The paper recounts the chronology of «The Sleeping Beauty» ballet productions in the Rome Opera, starting from B. Romanov’s production in 1954. It also examines Robert Helpmann’s production (1965), Andre Prokovsky’s production (1978), Paul Chalmer’s production (2002), Jean Guillame Bart’s production (2017) and the productions of the touring companies Sadler’s Wells Ballet (1954) and Ballet National de Marseille (1991).
The aim of the article is to identify the differences in poetics, dramaturgy and style among the various productions, to refer how they were perceived by critics and public, in order to inscribe the history of «Sleeping Beauty» in Rome’s Opera House in the general history of this ballet.

Today the Japanese are known as subtle connoisseurs of European ballet, nevertheless, their interest in Western classical dance started only about a century ago. The article discusses the perception of the activity of Italian choreographer Giovanni Vittorio Rosi in Tokyo in the 1910s, as well as the opinion of the Japanese public of the first Russian ballet tour. Whereas the first visit of Russian artists to Japan in 1916, primarily of a diplomatic nature, went almost unnoticed, the 1922 tour of the famous Russian ballerina Anna Pavlova radically changed the situation: both the public and professional Japanese artists discovered a whole new world of Western dance.
The author suggests that a change in the perception of classical dance in the first quarter of the 20th century is associated with the gradual penetration of ballet into everyday visual images — advertising and printed materials. The article for the first time presents the parallels between the posters of the Mitsukoshi department store, created by the Japanese artist Hisui Sugiura, and the ballet posters and photographs of Anna Pavlova.

The story of the creation of the ballet “The Coast of Hope”, developed by the author of the article in two parts (Theater named after SM Kirov, premiered on June 16, 1959) continues to develop the theme of a unique example of cooperation between the scriptwriter, choreographer, composer and artist.
Describing the complex history of ballet creation, touched upon in the first part of this study, the author reveals the factors of mutual influence and disagreement in the complex system of creative interaction of the authors working on the creation of a synthetic stage genre, including literary story, choreography and music.
The genre of this performance to its creators was not easy to determine. At the first dress rehearsal it was stated: “Ballet in 3 acts”, on the second — “Ballet-poem in 3 acts”. This very substantial clarification emphasized his generalized poetic character. Tribute to the time, was the confrontation of “Our” bank “Alien.” The alien had an address not primitive geographical, but rather moral: it personified violence in general. The theme of “Alien” in ballet developed in the key of isolation, hostility, while the understanding of “Our” acquired a patriotic character. The standoff ended with an unconditional victory of patriotic values. This play, the author of the article believes, has become a kind of aesthetic manifesto of new art and an expression of the value attitudes of its time.

By his fame “The Evening of the Dances of the 18th Century” T.P. Karsavina is obliged primarily to the edition published by “The Stray Dog” for this evening. In this article, on the basis of source analysis of a wide range of documents, the history of this event is clarified, its cultural context and especially the musical component are highlighted, some mistakes made by the authors of memories and publications about it are corrected. The conclusions assess the “ The Evening of the Dances” as a unique phenomenon and at the same time characteristic of the culture of the” Silver age” with its inherent interest in the artistic heritage, including — to early music. Among the illustrations to the article for the first time are published two sketches of the costume by Karsavina by S. Yu. Sudeikin.

The article presents the ideas and results of an experiment on the use of exercises for acting training for social and psychological adaptation of people in difficult life situations, describes the tasks of social theater. The findings are unique: both the psycho-physiological study of the exercises selected for training and their practical application in groups of people with psychotropic substances and in groups of teenagers from orphanages (children left without parental care) showed their effectiveness in solving problems of social and psychological adaptation.

The article analyzes experimental theatre experience of nowadays, based on Adolf Appia’s and Émile Jaques-Dalcroze’s works. The authors of the production are choreographers Avatara Ayuso, Joann San Martin, Amansio Gonzalez, Frederic Flamand, director Robert Wilson, theatre scholar Anghel Martines Roher, architects Maria Jose de Blas, Ruben Picado. The article enlights the conceptions, involving sound, motion and light.

The article is devoted to the early operas of the modern Italian composer Salvatore Sciarrino Aspern and Cailles en sarcophagi. Sciarrino, recognized by right as a classic of the late 20th — early 21st century music, authored by many instrumental works, also created a considerable number of operas that survived many productions and became repertoire. A distinctive feature of the opera work of Sciarrino is that the composer shifts the focus from the external attributes of the action to the area of the inner world of the characters, revealed through a complex sound palette. Shifting the emphasis towards the dominant role of the sound landscape, the composer creates his own special genre of musical theater “invisible performance with music”.

The article is concerned with works by Leningrad painter Solomon Moiseevich Gershov (1906–1989) and Requiem as a recurring theme of his late period. A number of Gershov's artworks of 1960-s — 1980-s are considered as a subjective interpretation of the Passion of Christ iconography. On the basis of established iconographic templates the artist developed his own enduring visual formulae, which in the article are conventionally called “Requiem signs”.

Over the past half century, the art of textiles, as a type of human activity and an artistic genre, has received a significant impetus to development. Textile artists challenged the well-established ideas about the specifics and role of textiles. Today, they use modern materials and digital technologies, they create textile installations and performance, using immersive techniques in the works. The changing role of textiles is due to a number of serious reasons.
The emergence and actualization of new trends in contemporary art has expanded the range of means of expressiveness and turned the idea into an important motivation for a creative experiment. The interaction of textiles with the genres of art in the modern space shows the wide possibilities of the material. Today, artists and designers use traditional techniques. Appeals to the art of lace and embroidery are becoming especially popular. There are several new directions in design, for example: “Yarnbombing”, “Cross Stitch-style” and “New Lace Street Art”.
Numerous examples from the field of conceptual and street art, interior design and furniture, and fine art demonstrate the growing role of textiles in the modern world and make it possible to comprehend the causes of this phenomenon.

The article is devoted to rare and very original dramatic works on religious subjects, created in the first half of the 17th century, and belonging to the tradition of the Italian commedia dell’arte. L’Adamo (1613), La Maddalena (1617) and La Maddalena lasciva e penitente (1652), the religious dramas of Giovanni Battista Andreini (1576–1654), outstanding comedian dell’arte, leader of the company of “Fedeli”, playwright and poet, are considered here. Analyzing the biblical drama Adam, published but not played by the author, reveals the characteristic features of Andreini’s religious drama and its connection with the stage practice of the era. We have presented the experience of theatrical reconstruction of the musical-dramatic “sacred performance” La Maddalena, staged by Andreini with the company of “Fedeli” in 1617 in Mantua, and the late drama La Maddalena lasciva e penitente, staged with the participation of the author in Milan in 1652. In addition, the article reveals the connection of Andreini’s religious dramas with heated debates about the theater of the first half of the 17th century, in which he took an active part as an author of theoretical works in defense of the theater and as a practitioner, defending the right of a woman to play on stage.
Plays of G. B. Andreini ware not translated into Russian and practically not studied in the Russian theatre history. The article is based mainly on the works of Italian specialists of the late 20th — early 21st centuries.

The article presents different kinds, principles and methods of analysis of children’s drawings. Special attention is given to their artistic interpretation. The below properties of drawings are noted: figurative content and artistic expressiveness. The paper considers drawing techniques, graphic forms, compositional features, problems of spatial solutions, semantics (implications) and formal elements of the isographic language. Certain criteria for assessing the artistic features of children’s drawings are proposed.

The article briefly discusses the historical and semantic specificity of two (“social-realistic” 1930–50s and “true” 1960–80s) periods of the native musical postmodern of the XX century.
In the context of critical and spiritual creative tasks of the epoch of the 1960–80s the specificity of the content of A. Terteryan’s symphonies which absorbed traditions of the East and the West is analyzed. For the first time, from the standpoint of intertextuality, the symbolism of the “wave” forms of musical sonorica going back to the ancient roots of oriental culture — decorative and symbolic creativity-is considered. The new approach allows to interpret more correctly the intentions of the symphonies by A. Terteryan.
Native and foreign theories of postmodernism, intertextuality, semiotics which are developed in various forms of art (literature, painting, decorative arts, music) were the theoretical basis of the study.

The Russian Theater of the 1830s — 1840s is considered in this article as the Romantic Actor Theater. At the same time, Romanticism highlights, even protrudes special aspects and properties in the actor’s theater. This is, first of all, the sacred right of the author, in this case the actor, to free artistic creativity and abrupt, neither by the requirements of life-worthiness, nor by the conventional boundaries between the stage and the auditorium, nor by the genre of the play-scenario, is it a limited subjectivity, and sometimes frank the lyricism of the stage creations, and, finally, the secret or overt, but ineradicable “separation” of the creative romantic genius from the momentary fruits of his work.

The article presents the analysis of Andrey Moguchy’s artistic biography from the early beginning of his theatrical activity to the moment when he was invited as a head of the Tovstonogov Bolshoy Drama Theatre. The aim of this research is to identify the basic elements of his directing method. At the center of the research is an aesthetic conflict: the Moguchy, ranked by criticism exclusively as avant-garde art, begins to create performances on the traditional academic stage of the repertory theatre, which is initially perceived as a deviation from the path chosen by him. However, in the course of the analysis of his productions, it turns out that the performative and dramatic principles, equally inherent in the creative method, allow the Director to reveal his individuality both in the project activity and in the drama theatre. Moreover, his performances are fundamentally based on a combination of performative and dramatic elements that creates a theatrical event. The article gives an overview of the critical reviews about the work of the Moguchy; in the analysis of the scenic structures of his productions the methodological approaches of modern performative theories are used.