The article is dedicated to the addresses of M.I. Petipa in St. Petersburg, the circumstances of the choreographer’s creative and family life in the city on the Neva, the influence of the architecture and spirit of St. Petersburg on the work of Petipa. On the basis of all the information available, including archival information, the author enters into scientifc circulation information about the addresses of Petipa’s residence in St. Petersburg, the burial and re-burial of Petipa’s ashes, the installation of tombstones on the Petipa’s tomb, and other Petipa’s memory signs in St. Petersburg.

The article is devoted to the work of A.V. Shiryaev. The article collected, summarized or mentioned numerous memoirs of contemporaries; Fragments from previously unpublished documents of the XIX–XX centuries are quoted, which tell about the creative activity of A.V. Shiryaev — ballet soloist of the MariinskyTheater, teacher of the Leningrad Choreographic School and creator of character dance lessons, one of the frst flm directors and animators of Russia.

The article is devoted to the dance laboratory ‘Gaga for Ballet’ and the integration of the Gaga movement language into the academic dance practice in Russia. The author describes the features of the Gaga technique, the tools used by teachers at the laboratory and analyzes the experience gained by artists in the framework of the technical classes and the repertoire of the Batsheva Dance Company (Israel).

The article is dedicated to the performances of outstanding romantic ballerina Carlotta Grisi in Saint Petersburg. There is no detailed research about her tours in Russian capital yet. Carlotta Grisi arrived at Saint Petersburg in blooming talent, at the age of 31. In three years of performing in Petersburg Grand theatre she performed 12 ballets, 7 of which were premieres. In Petersburg she acted in ballets that were composed for her in Europe (Giselle, La Esmeralda, The War of Women, La Filleule des fées), so that Russian spectators saw the frst performer of famous romantic ballets in her best parts. She enlarged her repertoire by performing main parties of the ballets The Naiad and the Fisherman, Catherine, daughter of robber. Three years in Russia gave Grisi new parts: she became the frst performer of world premieres of the ballets The war of women and Bouquet de Gaselda. Petersburg turned out to be the city of her last triumph. To create this paper such archive materials as work cases, correspondence of clerks of Imperial theatres’ administration, contracts kept in Russian state historical archive were used, the materials of Russian periodical press of the XIX century and ballets’ librettos are updated.

The article reveals the peculiarities of choreographic works of small forms based on «musical incipit», which gives a possibility to identify a dance text without showing the movements. The study of issues of musical and choreographic interaction occurs in line of historical-typological and intertextual research. It is noted that the result was applied with the help of music in the recognition of inserted variations taken from forgotten or not well-known ballet scores. The characteristic features of intertextual interaction are revealed, allowing to point on a particular choreography (or its element) by using a musical text. The features of the functional use of «musical incipit» as model for interpretation and composition are revealed (С. Pugni — L. Minkus, P. Tchaikovsky — N. Cherepnin, F. Burgmüller–A. Krein, S. Prokofev). Identifcation of the properties of intertextual communication allows us to realize more deeply the continuity and richness of the mutual influence of music and art of ballet.

The study of the mechanism of the impact of exercises of actor training remains the most important task of stage pedagogy. Some, even traditional and proven exercises have a visually pronounced psycho-physiological effect. For example, exercises K. S. Stanislavsky, and later Lee Strasberg, associated with affective memory, as well as exercises N. V. Demidov. Applying them, practitioners should know exactly what is happening with the student, they should understand the psycho-physiological support when performing the exercise. The article presents the results of a comparative analysis of the mechanism of action of the exercises by K. S. Stanislavsky and N. V. Demidov. Their similarities and differences are revealed, it is proved that the psycho-physiological mechanism of the exercises of Stanislavsky and Demidov is one. The differences are appeals to the conscious or unconscious. The concept of Stanislavsky, as “affective memory” and the concept of “Demidov etudes” have so far denied each other, although their goals were one and the same — “life on stage”.

The article is devoted to the analysis of the concept of the so-called anthropological theatre of E. Barba, which was formed in the conditions of paradigmatic dominance of anthropology in the European science of the 20th century. A variant of the interpretation of this concept is proposed in terms of its minimally and maximally permissible connections with general anthropology and its most important disciplinary components by ftting the most relevant theoretical and methodological anthropological context to E. Barba’s theatre anthropology. The main conclusions are based on the textual analysis of theatre anthropology program documents (A Dictionary of Theatre Anthropology: The Secret Art of the Performer, The paper canoe. A Guide to Theatre Anthropology) reflecting the specifc understanding of the subject of theatre anthropology by its author-creator E. Barba.

The problems of representing images of ballet in the space of Soviet everyday culture are in the focus of the paper. The material for the analysis of the article is the porcelain fgurines «Ballerina the Stork» and «Ballerina the Cat» made by sculptor Michael Avakovichem Intizaryan (1910–1992). The fgurines were made in the art laboratory of the Dmitrov Porcelain Factory (Verbilki) and produced in the 1950s. The problem of appropriating the images of children’s ballet in the art of small plastic arts is an interesting section of cultural studies. The characteristics of the three traditions of representing images of Soviet ballet in porcelain are presented in the article. The frst is the creation of works representing the world of ballet as a whole. The second is the creation of images of famous ballerinas performing ballet parties. The third is the interest in images of ballets on the stages of Soviet theaters without creating portrait images of dancers.

The image of a ballerina in Russian cinema becomes a mirror of the changes taking place in society. The author chooses a ballerina as an object of study as the most relevant artistic image in the spiritual life of Russia. This is due to the fact that ballet itself as art turns out to be closely connected with many cultural, social and political processes that take place in Russian society, throughout the existence of not only cinema, but also the ballet itself. In different periods of cinema, oppositional semantic connotations were hidden behind this feminine image — from dubious, from the point of view of patriarchal morality, reputation to a fgure of national importance. The author declares the task and proves that in perestroika cinematograph ballet dancer takes over and successfully implements the role of director, reforming the Soviet art, which has lost its urgency and relevance.

The article is devoted to original phenomenon of modern Chinese piano culture — the emergence of modern complexes-clusters decorated resort areas of the country, where there is opportunity in the best creative environment deal with the promotion of piano performance and pedagogy, linking them with both the educational development of the network, and with the expansion of tourism activities. This process has various versions, implementing in today’s China, including the one that exists in Gulangyu. Introducing the Russian reader with the different sides of Gulanguy’s piano “life”, the article puts the issue of synthesis of various ontological forms of piano music in the dynamics of its multi-dimensional structural and systemic evolution relevant for contemporary art in general — and piano, in particular. 

The article is devoted to the study of the place of choral works in the heritage of Luigi Dallapiccola (1904–1975). The author presents an overview of the aesthetic and compositional-technical features of the main choral opuses of the Italian composer. Based on the study of literary preferences of Dallapiccola there are three main thematic lines: social and political, humorous and household and religious ethics, the frst of which is associated with the current themes of the Italian vocal music of the 1940–1960s, represented by the names L. Nono and B. Maderna and the L. Dallapiccola. Special attention is paid to the characteristics of pitch, texture and timbre of the works, the analysis of which allows to draw conclusions about the evolution of choral writing of the early neomodal experiences of Dallapiccola to complex serial organization of his mature works.

The article is devoted to the manifestation of Gnostic topos in the culture of German Romanticism, in particular, in the theory and artistic practice of the Jena Romantics, who formed a mystical understanding of art, which gave rise to a reverence for the artist-creator, the savior poet, who was called upon to spiritualize the imperfect and bring the Kingdom of God into the earthly existence. The Gnostic topos was formed as a result of the adoption of the ideas and images of Gnosticism by the European culture. They continued to exist within European, in particular, German culture and, in the process of assimilating individual creative consciousness, actualized the meaning that resonated with the ideological concept of a particular cultural era. Rethinking the Gnostic topoi in the works of the German romantics was expressed in a special teaching about the heroic, the idea of falling away from the world, which acquired the social and moral meaning of the material and spiritual opposition, in the hierarchy of self-sufcient worlds between God and man built through individualized knowledge-revelation (gnosis). The reflection of the Gnostic topos in the works of Novalis is considered in detail.

The focus of the study is the history of the relationship of A. von Henselt (1814–1889), the famous German pianist, composer and teacher who worked in St. Petersburg for ffty years, with the Grand Duke P. G. Oldenburgsky, one of the most famous students of the maestro and with Baron M. Wrangel. The documents preserved in the Department of Manuscripts of the National Library of Russia are analyzed. The initial assignments for harmony and piano, given by Henselt to the Grand Duke, are considered. The story of A. von Henselt’s collaboration with P. Oldenburg on the opera “Cathen from Heilbronn” by G. von Kleist’s play is being restored.

The paper formulates the major principles of the school of theater studies founded in the beginning of the 20th century by Max Herrmann and developed by his followers. Besides, the evolution of theater criticism beginning with the 19th century is characterized. The current status of the Russian criticism is defned as a crisis and ways of overcoming the crisis are outlined. In the light of evolving blogger criticism, Victor Vilisov’s book We all feel sick. How the theater became modern, and we did not notice it is analyzed.

The article is devoted to the performing art of the outstanding conductor of our time — Yuri Khatuyevich Temirkanov. Briefly tracing the artist’s career, the author, using examples from Temirkanov’s address over the years to the performance of Tchaikovsky’s Fifth Symphony and Mahler’s Fifth Symphony, traces the depth of the conductor’s decisions, analyzes the conductor’s technique and artistic interpretation of musical images embedded in the works of great composers, draws relevant parallels and analogies with dramatic art.