Editorial Board.

The article looks into the events that took place in St. Petersburg and Moscow in 2018 and were devoted to Marius Petipa jubilee. The article provides the review of exhibitions in leading museums and archives and information about the fundamental encyclopedic edition “Petipa. La Dansomanie”, magazine published by the St. Petersburg Museum of Theater and Musical Art, pays close attention to the International Scientific Conference in Moscow held in June 2018.

The article is devoted to the ballet Mankurt by K. Moldobasanov based on the novel Burannyi polustanok (Snowstorm station) by Chingiz Aitmatov. A detailed analysis of the play, staged at the Kyrgyz National Academic opera and ballet theatre named after A. Maldybaev. The author pays special attention to the personality of the writer, the close connection of the musical theater with fiction, music and choreography.

The article gives an overview of the artistic direction of the Staatsballett Berlin by Nacho Duato for the period of the 2014-2018 years. On the basis of reviews and articles of the German press, programs, as well as video fragments of performances, photographs and images of scenography and costumes, was given an analysis of four ballets (“Static Time”, “Castrati”, “Herrumbre”, “Erde”) related to a common social theme. Were identified problems and reasons for the rejection of productions and artistic direction of Nacho Duato by German dance critics.

Studying of traditions of national choreography, its original forms is among topical issues as in the last decades many videos which are not introduced for scientific use and to the practicing were made. Especially it concerns heritage of the brightest rural performers of dancing. In article style features of traditional men’s solo dancing of Cherepovets musical and choreographic tradition on the example of Gennady Nikolaevich Kopyltsov’s heritage are defined. On the basis of comments of the performer the context of existing of solo men’s choreography is presented, the principles of development of dancing in national culture are noted. The submitted data are compared with earlier ethnographic descriptions. The analysis of forwarding materials and records of ethnographic concerts revealed composition of solo dancing, features of a lexicon of dancing of the performer.

The article concerns the ballet “Hamlet” by A. Fadeechev, staged at the Rostov State Musical theatre in 2008. The conception of the choreographer, as well as a structure, stylistic facilities, choreographic language of the performance are revealed; the musical score is also analyzed. The ballet is considered in the context of other choreographic interpretations of “Hamlet” on the Russian stage in the 21st century.

The article is devoted to the musical and choreographic line of the work of the outstanding Russian composer, the head of the Leningrad school Vladimir Shcherbachev. His contacts with the theatrical and choreographic world are indicated, the composer’s idea of the ballet genre is revealed. Scherbachev’s work embodies the original, synthetic interaction of music, dance, color and light – Nonet for string Quartet, piano, flute, harp, female voice and plastic parts.

The article is devoted to the analysis of musical-dramaturgic structure of the musical “Master and Margarita”, created in St. Petersburg in 2014 by the production company “MakersLab” and the theater Music hall. The music for the show was created by Commonwealth composers, including A. Tanonov, S. Rubalskij, I. Lyubimskaya, O. Thomaz, O. Popkov and A. Maev. The format of the light genre did not prevent the creation of a strictly calibrated musical-dramaturgic system, which is based on the leitmotives and thematic arches, at the intonation level interpreting the complex content of the novel by M. Bulgakov. Petersburg musical “Master and Margarita” can be attributed to the genre variety of musical-opera, characteristic of the European branch of the musical, formed in the last third of the twentieth century and genetically related to the work of E. Lloyd Webber. The reliance on the traditions and achievements of european opera art and the original refraction and development of these traditions is a fundamental feature of the musical analyzed in the article.

The article is devoted to the biography of the Saint-Petersburg Imperial theatre conductor and composer Riccardo Drigo. The author is considering the conditions of creating him original ballet music and making the new versions of works by other composers. The important intention of the article is to characterize the multidimensional activity of Italian maestro in the Russian musical theatre at the turn of the 19th and 20th centuries. There are also a number of facts of his life that were never explored by Russian art history before. Their studying is based on the archive materials and periodicals.

In the predominance of the non-profit theatrical sector on the manysided “theatre map” of Russia, it is useful to analyze the experience of producing theatrical projects in the United States on the example of a large repertory theatre - the American Conservatory Theatre (ACT), one of the iconic and vibrant theatrical “pillars” of the American regional stage. The theatre was founded in 1965 by William Ball, an outstanding American figure in the theatrical sphere, and was initially created as “artistic, creative, fruitful cooperation, free from the financial pressure”. At that time, Boll’s idea of creating a theatre with a permanent troupe, repertoire planning, and at the same time opening a conservatory, a higher theatre school at the theatre, was innovative for America. William Boll’s idea to create a theatre where a permanent troupe would work with its repertoire and, at the same time, with the activity of a higher theatrical school, was unique for the United States of America of the second half of the twentieth century. Even in the most difficult times, ACT managed to preserve its teaching and conservatory practice, preserve traditions and continue to graduate its students.

The article talks about the importance of coordination in the study of ballet. The author offers a series of exercises for the development of coordination abilities. These exercises are based on classical dance and on a number of developments of coordination created by practitioners and theorists from the world of sport. Exercises on balance and stability, on the ability to relax, on the feeling of rhythm, on rebuilding, orientation and coordination of movements.

The article discusses the methodological aspects of the first lesson of duet-classical dance in a vocational school. The first year of training in duet-classical dance is very important in that during this period the foundations are laid for the correct execution of supports by both students and students. The author pays special attention to the goal and objectives of the first lesson: what students need to say, how to correctly introduce them into knowledge and the process of mastering the technique of duet dance.

The article is devoted to the peculiarities of the special musical terminology in the German epistolary text of the 18th century, in particular, in the letters of Wolfgang Amadeus Mozart. Using the example of the use of polyphonic terms, namely the term “fugue”, the context of mentioning this musical form and its interpretation in the letters of Mozart is analyzed. The composer’s epistolary material indicates that Wolfgang Amadeus’s interest in fugue did not arise in early life in Vienna (familiarity with the fugues of JS Bach and GF Handel at the meetings of Baron van Swieten), but much earlier. The term “fugue” and the associated vocabulary are interpreted in these epistolary texts unambiguously and do not cause discrepancies in the translation.

This paper analyzes the articles and reviews from the magazine “Soviet music” for 1933 – 1939, devoted to the piano performing arts. The process of formation of the concept of “Soviet performing style” is traced, its ideological background is revealed.

This article seeks to estimate the applicability of Roland Barthes’ theory of the text conceptualization in his S/Z to academic musical performance. Functional similarities between the literary and musical languages, as well as the pivotal role of reading and interpretation in both cases endorse the use of analytic tools from literary studies towards the music scores. As a result the proposed practice opens up new opportunities in interpretation of musical works.

The article is devoted to the intercommunion and mutual influence of two outstanding representatives of the XX century — Umberto Eco and Luciano Berio. Through these interactions, the author argues about broader forms of cooperation between music and literature in the historical context of the period under consideration. The parallels are built around the concepts of poetics, language, text, music, form (structure), as well as more specific aspects, such as citation.

The aim of the article is to analyze the novel Ada or Ardour, a Family Chronicle by V. Nabokov through the prism of transgenerational trauma framework which is a very general kind of trauma characteristic of the literary works of many writers as well as the one that bears a lot of collective features, common for different historical periods. The assumption is that Ada or Ardour, a Family Chronicle has a lot of motives reminiscent of the Biblical stories. The introduction of symbolic language, the play of different space and time subsystems aim at creating a history of the world in miniature, which is very common for post-modern narrative, yet one of the features of the analysis is to consider the novel construction through psychoanalytical framework, an attempt that clashes with the common statement of the author who was notorious for denying the works written by Freud.