example of the French theater of the times of Louis XIV and Racine. In the second half of the XIX, the beginning of the XX century, the director's theater was formed. The director considers the artist as one of the "expressive means" along with others (music, scenery, theatrical clothing, symbols, etc.). The author suggests that the director's theater was influenced by the reflection of music. In the director's theater, the artist does not disappear, as Kugel claims, but on the contrary, he creates a tense field of meanings, communication and actions; while the artist on stage retains the original, coming from archaic times and religion, communication between the audience and the creators of works of art. The problems that arise in the director's theater are discussed on the example of the theatrical production "Eugene Onegin", which was carried out by Rimas Tuminas. In conclusion, the documentary theater and the theater of complicity are discussed. In both cases, the theater remains a theater: the performance is maintained by the actors' play, a second, full-fledged world of artistic reality is created, although the audience takes part in the constitution of what is happening, they, nevertheless, remain spectators at the same time, observing and experiencing events arising with their participation.

Keywords: text, understanding, artistic reality, art, performance, director, author, viewer, theatre, interpretation

DOI: 10.7256/2454-0625.2023.8.43683

Abstract: The article highlights the history of the formation and the main stages of the activity of the Vietnamese Dance Academy, which has secured the reputation of the leading national choreographic school of Vietnam. In the context of the historical and cultural process, it is shown how the tasks of the school's activities and its status changed over time and in accordance with changes in the priorities of the state cultural policy. There are three stages in the development of an educational institution. In accordance with the spirit of the times, the school underwent changes, was transformed into the Vietnamese College of Dance, then into the Vietnamese Academy of Dance. The initial period of the school's activity is associated with the process of professionalization of choreographic art and the institutionalization of the national ballet. The transitional stage was the transformation of the school into a Vietnamese dance College, when the potential was being built up, which later ensured the transition to an Academy engaged in training highly professional personnel at the level of secondary and higher education. The importance of the Soviet system of integrative choreographic education at the initial stage is shown. For the first time, the question of the personal contribution of Soviet teachers Y.E. Brunak and H.F. Mustaev to the formation of the Vietnamese system of professional choreographic education is highlighted. On the basis of a combination of general scientific and special methods, including chronological, typological, historiographical methods, methods of comparative and source analysis, new facts on the history of the formation and development of the choreographic education system of Vietnam are established and introduced into scientific circulation. The educational, methodological, scientific and international directions of the Academy's activities at the present stage are highlighted. The author deals with the problems of modern development and prospects for development in the near future. It is concluded that the Vietnamese Dance School is the first educational institution in the history of Vietnam that provides professional training for a previously non-existent type of ballet performing art in Vietnam.

Keywords: folk dance, Vietnamese Dance Academy, Vietnamese Dance College, Vietnamese Dance School, choreographic professional education, professionalization of dance art, choreographic art, european classical dance, modern western dance, ballet

DOI: 10.7256/2454-0625.2017.1.17069

Abstract: The object of the research is the acting technique. The subject of the research is behavior spontaneity and internal freedom in the process of acting. The researchers touch upon the phenomenon of stereotypic reactions, standard models of action, behavior patterns as adaptive structures and possible effects of extending behavior patterns including flexible spontaneous forms of activity. The author also describes spontaneity-reservedness and internal freedom-restraint mechanisms and relations. The authors offer the best combination of acting and psychotechnic for encouraging spontaneity and internal freedom. In their research the authors have used the theoretical reconstruction methods, comparison, mental experiment, observation over drama students, expert reports of drama teachers, and control over summary and conclusion accuracy. The main conclusions of the research are the provisions relevant to the research topic, in particular, the statement is that acting and drama allow to go beyond the borders of the theatre and make a diverse influence on one's personality. The novelty of the research is caused by the fact that the author describes particular innovative aspects of acting such accumulation of motional physical experience in acting, extension of behavior patterns and domination of visual images over real images. Thus, acting becomes a behavior regulator providing one's personality with new tools to develop his or her own positions and views.

Keywords: communication skills, urban studies, psychophysical training, shyness, motional experience, psychotechnics, internal freedom, spontaneity, stage education, acting

DOI: 10.7256/2454-0625.2017.1.68572

Keywords: communication skills, urban studies, psychophysical training, shyness, motional experience, psychotechnics, internal freedom, spontaneity, stage education, acting

DOI: 10.7256/2454-0625.2016.1.17351

Abstract: The article is devoted to studying Vasily Sakhnovsky's intepretation of Alexander Ostrovsky's playwriting. Artistic legacy of a theatre director, theorist and teacher Vasily Saknovsky who had been on the periphery of theatrical science until recently is a rather broad cultural issue. The research of theoretical works written by Sakhnovsky about Ostrovsky and his speeches made during meetings of the theatrical section of the Russian Academy of Sciences as well as analysis of Sakhnovsky's performances do not only extend our idea for Ostrovsky's playwriting but also reveal a number of important features of Sakhnovsky's directing method. The object of the research is Vasily Sakhnovsky's interpretation of Alexander Ostrovsky's plays. The following several subjects of the research should be stressed out: Vasily Sakhnovsky's work 'The Theatre of Alexander Ostrovsky', his speech devoted to the discussion of Vsevelod Meyerhold's play 'The Forest' and his theatrical interpretation of the play 'The Thunderstorm' at Moscow Drama Theatre. In the course of her research Mikhailova has used the contextual, historical-cultural, comparative and theatrical analysis. The researcher has made the following conclusions based on the results of the research: in his interpretation of Ostrovsky's plays, Sakhnovsky adopted the views of Apollon Grigoriev who saw Ostrovsky as the founder of the first national Russian theatre. Through analyzing Sakhnovsky's performance of 'The Thunderstorm' and his attitude to Meyerhold's theatrical experiments, the researcher reveals why Sakhnovsky was so poorly appreciated by the social and cultural communities of the 20's.

DOI: 10.7256/2454-0625.2016.1.67333

Keywords: interpretation, creative method, Vsevelod Meyerhold, dramaturgy, directing, soviet theatre, Alexander Ostrovsky, Vasily Sakhnovsky, Moscow Drama Theatre, theatrical performance

DOI: 10.7256/2454-0625.2017.2.17538

Abstract: The subject of the research of this article is the place of amateur theatre in the spiritual world of Leo Tolstoy. The object of the research is the spiritual world of Leo Tolstoy, and ethical reference points of the writer. The author of the article examines such aspects of the topic as Tolstoy's views on the nature and objectives of art in general and theatre in particular. The aim of the article is to identify the fundamental differences of amateur and professional theatre in the mind of Tolstoy. The author sets the task to analyze the theoretical ideas of Leo Tolstoy about art, theatre, and compare them with the practical theatre work of Leo Tolstoy as an example of amateur stagings of his family.The research is carried out using the literary-historical method by examining the documentary evidence of contemporaries of Leo Tolstoy, analysis of his theoretical articles on art, extracts from his writings that reflect the views of Tolstoy on the nature of the theatre. In addition, the article is an attempt to Yasnaya Polyana partial reconstruction of stagings of "Nihilist" (1866) and "The Fruits of Enlightenment" (1899). The main conclusions of the research is the idea that Tolstoy shared concepts of professional and amateur theatre; accusations towards the contemporary theatre made by the writer in his theoretical work did not always relate to the domestic amateur performances. More than that, for Tolstoy the domestic amateur plays were is an original way to communicate with loved ones, an opportunity for a dialogue, and an attempt to overcome misunderstandings and resolve urgent problems. The theme of "Leo Tolstoy and the theatre" was studied in the Soviet theatre criticism from various points of view. The book of E.I. Polyakova "Tolstoy’s Theatre" is analyzed in terms of the dramatic composition of the writer, in the analysis of B.F. Sushkova in "The Lessons of Tolstoy’s Theatre" the author pays more attention to the theatrical realization of the plays and their moral lessons. The author of this article is primarily interested in the relationship of the individual - Leo Tolstoy – with the theatre as an institution. Never before in theatre criticism similar question has not been seriously investigated. The novelty of the research is caused by the fact that the author raises this problem. The results of the research can be used in lectures on the history of theatre, based on them new trips to the Museum-Estate of Leo Tolstoy "Yasnaya Polyana" and the State Museum of Lev Tolstoy in Khamovniki can be established.

Keywords: theatre searches of Tolstoy, Tolstoy and theatre, Yasnaya Polyana theatre, Tolstoy's drama works, Nihilist, The Fruits of Enlightenment, Tolstoy's theory of art, home theatre, amateur theatre, Lev Tolstoy

DOI: 10.7256/2454-0625.2020.5.32932

Abstract: Opera “The Greek Passion”, based upon Nikos Kazantzakis’ novel “Christ Recrucified”, demonstrated the Biblical story in “passions” of the XX century: in 2019 it was staged for the first time in Russia by Ural Opera Ballet Theatre. The article analyzes Martinu’s interpretation of the genre of passion, related to music and folk mistrial nature of this genre. Experience of interaction of the theatre in the course of staging the spectacle with representatives of the Russian Orthodox Church is reviewed. The research describes the transformation of conflict between true and false Christianity, the themes of inner transfiguration of a person. Analysis is conducted within the methodological framework of the modern theory and history of culture, in combination of culturological, philosophical and theatrological methods of interpretation. It is noted that the captured by stage directors idea on conversion of Christianity into a part of cultural tradition that can lead to the loss of its spiritual content. A conclusion is made that art and religion can be viewed as the equivalents ways of acquainting with the generally recognized humanistic values.

Keywords: Kazantzakis, Greece, Christ, passion, theater, religion, opera, art, Strassberger, Dohnany

DOI: 10.7256/2454-0625.2017.2.21987

Abstract: The present article is devoted to Yasmina Reza, a modern French playwright. Her plays are successfully staged on different venues all over the world. She is a winner of various prestigious theatrical awards such as Grand Prix du Théâtre de l’Académie Française (2000), Molière Award for Best Author, Best Play and Best Production (1994) Laurence Olivier Award for Best Comedy (1998, 2009), Tony for Best Play (1998, 2009). Yasmina’s great knowledge and wide creativity let her become Nicolas Sarkozi’s personal biographer during his pre- election campaign as well as to write the book ‘Morning, evening or night’ (2007) about this period of time. The plays of this author are of the primary concern of the theatre critics and cause many disputes about what theatrical currents they belong to. In her plays Reza uses the methods of ‘literary theatre’, but also pays attention to the ‘boulevard theatre’, selecting and combining its best merits. At the same time in her works it can be noted the traces of theatrical avant-garde and elements of postmodernism, among which there are mixing of genres ,aesthetic and literary eclecticism, the author’s irony and intellectual flirtation with a spectator. There is a detailed analysis of one of the Jasmina Reza’s play ‘The Unexpected Man’ in this article in order to detect the stylistic peculiarities and author’s methods in working out of the plot and structure of her work. It is noted here the topicality of the problems described in Jasmina Reza’s plays and it is especially underlined the constituents of the commercial success of her plays. Individual approaches, which Resa employs in her work with the text, methods and measures of introducing of her plays into the world stage deserve a certain attention of the theatrical people .

Keywords: anaphora, cultural phenomenon, flirtation with a spectator, eclecticism, self-irony of the author, dialogue of monologues, theatrical currents, postmodernism, author’s approaches, commercial success

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

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

DOI: 10.7256/2454-0625.2013.4.7787

DOI: 10.7256/2454-0625.2013.4.63017

Abstract: the article presents the very first attempt to analyze creative concepts of the gypsy theatre. Based on documents from the RGALI archives, the author of the article analyzes the ‘struggle of strategies’ and choices that have been making the history of the Romen Theatre over the past 80 years. For instance, when there was choice between Gypsy and Russian languages, Russian was not always selected. Quite an important choice was also made between the three concepts, propaganda team, music drama or just music theatre. The author of the article also traces back how social and political views of the artists and attitudes to folklore costumes and choreography have been changing. It is stated that national traditional and mentality were showed in absolutely opposing ways on the stage. It all had an influence on Romen audience and therefore, the role and status of the Romen Theatre in Russian culture. Analyzing strategic success and failures, the author of the article explains the reasons of crisis and describes the most promising ways of developing gypsy theatre art.

Keywords: cultural studies, Russian culture, national traditions, gypsies, gypsy Romen Teatre, conception, costume, play, critics, folklore.

DOI: 10.7256/2454-0625.2016.4.19387

Abstract: In the article the author shares his observations on the performance studio "Heptahor". Along with the strong impression from what he saw, he raises three issues relating to the perception and understanding of the genre of musical movement. It is hypothesized that the audience in this case met with a new kind of art. Further, the hypothesis explained and justified. The main themes are: explanation of features of musical movement, creation of a new art form, analysis of the musical reality that is emerging in the genre of musical movement, role of comprehension and interpretation of music played to the musical movement. As a result of the study the author proves his hypothesis. In his study Rozin introduces the ideas of humanitarian and hermeneutical approaches and offers his own interpretations of the plastic performances 'The Birth of the Sun' after Igor Stravinsky's ballet 'The Rite of Spring' and 'Apollo's Principle' after Igor Stravinsky's ballet 'Apollon Musaget'. In general, the author continues to develop his humanitarian methodology. As a result of the research the author has been ablel to demonstrate that it was indeed a new art form, to describe features of the musical movement as a new art form, how a new art form and reality have been developed within the framework of the musical movement and what intellectual and spiritual grounds supported that development.

Keywords: ballet, work, interpretation, personality, aesthetics, performance, movement, music, dance, musical movement

DOI: 10.7256/2454-0625.2016.4.68089