The article considers two main soviet productions of the Petipa– Glazunov’s Raymonda: by Konstantin Sergeyev and by Yuri Grigorovich. The author presents their comparative analysis, concludes that the version by K. Sergeyev is much closer to the idea of Petipa than the production by Grigorovich. The author also provides information about the events of 1993, which have been as a result the putting both Raymonda’s productions to the Mariinsky Theatre repertoire at the same time.

The article presents an overview of the artistic merits and expressive means of the Petipa Ballet Theater. The lessons of choreographic mastery taught by the master retain their unconditional value and are capable of serving the professional development of young choreographers of every next generation.

The article is devoted to the history of the creation of the ballet The Coast of Hope (Theater named after S. M. Kirov, premiered on June 16, 1959). This ballet fnally defned the border, the transition of the Soviet ballet to a new aesthetic quality after the end of the choreodramatic stage. The choreographer Belsky created the play as a generalized symbolic canvas. The libretto was based on the story of a random fellow traveler, a sailor, overheard at night in a train interpreted by Yu. Slonimsky, and the ballet music was written by composer A. Petrov. Describing the complex history of creating ballet, the author explains the difcult system of creative interaction in the creation of a synthetic stage genre, which includes a literary story, choreography and music.

The article is devoted to the problem of authorship of the libretto for the ballet La Bayadère, (1877). In all ballet sources, including encyclopedic editions, experts call S. N. Khudekov as the librettist of the La Bayadère. His contemporaries, people from his circle and the world of ballet (Plescheev, Skalkovsky, Vazem, and others) were convinced of Khudekov’s authorship. However, an appeal to theatrical printed materials accompanying the premiere of La Bayadère shows that Khudekov’s name is not mentioned in any capacity. Investigating this paradox, the author of the article offers his evidence of the identity of the unsigned Russian ballet libretto to Khudekov’s hand.

The article analyzes the work of street artists of Russia, Ukraine, Australia, Brazil, Norway and France. It is determined that the theme of ballet in urban art is in demand by artists who create objects of both street art and public art; it is more represented by murals, less by sculpture, single-city performances; it is revealed by a variety of styles; reflects the postmodern duality of perception of this type of art in society. The theme of ballet in urban art is valuable due to the variety of possibilities for interpretation, the search for stylistics and artistic expressiveness, the individual disclosure of the theme by different street artists, whose works popularize ballet art and increase the force of its influence.

The article deals with works related to choreography (with the exception of choreographic scenes in operas) of the contemporary English composer John Tavener (1944–2013), the history of their creation, the composer’s co-creation with choreographers and other participants of productions. Particular attention is paid to the history of the composer’s joint work with choreographer Wayne McGregor on the work Layla (Amu); the instrumental concert of Tavener The Protecting Veil and the corresponding choreography by David Bintley. The method of classifcation of Tavener’s choreographic works is outlined, assumptions concerning prospects of the composer’s music embodiment in choreography are made.

The article is devoted to the interpretation of the dance theme in the work of the famous French artist E. Degas (1834–1917) against the backdrop of the development of the Paris Opera’s ballet theater, which introduces new forms of dialogue and communication into the sphere of interaction of related arts. It is shown that the artist’s works, in spite of the general theme, solve various creative tasks that lie in the sphere of the Impressionist image method. In addition, they form an artistic consciousness that requires creativity, which develops search thinking in the image of the behind-the-scenes life of dancers. Based on the study of a number of works in museum collections, the author formulates the main dynamic characteristics of the created artistic images of the ballet and their unique identity.

The article discusses trends in the renewal of art, clearly manifested in the American and Western European musical theater in the second half of the 20th and early 21st centuries. The author argues that all the diversity choreographic works in Postmodern Dance is based on common aesthetic principles, the formation of which took place under the direct influence of the American avant-garde ideology and experimentalism, which was vividly expressed in the works of composers of the New York school and then found its embodiment in the works of choreographers. This article presents an integrated approach to combining both as studying choreographic and musical texts and a study of the sociocultural situation. The author characterizes the artistic and aesthetic platform of choreographic performance, analyzes the concept of movement and the organizing principle an integral composition. On the basis of analytical conclusions, the author outlines a line of continuity and stretches the connecting threads between seemingly different works of American (M. Cunningham, T. Brown, I. Rainer) and European (A. T. Keersmaker, P. Bausch, S. Waltz) choreographers.

The article raises the problem of creating a ballet in collaboration with the choreographer and composer. Different points of view are contrasted on the creative process of creating ballet. The article analyzes the representations of various choreographers about interaction with composers; creative tandems are given as examples: Stravinsky — Nizhinsky, Stravinsky — Balanchine, Graham — Copland, Bernstein — Robbins and Cage — Cunningham. Two diametrically opposed targets for musical creativity from the perspective of a composer are the creation of music for ballet and music, which hypothetically could become the basis of a choreographic work.

The article deals with the rare experience of the production of the modern ballet “Orr and Ora”, based on the story of our contemporary Vyacheslav Zarenkov, which has just been published. The team of authors connected the St. Petersburg specialists with the troupe of the Bolshoi Theater of Belarus. Analyzing the performance, the author shows what changes, dictated by the specifcs of the ballet art, were made in the literary text by the screenwriter and choreographer Alexandra Tikhomirova. The features of musical and choreographic dramaturgy, plastic solutions of key scenes, set design are noted.

The article arises the actual problems of the theatrical interpretation of classical dramatic texts, the issues of intercultural relations in the contemporary theatrical process, analyzes critical polemics around the production of Chekhov’s Seagull in the Alexandrinsky theatre, directed by the outstanding Polish artist Christian Lupa in 2007. The analysis allows to reveal the mechanisms of creative transformation of Chekhov’s play in the context of modern existential concepts.

The article presents the strategy and methods of research in the laboratory of psychophysiology of performing arts in St. Petersburg Theatre arts Academy (Institute of Performing arts). It focus on the actor's creativity during the educational process in high theatre school.

In this article based on the ballet performances — the masterpieces of Russian ballet theatre — La Bayadere by L. Minkus and Sleeping beauty by P. I. Tchaikovsky, the necessity of classical heritage study of previous ballet performances for choreographers and ballet-editors is proved. Great attention is given to the production history of these two performances. Deep professional analysis is carried out for the separate fragments choreographic material. This article is oriented to help understanding of delicate and important for modern ballet repertoire work as choreographer editing.

Today, economic, political and cultural basics are integrated. This article investigates the changes, happening in the modern society, artistic culture of Russia, and in this regard, the place of the higher professional education in modern Russian society is under question. The appearance of mass music styles and genres changes not only the artistic culture of modern Russia, but also the approaches and forms of the modern music professional education.

The article is devoted to the choral compositions of Mauricio Kagel created by the composer in the 1960th years. The author reveals the main themes of these compositions which have remained throughout all choral works of the composer. Formulation of relations between works by Xenakis and ancient art, theater of medieval Japan which traditions served Xenakis as a reference point in the process of reconstruction of musical traditions of ancient theater became result of the analysis of dramaturgic functions of chorus. Together with it an author analyzes a problem of word and music, specifics of the musical texture, vocal timbres and reveals influence of the choral works by contemporaries of the composer, and also individual methods of Xenakis’s choral composition. Special attention is paid to the famous vocal work “Nuits” which has been one of the most known examples of “phoneme” composition — the new direction in choral art of 1960 — the 1970th years.

The clause is devoted to one of bright representatives of the Soviet musical culture 30–60-х years of the last century, to the author of music to more than 40 flms, many of which are popular and presently. The basic attention is given its favorite child — to an opera Thunder-storm, its performing destiny, the basic dramaturgic principles.

The article is devoted to the schools of historical musicology at the St. Petersburg-Leningrad Conservatory, their founders and leading representatives. A tradition of study of the French composers’ music by teachers of the Conservatory is also investigated.

This article is devoted to the artwork of Vsevolod Meyerhold on two plays by Alexander Ostrovsky — Proftable place (1923) and The Forest (1924). A comparison of these two productions is presented in the mirror of the critical reviews of the 1920s and reveals the process of changing the aesthetic paradigm in the Russian theatre art of the post-revolutionary epoch.

In the focus on this article are the main trends of Russian acting art in last second half of the 19th century. On the example of art work of the giants of Moscow Maly theatre — Glikeria Fedotova, Maria Ermolova, Alexander Lensky, and masters of the Alexandrinsky stage — Maria Savina, Konstantin Varlamov and Vladimir Davydov — is analyzed the development of theatre realism: from defnite models of role to the reproduction of individual features of personality and human psychological life.

The article focuses on the analysis of two treatises by the outstanding dancing master Gottfried Taubert (1670–1746) found at the National Li brary of Russia: a manuscript «Kurtzer Entwurff von der Zuläβigkeit des sowol natürlichen als künstlichen Tantz-Exercitii… von Gottfried Taubert, Hoch-Fürstl. Anhaltischen Hof- und privilegirten Tantzmeister in Zerbst» and an original print of «Kurtzer Entwurff der Nutzbarkeit des künstlichen Tantz-EXERCITII: …verfasset von GOTTFRIED TAUBERT Maitre de Dance in Zerbst» having been considered as lost. The discovered treatises help to specify our knowledge of the late period of Taubert’s activity as a dancing master in Zerbst and other facts of his biography. Study of the manuscript as well as analysis of handwriting and corrections in it give evidence to conclude that this source is the sole known autograph of Taubert. The comparative sources’ and text-critical research reveals connection of the newly found treatises with his other works «Kurtzer Entwurff…» (Danzig, 1706) and «Rechtschaffener Tantzmeister…» (Leipzig, 1717).