Federation One of the most poorly studied periods in the history of the Maly Opera Theatre is its work during its evacuation in the town of Chkalov in 1941—1944. The period was covered in some of the memoirs of artists, but most of these recollections about the wartime are not only sketchy, but also written long after the described events, and therefore not always accurate. In this article, an attempt is made to reconstruct the life of the ballet company in this period on the basis of the unique materials of the Mikhailovsky Theatre archive, the most important of which is the unpublished diary of the orchestra musician Ivan Alekseevich Polomarenko (1876–1965).

This publication is dedicated to the ballet-oratorio The Mother’s field by K. Moldobasanov, based on the story of Ch. Aitmatov The Mother’s field. The author pays special attention to the person of the writer and his close connection with the musical theater, the relationship of fiction, music and choreography. The main content of the article is based on the analysis of the performance staged on the stage of the Kyrgyz National Academic opera and ballet theatre named after A. Maldybaev.  

The article is dedicated to the one of the most well-known masters of Saint Petersburg ballet stage Nikolai Osipovich Golts. His artistic career is quite unique, he performed for more than 50 years. He was a main part or solo part performer in the premieres of ballets composed by outstanding choreographers of XIX century (“The prisoner of the Caucasis”, “The Shadow”, “La Esmeralda”, “The little humpbacked Horse”, “La Bayadere” and others), outstanding choreographers of the XIX century (Sh. Didlo, F. Taglioni, J. Perrot, A. Saint-Leon, M. Petipa). Life and artistic career of Golz has been observed in this article. The archives were used for the writing of this article, for example, Golz’s personal data file that is kept in Russian State Historical Archive, Russian mass media materials of the XIX century, memories of the contemporaries and libretto of the ballets.

An idea is given of the genre of a choreographic symphony in musical art (a ballet that received the author’s name of a choreographic symphony, indicating the dramatic complexity and independence of the music and, at the same time, its involvement in the process of choreographic reading) and choreography (scenic works of choreographers of the twentieth century built on dramaturgical principles of dance symphony). The study of the issues of interaction and synthesis of arts in the historical context is carried out in the mainstream of morphological analysis, using the historical and typological method of investigation. The article highlights the question of the historical origin of the genre choreographic symphony on the material of the dance suites of the French composer Jean-Féry Rebel (1666–1747), creator of a new type of instrumental ballet music. The content of the concept is regarded as a conjugation of instrumental-symphonic and plastic meanings in the art of music (scores of M. Ravel, A. Honegger, D. Milhaud, G. Migot) and choreography (in creative and theoretical comprehension of F. Lopuchov).  The conclusion is done about the meaning of the choreographic symphony as one of the semantic dominants of the theatrical art of the first third of the XX century.

The article presents a review of research dedicated to the methods of modelling acoustic space of opera houses. It concerns the main stages of design development, as well as different approaches for calculating sound fields inside the premises. The main focus of the article is on the state of the art computer modelling technologies, with include describing sound perception features, along with the process of implementing this virtual sound image in real life. The article indicates advantages and disadvantages of modern technologies and their area of application. Finally, it provides an example of opera house built using these technologies for modelling acoustic halls.

The article is devoted to the role of theatre dictionaries of the 18th century pub­lished in France in development of history and theory of ballet. The author shows how the structure of the dictionaries allows reinforcing theoretical knowledge along with historical and practical information about ballet art. It is demonstrated on the base of the dictionaries substance analysis how changing in principles of selection of the facts in dictionaries of different periods reflects changing of phases of thought of ballet. Considering the means of organization of theoretical terms in the dictionaries, the author concludes that classification of the content in the dictionaries contrib­uted to formation of terminological system of ballet notions.

The development of images of ballets by I. Stravinsky’s “Firebird” and “Petrushka” in porcelain is in the focus of the article. Based on the analysis of porcelain figurines made in the 1920-1980s. (the work of D. Ivanov in 1919-1922 and their reproduction in the 1950s, the work of A. Kiselev 1966 and E. Eropkina 1988-1991), stages of the development of images of early ballets of Stravinsky in Soviet porcelain are presented. In addition to the historical typology, special attention is paid to the evolution of images. The point of view of the place and role of the musical heritage of Stravinsky in the Soviet official culture and its influence on everyday culture is the basis of paper.

The science art deals with the problem of application of scientific methodology in pedagogy in general and ballet pedagogy in particular. The characteristic of the general principles and approaches of ballet pedagogy is given; the connection of applied research with the technique of teaching classical dance is demonstrated. The authors substantiate the possibility of checking the knowledge of future ballet teachers with the help of specially developed test tasks based on the algorithm and methodology of A. Vaganova.

The article examines various ways of building classical dance combinations (as well as moving up to new difficulty levels) with battement tendu in the 5th position as the core element. The author of the article studies relevant examples of class combinations that have been assigned by prominent mid-twentieth century teachers of male classical dance. The article compares the ways Asaf Messerer, Alexey Pisarev, Nikolay Tarasov or Pyotr Pestov would combine different steps using battement tendu as the centerpiece. The article further makes an attempt at systematizing the different teachers’ approaches. The author goes on to conclude that the battement tendu-based bar exercises assigned by Asaf Messerer are best fit for students in need of a sparing workout routine (for example, those going back to class after a long break), while Alexey Pisarev’s combinations are ideal for muscle strengthening exercises. Julius Plakht is known for having added complicated plastiques, as well as artistic elements to his class combinations (such as full detournés with arms in the 3rd position, petits développés at 22 degrees, etc.), bringing them closer to stage movements. Nikolay Tarasov’s exercises focus on building techniques in line with specific class objectives. Finally, the combinations suggested by Pyotr Pestov are suitable for demonstration lessons and exercises assigned during examinations.

Federation The article analyzes the process of formation and development of the ethnochoreology as a separate art criticism domain, a special place in the formation of which belongs to the art scholar Arkadij A. Sokolov. Ethnochoreology as a science of traditional dance art in terms of the research activity of Arkadij A. Sokolov has been reinforced by the basics of studying the art of classical ballet. The main directions of his research and methodological positions of the scientist, as well as topics and specific regional materials on folk choreography (first of all — the Russian North and the North-West) are presented in the article. As a conclusion, being researching in the article, the high evaluation and the significance of Arkadij A. Sokolov activity in the field of ethnochoreology has been approved by author.

With the development of mass interest in ballet, ballet criticism moves to the pages of mass periodicals, acquiring new features. The content features of the ballet review in the daily newspapers are close to the functional characteristic mass media in general, and at the same time keeps the features of professional criticism. Empirical material contain selected reviews for the ballets of the 2016–2017 season. The article uses methods of qualitative content analysis, stylistic analysis, comparative methods.

The article deals with a famous Russian fine art expert and dramatic critic Andre Levinson and evaluation of his works by French and Russian emigre critics in the 1930s. Although he deserves to be rated among the most outstanding fine art critics of his day according to foreign press notices, Andre Levinson was unduly disremembered for a long time by the Soviet critics. On putting forward the ideas engendered within the aesthetic theory by Stephane Mallarme and Paul Valery, he based his own concept of dance art referring to legacy and traditions as a guideline. His expertise, his evidence-based approach and principled ground for protecting the classic ballet were referred to even by his opponents. Multiple quotes of his contemporaries provided in the article rime his name to the French ballet Renaissance and to the ballet science-based approach. The analysis helps us to estimate the level and to value the impact that Levinson’s works had on foreign and Russian ballet criticism generation. This kind of research is relevant for the art historiography. It can also be useful for creating new methodological approaches to the theory of art.

In this article the analysis of an ironical discourse in Fluxus project of the Fluxfilm Anthology is made. This discourse was peculiar to aesthetics of the western neo-avant-guarde Fluxus group activity. The using of the cinematographic language for technological innovations of Action art is considered. The ironical realization of assemblage and ready-made became a project basis. The author realized a typological research of the fluxfilms made by artists in the 1960s. The film type which is most reflecting all aspects of a neo dadaist ironical discourse is revealed as a result of the research. The description of all works from this collection relating to this type has been carried out. The conclusions about its role in the formation of multiple are drawn. In the field of research there were Maciunas, Riddle, Watts, Vanderbek, Jones, Andersen, Fayne’s movies representing sign or subject assemblages and ready-mades. On this basis the conclusions about the place of ironical films in typology of fluxfilms are drawn.

The article analyzes the organizational and creative evolution of the Steppenwolf Theatre from a student ensemble to a major regional theatre in the United States. The theatre troupe was created as a team of like-minded people united by a common understanding of the goals and tasks of the theatrical art and involved different specialists striving to create a unified creative ensemble. Its rapid development was accompanied by the disintegration of the permanent troupe, which is a characteristic phenomenon for non-profit theatres in the United States. However, the creative leaders of the Steppenwolf Theatre in different years managed to cope with art crisis phenomena, which were confirmed by numerous awards and rare, for American theatres, tours, including invitation to the National Theatre of Great Britain. The success of the productions increases; the theatre gets wide popularity in the country, goes on foreign tours, and receives the highest professional awards. Thanks to these successes, the theatre community awarded the company, despite serious competition on Broadway in the season 1989–1990, by Tony Award in nominations: Best Performers, Best Director, and Best Play. That was a serious recognition of the significance of the Steppenwolf Theatre and regional theatres in general.

The article is devoted to the problem of the artistic continuum by the example of the art of dance. The artistic time and the artistic space are aesthetic and synergistic conventions, a way of structuring and organizing the artistic world, the main compositional structures of the work. Rhythm, as a way of organizing the time of dance, is its ontological characteristic. The complex fractal architectonics of space and time is the main content of plotless ballets. Considering the features of the architectonics of artistic time in the dance space, one can come to the conclusion that the ancient quality of syncretism of the space-time continuum constitutes the mode of the life of dance as an anthropological phenomenon. The prospect of research in this direction is an analysis of the existence of sacred time and space in national dance cultures and in the genres of classical choreographic art.