The article is a historical and biographical study devoted to Conrad Drzewiecki - famous Polish dancer and choreographer, teacher and creator of the Polish Dance Theater. The article presents an overview of the most important stages in Drzewiecki’s career and considers his significance for contemporary Polish ballet. The conducted study allows us to draw the conclusion that Drzewiecki had a revolutionary impact on Polish ballet. The choreographer introduced Western European aesthetics into Polish ballet, boldly combining the techniques of contemporary dance with elements ofjazz, modern and folk dance, as well as creating a new form of modern dance theater.

The article analyzes the ballet Nunc Dimittis by the Spanish choreographer Nacho Duato from the perspective of embodying a Christian theme in it. The ballet is considered in the context of the work of other choreographers of the mid-20^th - early 21^st centuries who addressed the same theme (John Neumeier’s ballet Passion for Matthew, Maurice Bejart’s ballet Cantata 51, Angelin Preljocaje’s ballets Annunciation and Creation 2010). One of the research tasks posed in this article is the analysis of the specifics of the embodiment of Christian themes in choreographic interpretations, based on the ideological positions of the choreographer. Due to comparison with other works, the artistic originality of the choreographic language of Nacho Duato, his vision of the aspects of faith and a look at the eternal human issues are more clearly visible. The article describes the work of the Estonian composer Arvo Pärt, whose works have become the musical basis of the ballet Nunc Dimittis. A brief review of the compositional method and style of Arvo Pärt - tintinnabuli, its structural elements is given. However, first of all, attention is paid to the meaningful aspects of Pärt’s music, the center of creativity of which is the sacral idea. Common features common to both the choreographer and the composer are revealed. As one of the important factors for Nacho Duato in the creation of the ballet, the religious content of the text Nunc Dimittis is analyzed. Also in the article the compositional structure of the performance in its connection with music, choreography and scenography is considered. At the end of the article, conclusions are drawn about the specifics of Nacho Duato’s interpretation and choreographic solution, compared with other choreographers addressing Christian themes.

The article is devoted to one of the best works by the French composer, the conductor and the musical public figure Andre Messager - the ballet The Two pigeons. The work is considered in the context of the most important changes of the European ballet music of the last quarter of the XIX century. The author proves that the score of the ballet The Two pigeons (original French title: Les Deux pigeons) not only finds continuity in relation to the best French ballets of previous years, but also shows proximity of the musical and dramaturgic embodiment of Messager to reformatory receptions in Tchaikovsky and Glazunov’s choreographic compositions.

There is considered the transformation of the art of dance and its language in Israel in this article. In the national literature this phenomenon is not studied systematically, sources, written by Russian language, are practically absent. The role of the choreographic language is demonstrated here in the modernization of art, culture and consciousness of the people. The phenomenon of the dance theatre is being comprehended, its relation to the national tradition, indigenous innovations in choreography, the manifestations of postmodernism in the art of dance. There are characterized particular style of O. Nakharina, language features and Gaga’s techniques, production of Batsheva Dance Company.

On the example of choreographic performances on the subjects of K. Chukovsky and other authors, the debating definition ‘children’s ballet’, the artistic features of this phenomenon, as well as its semantic content from the beginning of the twentieth century to the first decade of the 21^st century were considered. Since in the Soviet period of the development of choreographic art the ideological, strictly educational contexts for creating such spectacles prevailed, they often acquired such negative for the perception of art of quality as edification, unjustified pathos, excessive sociology and simplicity of expressive means. These trends are also observed in contemporary ballet masters’ art, when children’s ballets are superficially modernized with the help of external paraphernalia and plot twists and turns that are not typical of the literary source.

The article is devoted to the ballet role in the dramaturgy of A Life for the Tsar. Author examines how the new model of the Russian opera was created by composer Glinka. The genesis of the separation into the two spaces - the Russian as the singing people and the Enemy as the dancing Poles - lied in the European music and theater. The development of the ballet and the new type of romantic ballet that was including in French “grand opera” by Giacomo Meyerbeer, influenced on A Life for the Tsar. The one more source of Russian opera - Der Freischütz by K.M. fon Weber. Interestingly, the ballet Polish act took more popularity than Russian act. This perceptive paradox is discussed and explained.

An object of attention in this article is a phenomenon of ‘vulgar Marxism’ in the domestic art criticism during the 1920 - the beginnings of the 1930^th which is considered on the material of ballet studies by I. I. Solletrinsky. The author comes to conclusion that the so-called ‘vulgar Marxism’, considerably discredited in the next decades, actually probably didn’t come down to a political custom. It represented a specific intellectual strategy intended to search for mechanisms of social influence of art works up to their ability to carry out social transformations.

The present paper is devoted to the analysis of character characteristics in American science fiction and horror cinema of the 40s - 60s of the XX century from the point of view of sound drama and the identification of special properties of the sound of early electronic instruments that become a kind of cohesion in the general structure of the film text of a science fiction or horror movie. The sound of early electronic instruments (the termenvox, the waves of Martenot, trautonium, etc.) always aroused some apprehension among listeners - artificial timbres were associated with something mysterious and terrible. That is probably the reason why early electronic instruments were so often used in fantastic movies to create special mysterious and fantastic atmospheres, supporting a sense of fear and horror. Using American films as an example, in particular films by Alfred Hitchcock (“Spellbound”, “Birds”) an analysis is made of the use of early electronic instruments in cinema.

Based on the systematic method and the interrelationship of historical and logical principles, music is studied as a phenomenon of intellectual culture and art during the Ancient and Medieval times. The philosophical study of music as a phenomenon begins with the birth of philosophy as a school of free critical thinking. Music was considered as an instrument to educate a citizen-warrior. Music, as the Ancient Greeks believed, in order to bring up the best qualities in a warrior should not be of orgiastic, lyrical nature, or be overly ornamented and sweet. The Pythagorean traditions in crediting music ontological status were preserved. The conclusion is made that it is impossible to precisely determine the following: whether the study of music on the basis of mathematics had led to the origin of Pythagorean ontology, and philosophy along with it, or vice versa. In any case, in the transition from mythological mentality to free scientific and critical thinking observed is the unabated interrelationship between mathematics, theory of music and philosophy.

The article considers creative industries as a modern variant of the organization of the communicative information space of the art / artosphere / art-industry / art business. The author suggests to perceive such as generators and distributors of information / meanings / texts of works / symbolic products / creativity of masters of arts, management systems and marketing of creative activity. The sphere of art / arthosphere is represented as one of the components of the noosphere and the infosphere as a whole. T. N. Suminova argues that in a free and creative economy, a communicative system of the art sphere structured on the basis of a system-activity approach is important, the connecting element of which is the art manager (producer, agent, entrepreneur, etc.) and art management as a philosophy and culture of management in this field of activity.