The article is devoted to the history of cooperation between choreographers and pupils of the Leningrad Choreographic School (Vaganova Ballet Academy) from 1917 to the present day. The author singles out and analyzes the most significant events: the production of full-length ballets Katerina and Fadette (1930’s) by the beginning choreographer Leonid M. Lavrovsky; the first choreographic experiments of Vladimir A. Varkovitsky, Leonid V. Yakobson, Boris Ya. Eifman. It is concluded that a professional growth of schoolchildren was promoted by theatrical repertoire, namely Puppet Fairy, Nutcracker, Paquita (Gran Pa) ballet performances.

The article explores the interaction of ballet and cinema, two arts united by the idea of picture in motion. This kind of cross-pollination goes back to the first third of the 20^th century, and it was much in evidence in Milhaud’s ballets Le Boeuf sur le toit and La Creation du monde, as well as Les maries de la tour Eiffel, a joint work by the composers of the Les Six group. The article examines some cinematographic devices and effects found in these works, as well as the way certain cinematic ideas and experiments were re-interpreted within the ballet context.

The author studies stage history of Marius Petipa’s La Bayadere. The author underlines the importance of preservation of this ballet on stage of the Mariinsky Theatre throughout the whole 20th century, reviews all main attempts to revive (reconstruct) lost final act of La Bayadere. The author analyzes different means of expression of the ballet theatre as well as some aspects of La Bayadere dramaturgy.

The article tells about important stages of the ballet Petrushka by M. Fokine in the Soviet times. The author discusses two versions of the ballet both of which were played in Leningrad. The first version was staged by L. Leontiev in the 1920s on the State Academic Theatre of Opera and Ballet (GATOB)’s stage. The latter one was choreographed by K.F. Boyarsky in 1961 and played at the Leningrad Academic Maly Opera Theatre (MALEGOT). Based on the analysis of numerous documents and literature one could see several differences in artistic approach and stage presence taken in these two shows. The article reveals previously not published thoughts of the ballet’s authors and people of its era. This paper interprets dance parties, including the performance of Petrushka’s role by dancers L. Leontiev and V. Panov. This research restores unknown details of contemporary views on K. Boyarsky’s creative work, and also reflects the value of the Fokine’s ballet reconstructions in the Soviet dance theatre.

This article is devoted to the mythological component of the ballet Harnasie by Karol Szymanowski which is fundamental for aesthetic and style conception of this work based on the Gorals folklore. The history of the ballet’s scenario is reconstructed in this article and features of its musical language and composition are detected. For the first time in the Russian musicology nuta phenomenon is analyzed. Nuta is the rhythmic, harmonic and intonation complex basing folk music group creativity of the Polish mountaineers. The ballet of Szymanowski is considered in the context of the new folkloristic stream of the 20^th century music.

In the article the dramaturgy of K. Goleizovsky’s ballet Joseph the Beautiful is considered in scenic and musical unity. The author uses the method of comparative analysis in the study of literary and ballet material compares the features of musical and choreographic dramaturgy, recreates the picture of the search for ballet theater of the beginning of the twentieth century. The example of the balletJoseph the Beautiful first reveals the features of the musical and choreographic drama of this play. The harmonious composition, the original performance, the well-thought-out musical drama (the timbre characterization of the characters, the leitmotif system), the colorful arrangement of the performance - all this allowed the authors of the ballet Joseph the Beautiful (choreographer K. Goleizovsky, composer S. Vasilenko and artist B. Erdman) to create an integral, harmonious and innovative work.

The article is dedicated to methods of classical dance training. The author explores the specifics of class combinations involving battement tendu in first position as the core movement that were assigned to students by Nikolai Tarasov - one of the greatest male classical dance trainer of the mid-20^th century. The article includes examples from his lessons. The conclusions are made that the battement tendu in first position was the basic Tarasov’s training method on the supination of the hip joints.

The article is devoted to the International Opera Festival in Savonlinna (Finland). Brief history of the festival, its structure and organization, the review of the repertoire, critical notes on the premiere of the festival-operas: Abduction from the Seraglio, Kullervo, Rigoletto are discussed.

The article examines the phenomenon of art-strategies as an actual factor of sociocultural processes in general and the development of cities. There is an overview of the main art-strategies based on the application of the typology method, as well as an assessment of their use within the framework of urban projects, the advantages and disadvantages of their application are analyzed. The potential of the planned transformation of the urban space through the principle of the work of art strategies is considered. A conclusion is drawn on the need for further theorization of this concept and a multidimensional development of the practical application of the results obtained.

The article defends the thesis that synthetic trends in art arise as a result of the rise in the culture and its worldview commitment to integrity, domination of collective, generic base. Synthesis of social practice, of the spheres of spiritual activities shows the maximum mobilization of the creative forces and vital energies of society, its ability to move to a new progressive level of development via a revolution. These revolutionary changes in all spheres of life occurred in Russia in the early twentieth century. It was then that the attention of the artistic intellectuals was attracted by the problem of synthesis of arts in which they saw the possibility of unity and spiritual transformation of the Russian society. Author interprets the idea of synthesis of art of the early twentieth century as the „aesthetic utopia“ and explores the specific forms of its manifestation in the Russian artistic culture.

The article fully reviews an operatic creative work of Julia L. Weisberg-Rimsky-Korsakov, a composer, music expert and public figure. The benchmarking and source studies analysis of the operatic copies, the epistolary heritage of Weisberg herself and her inner circle (by the archive materials in Saint-Petersburg) have been used as a basic research method. Based on the analysis, the characteristic of the operatic style of Weisberg, evaluation of her relationship with her friends and colleagues, the public life of her scenic works have been presented. Some facts of Weisberg’s correspondence have been compared to the stages of her biography related to her creative work; conclusions regarding the role and significance of some specific operatic works of the composer have been done.

The Event concept is differently interpreted in Modern Aesthetics. Applied to artistic practices «the Event» is a term that means the form of Action Art. There are serious differences in the understanding of this term by avant-garde artists depending on their theoretical and aesthetical background. This paper compares those Art Event theories that were put forward by La Monte Young and George Brecht, Neo-Dada artists and aesthetics. The author makes an attempt to reveal the essence of the Art Event phenomenon and to make the definition of the Event term in the framework of Neo-Dada aesthetic paradigm. The discussions about Art Events that unfolded the correspondence of fluxus artists, as well as critical articles that accompanied publications of certain Fluxus Events are analyzed. The work ends with the conclusion about the style-forming place of the event theory in Fluxus history.

Article is devoted to Bach-inspired works by Mauricio Kagel, namely Die Mutation, Chorbuch, Sankt-Bach-Passion choral compositions created by the composer from 1971 to 1985. Taking into account the analysis of the verbal series of Kagel’s works, as well as their intonational, timbre solution, the author concludes that there is a deep connection between three above-mentioned Kagel’s opuses. Each of the three compositions marks the next stage of the composer’s immersion into Bach’s work. Kagel elevates protestant Bach’s chorales to the rank of sacred music in the first two works. Thus he lays the foundation of the concept of the one of the most large-scale of his opuses, which is Sankt-Bach-Passion oratorio. In the last of the works examined Kagel introduces Bach like not just great composer of the past, but the musical Saint, who is the object of the worship of modern musicians.

The relevance of this research is connected with an attempt to supply the national science of ballet with new sources of information applied to theory and history of modern dance. The author translates some parts of Selma J. Cohen’s book The Modern Dance: Seven Statements of Belief (1966), which has not been published in Russia before. The analysis of a palette of American choreographers’ opinions about modern dance, including their production approaches is made by means of a comparative method of research. The article contains fragments from essays by Jose Limon, Anna Sokolow, Erick Hawkins, Donald McKayle, Alwin Nikolas, Pauline Koner and Paul Taylor. The author comes to a conclusion, that modern dance is endlessly variable phenomenon and a special type of choreographic art. Modern dance is a particular point of view on functions of art in modern world.

The article introduces a previously unknown archive document, namely a letter of Professor Konstantin N. Derzhavin relating to repression against cultural figures and ballet artists in eve of the Great Patriotic War of 1941-1945. To date the document that might be useful for the reconstruction of the history of Leningrad ballet in the 1930s has been kept in the Management of the Russian Federal Security Service in Saint Petersburg and Leningrad oblast. The author comments Derzhavin’s letter written in defense of Nina A. Anisimova, the soloist of St.-Petersburg State Academic Theatre of Opera and Ballet (GATOB) named after S. M. Kirov, arrested and convicted in 1938 under Article 58 of the RSFSR Criminal Code (anti-Soviet and counter-revolutionary propaganda and agitation) for contacts with the German Consulate Employee in Leningrad and ‘alleged complicity with a foreign state at war with the Soviet Union’