In this article the authors describe for the first time the main stages in the formation and development of the Vaganova Ballet Academy’s art collection. On the basis of archival sources they analyze the character of the museum's acquisitions, the display variants, they also give a historical description of the art collection during the first 2 periods (1^st - from 1917 until the official opening of the Museum in 1957, the 2^nd - from 1957 until the Museum’s relocation to new rooms in 1988). The authors describe the huge role of the first curator of the museum collections Marietta Harlampievny Frangopulo.

In article it is told about problems of inclusion in process of professional choreographic education of new specialization - a tantsterapiya. New programs, textbooks and manuals are for this purpose necessary. In them the Russian experience of treatment of many diseases has to be considered by classical dance. The author points to treatment examples by dance in Ancient Greece, and also provides remarkable recipes of prevention of health of the ballet dancer, data in ingenious work Vaganova of “Basis of classical dance”.

The author observes the ballet number “Romeo and Juliet” by Vernon Duke and George Balanchin for Technicolor musical film “The Goldwyn Follies” (1938). The historical context and the details of work on the number allow to assume it as a comment to Prokofiev’s ballet “Romeo and Juliet” as well as to discussions of the ballet performance in USSR. The idea and realization of Duke’s - Balanchine’s number is put in correspondence with 1930s American middlebrow culture.

“Response” to the ballet “The Red Poppy”, which was premiered June 14, 2017 is in the focus of this paper. The first ballet about the “revolutionary subject” has generated a lot of feedback in the space of everyday culture: porcelain composition, perfume and perfumery products, cigarettes and candy. On the wave of interest in ballet the image of a poppy was replicated - in wardrobe elements, in the printing industry, in needlework. Based on the analysis of the complex objects of everyday culture, the article suggests the ballet “The Red Poppy” was the first occurrence of Performing Arts, which is demonstrated the possibility of replicating ideas and images of high art in the space of mass culture on the base of the ballet of the image (the image of “red poppy”).

This publication is dedicated to the ballet Asel by V. Vlasov based on the literary work of Chingiz Aitmatov My poplar in a red scarf. The author pays particular attention to the person of the writer Chingiz Aitmatov and his close connection with the musical theater, the relationship of fiction and choreography. The main content of the article contains the analysis of performance carried out on the stage of the Kyrgyz National Academic opera and Ballet theatre named after A. Maldybaev.

The article deals with two significant works of Lithuanian national art: the ballet by E. Balsis - V. Grivickas «Egle, the Queen of the Snakes» (1960) and the eponymous film (directed by A. Mockus, V. Grivickas), based on the ballet (1965). The authors do not ignore the historical and sociocultural context of the appearance of the film and ballet, introduce in the Russian-language everyday life a number of sources, which were not translated from the Lithuanian language before. The production of V. Grivickas, Innovative for his time, is the work that marked the stage of maturity of the ballet of Lithuania, its readiness to master new forms and ways of interaction with developing media technologies.

The ballet “The Golden Key” was first staged in Leningrad by a young graduater of the N.A. Rimsky-Korsakov Conservatory Mintai Tleubaev. It was entered to the repertoire of the Opera Studio of the Conservatory for a long time, fulfilling the important mission of educating the younger generation of spectators. In “The Golden Key” M. Tleubaev refers to the children’s theme, which became the main theme in his fruitful work. The author analyzes the composition and dramaturgy, the director’s conception and the plastic decision of the ballet.

The article is dedicated to Russian ballet. It tells about the presentation of the book of memories of the ballet mastery of E. Cecchetti. Creativity Cecchetti in many ways has become a grandiose event in the world of ballet. His students continued to improve the ballet mastery. Cecchetti had a special influence on the Russian school of classical ballet teaching. The article will be of interest to ballet lovers and teachers of the history of classical ballet.

The article reviews various possibilities of using distance education in teaching students of creative professions on the example of the author’s courses based on two different free access platforms. The first platform is Moodle. This example shows the ability to create courses of various kinds (theoretical and practical), represents an opportunity to work with text files, audio and video, creating and editing test and control tasks, the ability to control the mastering of the material covered. The second reviewed platform is Lingvomaster. Using it as an example, we show its possibilities in creating interactive exercises - from crosswords to multiple-choice exercises and examples of how to include those into different types of courses. In the summarizing part of the article we conclude that it is possible and necessary to use modern educational technologies for students of creative specialties.

P. Bazaron’s article is devoted to the problem of children’s ballet performance. The author notes the urgency of the problem caused by the impoverishment of the children’s repertoire on the professional stage, inferior in this matter to ballet schools and even amateur studios. In the article features of creation of children’s ballet on professional and amateur scene are considered. Particular attention is paid to the methodology of working on the creation of a ballet in a children’s non-professional school, illustrated by the example of the author’s own experience, which staged the ballet “Masha and the Nutcracker” at the Children’s Ballet School of Ilya Kuznetsov.

This article reveals essential characteristics of the concept of “pedagogical heritage”, which is currently used as a reflection of a whole complex of historical-pedagogical ideas, traditions, generalized practices and results of scientific works of scientists and educators.

On the basis of the educational work of the past two years the article examines the genre of the presentation as a form of independent work of students of the Conservatory in the course “History of Russian music.” The author draws conclusions about the objective reasons that cause difficulties for the students in this work. There are two main reasons for this: the specifics of the subject and the peculiarity of the modality students. The author offers an interpretation of the presentation in the context of the concept of post-truth.

The article is devoted the evolution of Pierrot’ image on the theatrical stage during the whole history of his existence. The examination of the stage path of the famous mask includes different forms of theatrical art: drama, pantomime, ballet. The fate of this mask in spite of such genre variety has the generic tendency and generic evolution. Pierrot began in the XVII age as mask «servant» but in XX age Pierrot’ image is turning into symbol of huge generalization - dreaming, lyrics, loneliness.

The article discusses the Sonata for solo guitar 1 by Nikita Koshkin. The work is studied from the point of view of interpretation by the composer of Sonata. The study shows that the composer, despite the tendencies towards miniaturization of modern sonatas, adheres to the traditional reading of the Sonata cycle. He uses Sonata form in each part of the Sonata. Composer attracts the possibility of implementing a large scale plan in this genre. Determined that the language of works by Koshkin has always come from specific of instrument. Being a great guitarist, composer extends favorite tool, bringing them closer to universal.

The language of dance moves radically changed in the first decade of the 20^th century. Wassily Kandinsky was not aside from those changes. The article is about how Kandinsky had been looking for a special type of a stage dance-plastic movement while working on his scenic compositions.

The author of the article refers to the actual topic of research of modern concepts of sound space. The starting point of the study of the philosophy of intrasound space is the concept of “another space” or the heterotopy of M. Foucault. The article analyzes spatial concepts of L. Nono, B. Furrer, P. Ablinger, and V. Tarnopolsky. The conclusion from the results of the study is a general system of coordinates for the conceptualization of space in philosophy and new music.

The article is about “Live-electronic” - a special computer system for musical performance with the joint use of acoustic instruments and electronic equipment. Three possible ways of interaction of the musician-performer with electronics during “live” performance are considered: 1: the use of audio recordings of the electronic part of the score; 2. the use of special interfaces for direct control of electro-acoustic sounds, effects and events; 3. the use of a complex system of “live” interaction of acoustic instruments and electronics based on the algorithms established by the composer. The conclusion is made about the significant artistic advantage of the live-electronic system over the others - it allows the musician to independently control the tempo, rhythm, pulse of the composition, the sound of not only acoustic but also electronic sound. At the same time, the musician does not need to use additional technical interfaces: the sound control process is performed in the usual musical-intonational way.

Classes of classical choreography with elements of finger action in a to early age causes ambiguous reaction of parents, professional ballet teachers, managers of dance studios and orthopedists. This article covers review of arguments of supporters and opponents of early involvement of children in the world of dance and evaluates influence of specific physical loadings on a growing organism of children from a viewpoint of biology, medicine and pedagogics.

The paper studies the echocardiographic data to assess prevalence of small anomalies of heart development and hemodynamic disturbances. On the basis of the obtained data we identified a group with increased risk of cardiovascular disease development when doing choreography, physical training and sports. Recommendations on conducting medical and pedagogical control of rhythmic gymnasts with small anomalies of heart development are given.

The article analyzes the two ballet premiers of 2016 at the Bolshoi Theater of Belarus. The authors of both full-length productions are young female choreographers. The ballet “Love and Death” was composed by Olga Kostel to the music of Polad Bulbul-ogly, Alexander Tikhomirova put the “Little Prince” Yevgeny Glebov. Noting the merits of the performances, first of all, the seriousness of the problems, the reviewer does not hide the dramatic mistakes made by the young authors.