The article is devoted to the review of postmodern dance as a concept in the works of researchers of the 1970-2010s. «Concept» is presented from the point of view of linguistics, philosophy and art history. The author suggests that the conceptual system is fractal, i.e. the structures of macro- and micro-concepts are similar. Thus, postmodern dance is a micro-concept, which is presented ambiguously in the works of art critics. Four tendencies of understanding the concept of postmodern dance (according to E.V. Kiseeva) are considered. Some works of domestic researchers of the 2010s is analyzed. The conclusion is drawn about the inconsistency of perception of the concept of postmodern dance in foreign and domestic art history.

The paper is devoted to the influence of the S. Diaghilev’s the Ballets Russes on the Spanish theater of the 1910-1920s. Gregorio Martinez Sierra (18811947) — one of the pioneers of theatre directing in Spanish drama theatre. The impression from the performances of the Ballets Russes provided the basis for the director’s aesthetic program, which was applied in practice with the help of Sierra’s like-minded persons: Maria Martinez Sierra, Manuel de Falla, Tomas Borras, Jose de Zamora, Manuel Fontanals. The most representative examples of assimilation of the Ballets Russes’s aesthetics are analyzed in the paper. Also it acquaints readers with the Spanish critic’s reception of the Ballets Russes.

The article is devoted to the problem of pseudonymity of the ballet criticism of the 19th century, analyzes the use of the pseudonym «Н.» and related problems of identification of authorship of SN Khudekov, a comparative analysis of the author’s handwriting of Khudekov and Skalkovsky in articles under the pseudonyms «Balletomane», «Old balletomane», «Not a balletomane» is presented.

The article is devoted to the consideration of music, comprising the compiled score of S. Vigano’s ballet «La Vestale». The issues of musical drama are highlighted in the context of the theatrical and ballet tradition, which involves the independent work of the choreographer in selection and adaptation of the music for the ballet. The musical text of the composition is analyzed, sources are identified, and techniques of Vigano’s musical and editorial work are studied. The conclusion is done about innovative achievements in the field of musical drama: improving his compositions, the choreographer developed a system of original methods that became signs of his author’s musical style. In the performances of Vigano, musical drama served to embody the author’s intention and was intimately intertwined with the dance and dramatic content of the choreodrama.

The article is devoted to the study of pedagogical heritage of famous master of character dance Andrey Lopuhov. Within its scope is an unknown manuscript about character dance teaching methodology. The author of the article briefly describes Lopuhov’s artistic and pedagogical activity and comments on his lecture from the point of view of modern teaching method.

Considering Beat Furrer’s music, we can highlight both visual concepts and sound concepts. «Visual» elements are models, concepts and metaphors (and not composition techniques). The tendencies of visual domination are very noticeable in the postavangard music. In Beat Furrer’s music, the visual is represented by several varieties. The idea of photographic filtering is used as an intellectual model in «Nuun». This idea is actualized by musical means. The perspective concept, having semantic roots in Bergson’s concepts of time and movement, is considered on the example of «Phasma»; the metaphors of light and shadow are in the «Begehren. Music Theatre», while experiments with synesthetic perception are in “The Quartet for four percussions». These examples allow to identify visual models, concepts and metaphors as Beat Furrer’s composition strategies.

The article reveals outdated approaches to the classification of chromatic keyboard systems of musical instruments. Concrete structural differences of the existing systems of chromatic keyboards for claviers, organs, portables, pianos and accordions are shown. Based on the results of the study, a justified classification of the types and varieties of chromatic keyboards of keyboard musical instruments is proposed.

The main objective of the article is to explore approaches to the interpretation of piano compositions of the 1990th by the British composer Thomas Ades, which summarize the most important trends in post-avant-garde art. The transitional nature of the period of creation of works, their polygenetic and stylistic diffuseness, linguistic plurality, allow the author to consider the composer’s music from several angles to determine the individual style of the composer. The article emphasizes the importance of sound in Ades’ piano compositions as a phenomenon that subordinates the architectonics of composition, which is seen as a refraction of the traditions of pointillistic understanding of sound and its acoustic «aura». Analyzing the features of piano sonoristics, the author draws attention to the innovative pedaling techniques used by the composer. The research of the musical language and means of expression leads to the conclusion that Ades’ comprehension in piano work of the questions of the immortality of a creative person, the true value of traditions and new ways of generalizing them, allowing the composer to gaze closely at the future of art.

The article analyzes the work of the Canadian choreographer Crystal Pite from the perspective of the artistic opposition «I and the Other». Analyzed are the performances «Dark Matters», «The Tempest Replica» (2011), and «Trauma» (2015) and «The Inspector General». Self-reflection, an attempt to cognize oneself through the opposition of «I» and «Other» is one of the most important features of postmodern dance in general. The metaphysics of relativity, in which you define yourself through another person, cognizing life through the reflection of the movements of an individual who expresses himself through dance, broadcasting his life experience, was characteristic of the work of Pina Bausch, and many other choreographers, found its expression in the work of Crystal Pite.

Author of the article analyses first steps made by Alexandrinsky theatre, Russian citadel of the art of acting, towards XX century theatrical model which was established as a stage directing theatre. Unlike early experiences of Moscow Art Theatre, which were considered as a new theatre experiences based on a new drama, Alexandrinsky undertook its artistic research upon a classical repertoire. Trough turbulent tries to find its new identity, this theatre applied for one of its beginnings — Russian classical comedy of the 18th century. On the material of two productions of early 1900s — “Woe from Wit”, directed by Petr Gnedich, Head of Russian troupe, and “The Infant” directed by Jury Ozarovsky, author tries to trace the structure and dynamics of this historical process.

The article explores the aspects of Symbolism in portraits of the «World of Art» (“Mir iskusstva») artists. The author divides the Symbolism in the «World of Art» portrait into true and seeming symbolism concepts. Under true symbolism, the author implies the symbolism of a portrait image created by the artist, while the seeming symbolism in a portrait is a symbolic image that arises from the charisma and symbolist texture of the portrait. It is a symbolic image that arises from the charisma and symbolist texture of the portrait. According to the author of the article the portrait narrative of the World of Art artists should be considered as seeming symbolism, when the symbolist portrait arises in a natural way, due to the pro-symbolic identification of the portrait models.

The article focuses on African American folklore and its influence on modern Latin American music, which sounds and develops not only in South America, but also in the United States. The subject of the study is styles of modern pop music in Latin America, which have various ethnic roots. The author proves that almost all the famous musical styles of Latin America (Afrolatine), such as salsa, samba, reggeyton or twerk, cizomba, rumba, afrobite, have African roots, and modern performers (Natalie Cole, Beyonce, Rihanna, Shakira, Jennifer Lopez, Tony Brexton, Madonna and some other celebrities) include rhythms and intonations of Afro-Latin American styles in their works.

The article represents the analysis of Andrey Moguchy artwork, who is holding the principal position at the biggest Russian theatres — BDT named after G. A. Tovstonogov. Andrey Moguchy’s artwork considers as a holistic artistic system, which took shape by the end of the 2000-s. The author depicts its formative elements: work with space, music and media. Director’s creative search explores within the context of modern theatre theory concepts. We focus on the absence of strong attachment to literary text or a plotline. This allows to discuss the tendency towards linking up theatrical and performative expressive means.