The article is devoted to the dramatic role of “airs parlants” — (fr. „eloquent“ airs) a special citation technique that became popular in the European ballet scores of the late 18th and early 19th centuries.) Airs parlants (also referred as “proverbes musicaux” (“musical proverbs”)) presented as small fragments (phrases, motifs) of popular arias and other vocal genres melodies (solo or choral episodes of operettas, songs from theatrical productions, folk songs,etc.) included in the musical text of the ballet in order to enhance the narrative function of music, to create a certain dramaturgic effect.
The study of the question of the meaning of “airs parlants” is carried out along the lines of the system-historical and intertextual research method. The semantic and intertextual properties of the airs parlants are considered, their role in initiating compositional interest in the development of polystylistic means of musical expressiveness. A conclusion is drawn about the special artistic significance of this method of citation, which makes it possible to carry out preparatory work consisting in “training” theatrical audience’s musical memory, forming the experience of musical perception in the era of the musical leitmotifs formation.

The article discusses poorly explored period in life of A. Vaganova. It is concerned with the time, when she worked as an Art director of Ballet Company in the State Opera and Ballet Theatre. Into consideration are taken events, which took place before her exit from the Theater: hunt for «enemies of the people» after assassination of Sergei Kirov, social media bulling against Vaganova as an Art Director, meeting of ballet-dancers aimed to criticize her work. For the first time there is published a request-letter of Kirov Theater ballet-dancers, where they ask The Committee for Arts to invite A. Vaganova as a ballet mistress.

The article clarifies the circumstances of the loss of the fourth act in the ballet La Bayadère and the last appearance of La Bayadère as a four acts ballet is established.

Petipa’s Raymonda is considered from the point of view of the Suite construction: opposition, conflict and interaction of the suites of character dance and classical dance, and finally the synthesis of the classical dance vocabulary and the character dance vocabulary. At the same time, the developing role of the ‘classical form’ as another level of metaphoricity of the ballet in question is noted. The question about the features of the libretto of the ballet is raised.

Article is devoted to history of tours and stay in the Far East of dancers of the Leningrad ballet. The unknown materials of the Far East periodical press which have imprinted arrival to Khabarovsk and Vladivostok of mobile ballet collective under the leadership of I. F. Kshesinsky are introduced for scientific use. The ballet collective brings the best samples of the classical ballet and the first Soviet ballet performance “Red Poppy” to the Russian Far East, acquainting with them the Far East public. Withdrawals of the local periodical press imprint stages of the ballet of the period, difficult for art, - the statement of his place in the Soviet theater and the births of the new modern repertoire. The author believes that similar polemic in the press united center and distant suburbs of
the country in uniform cultural space.
The dancers of the Leningrad ensemble, F. Shevlyugin and A. Rogovskaya who have remained in Vladivostok, having opened a ballet class at music school of Vladivostok, promoted formation in the region of professional choreographic education. Their pedagogical activity was based on the leading tendency in a technique of domestic ballet school – communication with a scene in training of the young actor. Activity of dancers in China has coincided with blossoming of school of the domestic ballet in this country. 

The article concerns peculiarities of interpretation of the tragedy Hamlet by W. Shakespeare on the ballet stage of the late 20th – early 21st centuries. The following performances are analyzed: Hamlet by R. Helpmann (Sadler’s Wells Ballet, The New theatre, London, 1942, revival in 1964, Royal Opera House Covent Garden, London), Hamlet by K. Sergeev (S. M. Kirov Academic Leningrad Theatre of Opera and Ballet, 1970), Hamlet. The Prelude by F. Ashton (Royal Opera House Covent Garden, London, 1977), Hamlet by J. Neumeier (Hamburg Ballett, Staatsoper, 1997), Hamlet by R. Poklitaru and D. Donnellan (The Bolshoi theatre, Moscow, 2015).

The performances are divided into three groups depending on the relation to Shakespeare’s play. The main approaches used by choreographers for creation of the scenic interpretations are analyzed. Source study and historiographic analysis of the theme of Hamlet performances are made. The peculiarities of the art form of the productions are determined.
Variety of interpretations of Hamlet on the ballet stage in the late 20th –early 21st centuries is drawn up at the conclusion. The difficulties of a tragedy’s ‘translation’ to the ballet language are revealed. A list of the Russian and foreign ballets based on the tragedy Hamlet is placed in the supplement to the article. 

The article is devoted to the study of the musical style of the composer Akshin Alizade on the example of the ballet Babek. The specificity of expressive means of the ballet lyrics is revealed. The organic unity of the music of the ballet with A. Alizadeh’s style system is proved and the result of the analysis of the lyric scenes of the ballet Babek is proposed.

The article deals with the relationship between tango and cinematography in historical, figurative and dramaturgical ways. The author attempts to suggest a typology of using tango in the cinema, to identify the main media images of tango, and also she comes to conclusion that in the auteur cinema — tango is more often associated with drama or tragedy, and in mass cinematography — with melodrama.

The article is devoted to the problems of modern dance conceptual construct (within the context of the Modern Dance subject matter). It contains a brief review of methodical literature dedicated to modern choreography in Russia. The study has found out some peculiarities of fundamental directions of modern dance. Moreover, this paper has summarized the problems of the Modern Dance subject matter syllabus realization while ballet dancer training. These problems are connected with an ambiguous understanding of modern dance in domestic choreographic pedagogy.

The article reveals the importance of coordination abilities for classical dance. The urgency of the introduction of the concept of „choreographic coordination“ as a unique composition of individual specific coordination abilities, such as the ability to harmonize, to rhythm, to orientation, to arbitrary contraction and relaxation of muscles, to equilibrium and vestibular stability is substantiated. A detailed analysis of the development of coordination abilities in the junior classes of a choreographic educational institution is given, for example, the study of battement tendus. The principles of the development of „choreographic coordination“, laid down in A. Ya. Vaganova. The principle of the specificity of the development of coordination abilities is indicated, which includes the development of the above-mentioned types of coordination in a turning position, and also in combination with music and artistry. The principles of gradual and phased development of specific coordination abilities are described. The principle of combinatoriality is revealed, which means the gradual merging into a single whole of several coordination abilities that are included in the concept of „choreographic coordination“.

The article is devoted to the little-studied period in the creative life of A. Vaganova — The graduate performance, which traditionally took place on the stage of the Educational theater (Teatralnaya street, St. Petersburg, 1897). The author for the first time draws attention to the fact of the first production experience of A. Vaganova, which is documented in the Theater program.

The article is devoted to the study of dance techniques, starting with the first steps of teaching students on the principle from simple to complex. Attention is focused on the development of the Allegro section, as the most important part of the lesson, where the students’ training is clearly visible. The author emphasizes the need for the correct formulation of the body - a pledge of sustainability, which helps the development of vyvorotnosti legs, flexibility and expressiveness of the dance. Assemblé, in turn, is one of the most important jumps for developing leg strength and the jump itself. The study of school starts in the first grade. It is concluded that this jump will help students in the future, it is easier to learn more complex elements of allegro.

The research of mutual impact which arised in the 1960th years videoart and fluxus aesthetics exerted at each other is conducted in this article. Its relations are described through a prism of works of the famous Korean artist Nam June Paik who was at the same time a founder of a videoart as the movement of the western avant-garde and one of active participants of neodadaist experiments, thereby he have connected these two phenomena in the art culture of the West. Contacts of Nam June Paik and famous artists of Fluxus group is the main factor defining the evolution of creative searches of the videoart founder. All leading genres of this art form which had the embodiment in other authors using these media creativity were founded in his works. Special attention is paid to collections of video works by Paik as multiples containing number of works which was the most adequate to art experiments of neodadaism. It is possible to make classification of the genre forms of videoart on the material of artist’s videoworks. These forms differ from each other by the structure of the text, by the representation of the material form, by relations of form to its substantial or subject part of the work, by the subject of the image. Some art forms is allocated on the basis of these specified principles. They were steadily occurring in Paik’s works. These forms are video event, video installation, video performance, video collage, video painting and others. In the last part of article conclusions about the embodiment and the statement of a fluxus aesthetics at different stages of Paik’s creativity by video technologies are drawn. 

The arguable nature of the formation of a new aesthetic paradigm is obvious, though the apparent shift to what is called metamodernism, digimodernism, post-millenial shift is also present concerning theories on literary studies and art criticism. Certain historical events as well as major works on literary criticism and art allowed for the appearance of the term post-modernism, that came in place of modernism and replaced a former paradigm, with new definitions and dimensions given by M. Foucault and his ideas about episteme and sexuality, as well as such object of knowledge as madness, and works by J. Derrida and his views of deconstruction, difference and writing. The interdependence of all the theories is also evident and influential and concerns major research on the history of literature and art.