The article by the Scientific Editor of the journal named “Bulletin of Vaganova Academy Ballet” timed to coincide with its 30th birthday contains a brief overview of the history of the first periodical of Vaganova Ballet Academy. A periodization of events related to the development of the journal is proposed; the trajectory of its evolution from a popular science publication to a proper scientific publication is outlined; the key figures who played the role of its founders, reformers, ideological inspirers in the history of “Bulletin” are identified; the names of the direct executors of the project of creating a scientific periodical publication of the WAC’s level at the Academy are listed.

The author proves that “Bulletin of Ballet Vaganova Academy” has always been and even after being included in the List of peer-reviewed scientific publications of the Higher Attestation Commission (WAC) of the Russian Federation remains an integral part of the Academy; the development of the journal, on the one hand, is set by the evolutionary needs of the university itself, on the other hand, follows in the wake of permanent reforms in the system of higher education and science in Russia.

The Rite of Spring is still one of the most popular scores among choreographers. In 1957, the author’s version of this score was presented by Mary Wigman (Marie Wiegmann) — one of the pioneers of German expressive dance. Wigman actively introduced themes of violence, death, despair, and pain emphasized naturalism of the experiences associated with them into the themes of choreographic art. She argued for the liberation of dance from the dictates of music and for the separation of dance from the obligatory following of entertainment and aesthetic tasks. Thus, Wigman created her own dance religion in Europe. Wigman turned to Stravinsky’s score at the age of 71. In 2013, the reconstruction of this performance was carried out. The analysis of Wigman’s production based on comparison with the content of the libretto, with the musical concept and with the choreographic solution of the Dyagilev’s performance of 1913. Analysis allows to see that Wigman subordinated her artistic ideology to the laws of theatrical perception and relied on the traditional expressive possibilities of dance in synthesis with the content of the score.

The article is devoted to the history of the Turkmen ballet theater during its heyday. The characteristics of the main ballet performances created in the community of Turkmen composers and choreographers and marked a new stage in the development of national choreographic art are given. The difficulties in the further evolution of the genre, which eventually led to its actual elimination in the post-Soviet-era, are underlined.

The article is devoted to the document from the fund ‘Grand Duke Andrei Vladimirovich and H. S. H Princess Romanovsky-Krasinsky M. F.’ in the State Archive of Russia (GARF). The paper clarifies information about the Parisian period of the famous Russian ballerina Mathilde Ksсhessinska and her ballet studio (1929–1964), reveals the biography of one of Ksсhessinska students — Shirley Bridge (Anna Adrianov).

The peak of physical perfection is the trained body of a ballet dancer. Many leading in artistic gymnastics assert that highest results have been achieved by them, to a great extent, thanks to good choreographic background, and they in every way accentuate their passion to the art of classic ballet. Authors of the article sum up their own experience of working with girl gymnasts at the stage of in-depth specialization: they tell about how they use their knowledge in the field of ballet for achieving best results in the performance of artistic floor compositions and beam routines.

The article analyzes theatrical sketches of Tatyana Georgievna Bruni from the museum fund of the Vaganova Ballet Academy in the context of the development of theatrical and decorative art of the 1920s – 1970s. The author reveals the stylistic evolution of the artist, the methods of her work with visual material, clarifies the attribution of a number of works, the history of their existence. Previously unknown visual materials connected to Bruni’s design of the performances of the Leningrad Choreographic School are introduced into scientific circulation. The author comes to the conclusion that Bruni’s style developed from the sharp geometrism of the avant-garde of the 1920s. 1930s to the soft femininity and irony of the mature period of creativity (1930–1950s). The stylistics of the late period of creativity (1960–1970s), aimed at identifying the musical image of the performance, was differed by greater generalization and laconicism. If in the 1960s Bruni solved this problem by graphic tools, then in the 1970s with picturesque ones, joining in the formation of a new poetics of the Soviet theatrical and decorative art.

The article is devoted to the ideas of integration of pitch and metro-rhythmic relations inherent in the theoretical concept of the American composer Henry Cowell. The ideas about the organization of rhythm, articulated in Cowell’s theoretical work New Musical Resources, and the practice of their implementation in the rhythmicon, an electric musical instrument, are analyzed. The author comes to the conclusion that Cowell’s theory is just an auxiliary means of representing height-time relationships, since the exact application of the theory is possible only under the conditions of a special mechanism, which was the rhythmicon. The innovative composer and theorist of new music were developed in the work of the French spectralists, they outlined a line from O. Messiaen’s Technique of my Musical Language to K. Stockhausen’s Theory of a Unified Time Field and further to the ideas of G. Grisey.

The article considers manuscript miniatures and engravings of first print books created in France at the end of the 15th – beginning of the 16th centuries. These books were identified from the collections of various libraries both in the original (Russian Academy of science Library, National Library of Russia) and in digital form (National Library of France, Library of Congress etc.), as well as from their publications of the 19th – 20th centuries. The books are completely different in content and purpose of the essay: books of hours for personal use, a handbook on medicinal plants, translations of F. Petrarch’s works, etc., but including miniatures or engravings with people images. Some of these sources are considered in connection with the costume history for the first time.

The period of the reign of Charles VIII and Louis XII, which became a transitional time from the High Middle Ages to the Renaissance, was reflected in a relatively rapid change in the costume shape. The study of images that decorate manuscripts and first-print books complements the list of already known pictorial sources. It expands the understanding of the appearance of people of different social status and occupation, cases of using a particular costume.

The article is devoted to the problem of genre continuity between the Yangbang xi model opera and the traditional Beijing opera. The specifics of the Peking opera genre and the peculiarities of its perception by Europeans are explained; the history of the study of the Beijing opera in general and the Yangbang xi opera in particular is covered. The Yangbang xi genre is traced as a political and artistic phenomenon, the main structural features, the specifics of the libretto and the way of transformation of this genre are described. One of the conclusions of the study is that the significance of the model opera has gone beyond the theater, moving from the artistic and cultural sphere to the sphere of politics.

The lockdown caused by the pandemic has increased the presence of digital reality, which does not require the physical presence of a person as an interlocutor. The human body in this space is absent, there is only his image, which often presented and perceived as two-dimensional object. Presentation in such form is not sufficient for a complete perception and awareness of the body of another person.

In this article, the author suggests that for a better understanding of physicality in digital space, the 3D is the crucial component. Based on the studies in the fields of kinesthetic empathy and cinematography, the author shows the interconnection of space, body and kinesthetic empathy. Expanding the scope of these studies, the author explores the issue of common space in the 3D choreographic documentaries “Pina” by Wim Wenders and “Cunningham” by Alla Kovgan and provides an analysis of 3D technologies affect the change in the boundary between the spectator’s space and the dancer’s space. According to the author, a change in these boundaries allows a stronger influence on the perception of presence of the spectators, their perception of corporeality and kinesthetic empathy.

The article examines the role and significance of Russian cinema in popularizing the idea of conquering outer space. It is noted that the domestic cinema creates its own specific and effective potential for promoting ideas, meanings and values of a social nature, including when applied to scientific and practical problems in the space sphere. The article examines the use of the genre of science fiction in the popularization of the means of cinematography, the idea of conquering space at various stages of the country’s development, as well as the influence of ideological concepts on various works of science fiction.

The paper studies the new technologies impact on the perception of spatiality in musical performance. The difference of the visual component perception in the concert hall or in a situation of using the reproduction technologies is analyzed. The concepts of “technological corporeality”, “technological quasi-corporeality” and “technological non-corporeality” are proposed, which are defined by the method of organizing video and audio sequences, as well as by the presence or absence of video editing. The author substantiates the possibilities of using new audio- video technologies to expand the experience of musical performance perception.