Petipa's La Bayadère is considered in the context of the style of historicism that reigned in the Russian artistic practice of the middle and end of the 19th century. It is emphasized that La Bayadère has the features of romanticism, but the style of this ballet is not limited to them. It is also emphasized that the stylistic characteristics of La Bayadère, clearly corresponding to historicism, can be extrapolated to all the works of Petipa, starting with The Pharaoh's Daughter. For Petipa’s ballet theatre the author offers the stylistic definition “the
polystylistics”.

The article is devoted to the cooperation of the Petersburg choreographers and ballet soloists with Italian ballet companies (Rome and Naples) in the beginning of the 21st century. The initial staging of Raymonda of A. Glazunov — M. Petipa carried out according to ‘Harvard records’ Sergei Vikharev (2011). Vyacheslav Khomyakov proposed his edition of the old Corsaire and the resumption of Egyptian Nights of A. Arensky - M. Fokin (2008 and 2009).

Article is devoted to the second period of creativity in Russia of the famous ballet composer of the second half of the 19th century Ludwig Minkus. The main works written in cooperation with Marius Petipa to this initial five-year stage of stay of Minkus in his new position of the regular composer of the ballet of Imperial theaters are considered. On the basis of archival materials and articles of the periodical press the main works by the composer are restored in a chronological order. Musical material of dances from his unpublished ballets is analysed.

The official birthday of the Mikhailovsky Ballet Company in St. Petersburg coincides with the date of the first ballet premiere on 6 June 1933, ‘Harlequinade’ staged by Fyodor Lopukhov. However, the years preceding the first ballet production deserve separate study. Papers of Alexander Chekrygin from the archive of the Mikhailovsky Theatre, published here for the first time, shed light on the first attempts to create an independent ballet troupe of the theatre six years before its official foundation.

The article is devoted to the analysis of the Leningrad Symphony — a unique performance that was not similar to anything in the production of I. D. Belsky to the music of D. D. Shostakovich. This performance takes a special place in the history of the national and world ballet. A musical and choreographic analysis of the work was conducted. From the study, the author concludes that the performance The Leningrad Symphony became the prototype of the structural model of dance symphony.

This article is devoted to contemplation of the architectonic features of the space of the Pärt’s music, in particular symmetry, in the ballets of Christopher Wheeldon and their embodiment in the multilevel structure of the play. The well-known expression of Aimert, addressed to the music of Anton Webern, ‘lyric geometry’ is also relevant for the work of Arvo Pärt, which is also based on mathematical proportions, geometric proportionality and numerical harmony. In the plastic interpretations of Pärt’s music, choreographers often turn to the idea of ‘lyric geometry’, projecting the symmetry of the musical material into a choreographic text. In this article, Christopher Wheeldon’s three ballets are analyzed: Liturgy, After the Rain and Misericordes, primarily from the point of view of the choreographer’s work with musical structures. Christopher Wheeldon, continuing the tradition of ballet, laid by George Balanchine, like his predecessor, relates the structural and choreographic language to the composition of the music. The principle of geometric mastering of the performance space in its structural correlation with the music of Arvo Pärt transforms Wheeldon’s ballets into a visual embodiment of the musical text.

Introduction. Under the influence of scientific and philosophical thought of the twentieth century there were radical changes in the field of painting, musical and choreographic art and literature. In the 1950th years the chance music has developed in music, however aleatoric concepts or close to it have arisen long before music in architecture, painting, literature and choreography.

Methodsand methodology of a research include the analysis of theoretical, historical scientific material, synthesis of information from primary sources (the statements of artists on the topic), and the analysis of the art works from the point of view of the controlled and aleatoric organization of the work. 

Conclusion. Perhaps, Cunningham's experiments will remain experiments only, however influence of this largest modern dancer and choreographer (who integrated the leading art tendencies of the twentieth century) on the creativity of world art is so strong that his ideas, undoubtedly, will gain further development in the culture of the twenty first century.

The article is dedicated to the one-act ballet by K.Ya. Goleizovsky Listiana, created for the Leningrad Choreographic School named after A.Ya.Vaganova in 1958. In this article, the author of the article — the participant of the production — tells about the peculiarities of the choreography of this unique ballet, about the methods of work of the outstanding master with pupils of the school.

Three reviews are devoted to events of different significance connected with the name of the great Petipa. This tour in St. Petersburg Maritime Branch Maritime Theater, which showed the premiere of The Sleeping Beauty; the grand opening of the XV anniversary competition of ballet dancers “Arabesque” in Perm and Swan Lake of the St. Petersburg Tchaikovsky Ballet Theater on the Alexandrinsky stage in the new status of the ballet and music programs of the oldest Russian theater.

The article is devoted to the one page of the pedagogical activity of Adolf von Henselt (1814–1889), the famous German pianist, composer and teacher, who worked in Petersburg for 50 years. The material is the documents preserved in the Handwriting Department of the National Library of Russia. An attempt is made to restore the biographies of one of the students of Henselt, pianist Y. L. Gruenberg-Tyurina.

The article (review) is devoted to the fundamental collective research in three volumes — “The fates of the Russian spiritual tradition in the domestic literature and art of the 20th century – the beginning of the 21st century. 1917-2017”, carried out on the basis of the conceptual design of the St. Petersburg philosopher Alexander L. Kazin. The author turns to the comprehension of the contents of the second volume and the first book of the third volume, created in a metaphysical research paradigm, opposing positivism in the humanitarian sciences. The considered works have their subject the spiritual essence of the studied artistic phenomena in the field of literature, music, fine arts, theater, and cinema. The presented literature and art history materials are analyzed, revealing to the modern consciousness the problem of continuity with the Christian tradition in the Soviet era of 1934-1991, the effective strength and depth of Russian national spirituality.

The Introduction provides the context of the origin and development of theoretical and practical aspects of theatre anthropology. Acting trainings by a contemporary Polish director T. Rodowicz and the structure of the play “the Bacchae” (2012) by the Chorea Theatre (Lodz) are investigated on the basis of cultural anthropology and comparative analysis methods. The specific character of plastic expressiveness in theatre anthropology is addressed on the basis of theory and practice of Jerzy Grotowski and theatrical experiments of the Centre for Theatre Practices, Gardzienice. The stage image in theatre anthropology is created through reconstructions of the syncretic pattern of an actor’s existence. An integrated body of dancing, singing, word and motion is created on the ground of work with the ancient drama and philosophy, basing on reconstruction of ancient singing and dancing. The Conclusion focuses on a unique approach to the training in the course of putting up a play in theatre anthropology, based on combination of archetypal cultural signs of different epochs and an actor’s personal experience.

In the article there is an exploration of interactive sound installation as a fine art phenomenon. It is stated that this kind of art has special possibilities in communication with an observer-listener in the area of variability and probability. We suggest to call it “the real aleatory”. Aspects of composition of interactive sound installation and its differences from music composition are observed. We talk about examples of sound installations that were made in collaboration with the author of this article. The compositional structure of their sound and technical details of its realization are shown in their connection with the whole work.

Сlassical guitar in the instrumental ensemble in the Russian vocal and instrumental cycle of the second half of the 20th century on the example of the Mirror Suite by Andrei Volkonsky is discussed in the article. Сoncept of the Suite, musical features, musical language, features of the style, the orchestral features of the piece are in the center of attention. We determined that the concept of the piece is based on the idea of mirror. This idea specifies the composition of the piece, influences the composer’s choice of the means of expression, instruments, and the form of the Suite.