The subject of this article is the regional features of the musical and choreographic folklore of Greece. The mainland of Greece consists of six (Epirus, Thrace, Macedonia, Thessaly, Central Greece and Peloponnese), the island part consists of – three (Aegean islands, Ionian islands, Crete), each of which has its own dance repertoire.
Based on the principles of regional (areal) studies, the authors outline the ways of forming regional characteristics of the dance folklore in each of the regions. The repertoire of traditional Greek dances by region and, in more detail, dances with “sliding” and “jumping” types of steps are considered. The main attention of the authors is paid to dances of common Greek distribution, such as syrtos, kalamatianos and sousta. The article describes the main movements of the indicated dances, reveals the regional specificity of the choreographic and musical components.
In conclusion, a panorama of Greek dance folklore is recreated, taking into account its regional characteristics, borrowed forms of choreography and the implementation of the musical principle.

The article is devoted to the phenomenon of martial arts as one of the types of traditional foundations of Chinese culture. The author presents the substantive and functional analysis of national martial arts as an essential component of dance culture of China. The paper reveals the semantic meanings of the concept along with the genesis of martial arts, their connection with combat dance. The author indicates the place of martial arts in musical and theatrical performances of different eras. Special attention is paid to the influence of martial arts on Chinese classical dance. The conjugation of martial techniques with art highlights the aesthetics of movements from its an essential characteristic. The author comes to the conclusion about the unity of dance and national martial arts in Chinese culture.

One of the most ambitious ballets of its time, The Pharaoh’s Daughter (1862), turned out to be «golden» for the Direction of Imperial Theaters. The surviving financial documents of the 1860s illustrate the scale of the investments made in the production, and demonstrate its importance for the Direction. The performance was also «golden» for its author, choreographer Marius Petipa. The success of The Pharaoh’s Daughter brought him not only recognition, but also the post of the Imperial Theaters’ choreographer with a corresponding increase in salary. This ballet was «golden», dear to the heart, and for the artists. For sixty six years of its stage life, the production remained a favorite for many of the dancers involved in it, and very often they chose The Pharaoh’s Daughter for their benefit performances. The press has preserved evidence for luxury of the golden (in the literal sense of the word) gifts it brought to the beneficiaries.

The article concerns the attempt to reveal the common rules of the modern dance art language. The evolution of the 20th century choreography is observed. It is searched from the modernism epoch of the 1910–20s, aimed at an achievement of “the clear dance” and overpassed literariness, meaningfulness and personification through the postmodern dance of the 1960–80s to the choreography deconstruction and output of the acting process the foreground on the cusp of the 20th and the 21st centuries. The modern dance conceptions confront the theoretical substantiations of the new theatre forms.

The article is devoted to the analysis of I. Armsheimer’s music to M. Petipa’s ballet “Halt of the Cavalry”. In parallel with the consideration of each number separately, detailed comparative characteristics of the music of the ballet in the version of P. Gusev, familiar to the modern viewer, and the score of the original version of 1896, which until now have remained little studied by researchers of the choreographic and musical arts, are given. The research work done allows us to assert that Armsheimer’s bright, imaginative sound material plays a key role in shaping the overall artistic appearance of “Halt of the Cavalry”: the characters and plot twists and turns of this ballet performance get an accurate and memorable musical embodiment in its score.

The article is devoted to a little-known page in the history of ballet in Bosnia and Herzegovina – the period of the 30s of the 20th century. At this time, the first ballet troupe in the country was created at the Sarajevo National Theatre under the leadership of Russian emigrants, the first ballet schools were organized and first original ballet was staged. The article presents new facts that make it possible to change the traditional view of the dating of the beginning of professional ballet in Bosnia and Herzegovina and expand the understanding of the geography of the influence of the Russian school of dance and choreography.

The author proposes in the era of significant changes to return to the original, fundamental terms of ballet studies, in order to check their modern interpretation in domestic and foreign sources at a new stage. An attempt is made to critically comprehend the entrenched interpretations, to assess their controversiality, the ability to clarify the definitions. It is argued that the meaning of the term can change over time, in accordance with the very process of development of art and the spiritual transformation of mankind. New approaches in the definition of the concept of dance are proposed. The article considers the complex relationship of dance with music - from consent to struggle, confirms the idea of the priority of dance in the stage work, expressed for the first time by B. V. Asafiev.

This article provides information about the history of dance researchs in Vietnam through three periods: 1945–1975, 1976–2008, 2008 to present. In each period, key scientific works of Vietnamese researchers such as Lam To Loc, Le Ngoc Canh, Bui Chi Thanh and others are analyzed. The second part of the article provides an overview of documents on popularization of foreign dances in Vietnam, such as classical dance (Ballet) and modern dance. Author introduce the most important works of leading Vietnamese researchers, Vietnamese translations of foreign methodological books, basic dissertations and some scientific articles on foreign dance.

The article examines the unique experience of training vocalists of the Opera Singing Center in the system of additional education in Russia from the moment of its opening in 2002 to 2012. The main ideas of this unique educational strategy for its implementation are revealed as GP Vishnevskaya saw them. The description of the traditions underlying the Center’s Program involves the earlier programs of the La Scala theater, the principles of training a singeractor formulated by K.S. Stanislavsky and the outstanding opera director B.A. Vishnevskaya created her best opera performances on the stage of the Bolshoi Theater of Russia. The comparative approach allows us to talk about the general and specific in the line of succession of the author’s Program of the Center. In a highly competitive professional environment, the experience of comprehensive training of young singers for productive work in the opera house as a soloist, according to the author, has the prospect of further study and development.

The article is devoted to the study of new technologies in the modern opera house, which are implemented in the work of the composer Tod Makhover in a joint project with the Massachusetts Institute of Technology — the opera “Death and Power”. It is this stage work, which has received the status of a largescale robotic show, that becomes the object of research in this article. The phrase “out-of-body performativity” declared in the title of the article is the transfer of the physical entities of the actors through the effect of “absence of presence”, that is, creating the feeling of the presence of the actor on the stage, while he is not there. The article is based on an interdisciplinary method of analysis, which is dictated by the complexity of the object of research itself. The conclusion can be the provision that the effects presented in the opera are not part of the purely design or director’s side of the performance, they exist together with music and text, forming a powerful organically unified mechanism.

The article examines the performative means used in directing the play “The First Matter” by Dimitris Papaioannou. The rapid development of performative aesthetics in the space of theatre and the growing popularity of performance among contemporary directors give rise to the need study the transformation of theatricalization. On the basis of “Aesthetics of Performativity” by E. Fischer Lichte, a fundamental study of performance in theatre, an analysis of the performance “First Matter” of the avant-garde Greek director Papaioannou was carried out, upon which an attempt was made to determine the influence of performative aesthetics on contemporary theatre.

The article familiarizes the reader with the first in Russia scholarly publication, dedicated to jazz — a collection of translated articles “Jazz-Band and Contemporary Music”, issued in 1926 by a department of Theory and history of music of the State Institute of Art History. Given the special place of this edition in domestic musicology, it looks important to analyze its concept. For example, the reasons why Soviet researchers addressed jazz, the aspects of their particular interest, the principles they elected the articles for publication, and the connections they set between jazz and actual problems of Soviet culture. It is also worth considering this edition within the context of other research projects carried on in the same period at the musical department of the Institute of Art History: it allows ascertaining its place in the musicological paradigm of the early Soviet epoch. Such perspectives are suggested in the given work.

The research focus of this article is the two-way process of performing activity and reception, in which the interpreter must take into account the mechanisms of the influence of psychological factors on the recipient - the listener, in some cases - the viewer, since the performing gesture is an equally important category in perception. The object of research is performing activity, the subject of research in this article is the cognitive process and psychological factors that must be understood by the performer in order to build his activity as a system of communication with the listener.
The article applies methodological principles from the field of psychoacoustics, and also takes into account various neurophysiological factors borrowed from relevant research. As a conclusion, the author formulates the opinion that the performing activity of a musician is in close connection with a hypothetical listener, which seems to be a new look at the problem, since the performing activity in the previous understanding was based mainly on reproducing all the nuances of the musical text, and was not considered in perspective of performing as a communicative act associated with psychological factors. This activity is cognitive and is based on anticipating and “programming” the recipient’s response with the help of purposeful expressive mechanisms of influence.

The article considers the issue of the status of postmodernity in the history of art from the point of view of the essence of this phenomenon and its position among other similar phenomena. Various understandings of the position of postmodern in history are presented — as the state, situation, epoch, art direction, style, strengths and weaknesses of these points of view are revealed. Special attention is paid to the interpretation of the postmodernist situation from the point of view of its semiotic status, the history of the formation of this approach, its explanatory capabilities are considered. The result of the study is the definition of the mechanisms of postmodernization in actual art.