The article is devoted to the consideration of various aspects of the musical activities of the outstanding choreographers of the 19th century — performing, composing, editing, musical management, etc. The study and analysis of the features of musical creativity is carried out in line with the historical, historical-typological and intertextual research methods.

Not well known facts concerning the performing and compositional work of masters of ballet art are covered. The characteristic features of the methods of music selection and creation of author’s musical compositions, techniques of musical and editorial work are revealed. The specific features of the process of musical interaction between the choreographer and the composer in the joint work on the creation of a ballet score are revealed. The role and significance of the choreographers’ musical activity in the composition of the image of the ballet performance, the development of its musical dramaturgy is investigated.

The article reconstructs the story of the creative interaction of two famous figures of American art culture artist Robert Rauschenberg and dancer Paul Taylor who were involved in the establishment of postmodern dance inAmericain the 1940-1960s. The facts are stated, motivation is investigated, worldview positions are compared, cases of coincidence and mismatch of the goals and tasks of creativity, solved by Rauschenberg and Taylor together and separately, are described. The main projects (theater and dance performances) implemented jointly are listed; the characteristic of the most significant results of the co-creation of Rauschenberg withTayloris given.

The article analyzes the scenography of the ballet performances by S. Yunovich (1910-1996), created on the Soviet stage in the late 1960s and 1970s. The research considers the typology of theatrical scenery art by Yunovich through the concept of the stage image of the scene.

The author comes to the conclusion that Yunovich preferred to use the type of ballet scenography, representing a generalized scene (fairy tale in the classical ballets The Sleeping Beauty and Corsair; a single plastic installation with the archetypal image of the road in the ballet Hamlet); conditional scene in miniatures of L. Jacobson; game scenography in a play based on the forms of folklore (The Snow Maiden).

The provincial theater began to play a special role in the representation of power during the reign of Catherine the Great. The provincial reform of 1770-1780 created many vicegerencies throughout theterritory of Russia. The celebrations for the open vicegerency for some provinces intensified theatrical resources available, and to other provinces they became the reason for the emergence of theater. The theater in the province was a translator of educational ideas and cultural values, and the performances were of an actual and programmatic character. The theater was the most important space for the formation of the social life of the city. The theater was part of a complex of administrative buildings that demonstrated the new status of the city and repeated in a folded form the capital’s ensembles. The widespread construction of theater buildings has become an important stage in the creation of a regular architectural image of the province at the end of the 18th century.

The article discusses the image of Salome, that was implemented in the works of Ida Rubinstein, Alexander Glazunov, Mikhail Fokin, Florent Schmitt, Boris Romanov, Richard Strauss, Kasian Goleizovsky and others. At the beginning of the twentieth century, Salome is treated as an image of an incredibly beautiful and seductive dancer, as a symbol of the fatal woman of the new era, that attracts various theater masters with the opportunity to embody it with new choreographic, musical and stage means.

The questions of classical heritage place and role in the contemporary education of future specialists in choreography are discussed in this article. Based on two classical ballet performances, different in size, stile and genre, there is given a conception of character heritage importance in the choreographic education and necessity for its comprehensive study. Special attention is paid to the discussion of choreographer main problems during staging, ways for their realization, based on deep analysis of literature and musical materials for planning production. Based upon concrete examples there are shown and analyzed the subtleties of working with choreographic heritage of prominent distant choreographers.

In the life of every professional ballerina, there comes a moment when the dance career ends, and leaving the big stage is becoming a life-changing moment. However, another way opens up, no less significant and responsible the transition to a new direction of choreographic creative work the teaching and training of the next generation of ballet dancers. A striking example of such skill is the ballet art of N. L. Semizorova.

Prima Ballerina brilliant artistic career of the Bolshoi Theater was replaced by highly professional teaching activity. Today, the National Artist of theRussian Federation, Professor of the Choreography faculty N. L. Semizorova is one of the leading experts in the teaching of classical dance at the GITIS choreographer department and a theater teacher-tutor of the Bolshoi Theater. The pedagogical method of N. L. Semizorov was formed over many years of teaching and stage work. Training sessions of N. L. Semizorova are a model of methodical literacy and pedagogical skills. N. L. Semizorovа continues and develops the traditions of the Russian classical school, while maintaining the continuity of its great mentors G. S. Ulanova and M. T. Semenova.

The author of the article (student of N. L. Semizorova) has presented several illustrative fragments of the lesson, described the educational process in general and in particular, reflected the views of N. L. Semizorova on the learning process of young professionals and modern ballet.

The article is devoted to endeavor of the outstanding musicologist Boris Asafiev in the sphere of ballet studies. A hypothesis that Asafiev became a founder of a new research field in Russian musicology, which one can call “ballet music studies”, is proposed: in his works ballet music was for the first time comprehended as a distinct genre invested with a high esthetic value that made it a worthy subject of musicological analysis. In this essay, Asafiev’s research strategy is consistently reconstructed; it is discovered how his theoretical conceptions of “symphonysm” and “intonational vocabulary of epoch” fostered his re-estimation of composers’ ballet inheritance. The proposed survey is fulfilled with the use of biographic and institutional analysis.

The article is devoted to the staging of the opera of the contemporary Italian composer Luca Francesconi “Quartet”. The opera has been performed more than fifty times since the premiere; it was performed in six different fulllength productions, including concert performances. In 2014, after the Italian version ofLa Scala, the opera was again staged by director Henry Fuljames on the stage of the Covent Garden Theater inLondon. Analyzing the structure of the opera, the author comes to the conclusion that the concept is based on the poly-spatial principle. Francesconi divides the orchestra into two parts, placing the chamber orchestra in the orchestra pit, while the other part, the virtual orchestra, is invisible to the viewer and is heard next to the choir with electronic amplification. The effect of a combination of various theatrical, musical and virtual spaces becomes a kind of existential illusion in which the audience suspects that someone is watching them from a larger space.

Films and television films created by Zakharov are an integral part of his work, but the director’s screen work is given very little attention in books written by himself; Zakharov’s films were ignored by researchers. The author of the article already touched on the problems of structuring action according to the laws of music. This article is generalizing and purely theoretical in nature and is devoted to one of the most important components of Zakharov’s on-screen poetry the musical principles of composition. The research methodology is based on the methods of the formal school of literary studies and theater science methods by A. A. Gvozdeva. Zakharov’s screen works are an object, and the musical principles of composition, which form the basis of the structure of Zakharov’s films, are the subject of research. The source base of the study is the statements of the authors, scripts of screen works, review materials and particularly Zakharov’s films. We consider such options based on the musical arrangement of the structure of the action, such as a musical revue, musical, motif-thematic design, directorial counterpoint, etc.

The article studies forms and ways of musical performance presentation. The author substantiates the classification according to the criterion of attachment of the presentation to the direct stream of time, ensuring the integrity of this presentation. Based on this, designations of two forms of performance presentation are proposed: a performance act and a performance product. The paper raises the issue of the compliance of the performance record with the classical academic performance paradigm and of legality in the context of this paradigm recognizing a recording as a full representative of musical performance and the unconditional designation of a recording as a performance. The author gives a general conclusion about necessity seeing such acceptance of the recording as a standardized presentation form to raise the question about further research of institutional changes and the role of academic musical performance in contemporary situation.

The article explores the stylization’s phenomenon as a kind of “convergence point” of Art Nouveau era’s aesthetic idioms of art. Aesthetic and worldview attitudes of Modern are analyzed, which led to a rethinking of stylization’s principles. The existing pluralism of views on the stated problem is reflected in the diversity of artistic solutions. The diversity of approaches to the problem of Style transformation is studied by an example of Director’s search of two outstanding contemporaries of Art Nouveau era — N. Evreinov and Vs. Meyehold. It is argued, that the revealed enthusiasm of Russian theatre at early XX century by Stylization method is associated with a single process of new principles of artistry formation. According to the guidelines of noted principles the innovative theatrical concepts development at the turn of the 19-20th centuries had happened.