In April 1946, Frederick Ashton presented his new masterpiece — Symphonic variations with the music of S. Frank. This performance still remains in the repertoire of the Royal Ballet and reflects the specific features of the English style. The stellar cast of dancers was led by Margot Fonteyn and Michael Somes, and Fedorovich’s laconic design is still considered as the classic and the only possible one.

The article presents a detailed analysis of the choreographic text of the «Symphonic Variations», highlights the characteristic features of Frederick Ashton’s choreographer’s style, provides artistic generalizations and historical parallels, taking into account the cultural and historical context.

The article is devoted to an unknown page of Jules Perrot’s biography, namely his private life and his marriage to Capitoline Samovskaya (Vorobjevskaya). Practically no information has survived about Perrot’s Russian wife; historians of romantic ballet (Ivor Guest and Vera Krasovskaya) speak briefly about her without citing any sources. Her traces can be traced on the basis of a detailed research in the archives of the Russian State Historical Archive (RGIA). The fact that she was a dancer with the Imperial Company and some milestones of her stage career can be traced.

Ballet Shurale is one of the most famous ballets created by composers of the national republics of the Soviet Union. The researchers traditionally focus on musical, choreographic, and scenic solutions, while the history of changing the title of the work and the names of the main characters remains beyond attention. Meanwhile, archival materials allow us to assert that during the preparation and the first years of the production of the play, the change of names was considered as an important task, which was discussed with the involvement of a circle of experts, and the names themselves and their significance were evaluated as an element of cultural policy within the framework of the idea of unity of the multinational Soviet people.

This article focuses on the problem of training for ballet pianists around the world and how Vaganova Ballet Academy is an international reference in this area, being the only educational institution that, from its Chair of Music, solves this problem by offering a bachelor’s and a master’s degree for ballet pianists. Through a brief approach to the international context of the training of these professionals, we will analyze the current situation and some of the parameters that condition or prevent the regulation of an adequate educational program for those interested in the art of playing for ballet in some countries, such as Spain.

The author emphasizes the need to contextualize the problem taking as a reference an institution of international prestige such as Vaganova Ballet Academy, analyzing some of the most outstanding features of the particularities of this reference, in order to establish some conclusions that can serve as a guide for future educational proposals for these professionals in other parts of the world.

The article is devoted to the Austrian choreographer Franz Anton Christoph Hilferding (1710–1768), who stood at the origins of the ballet reform and was one of the first who began the transformation of the ballet genre. The work of this master is still rather modestly studied in the research literature (both domestic and foreign), and his figure is in the shadow of the more famous choreographers of the 18th century G. Angiolini and J. Noverre. The author, relying on scattered information and some new data, examines the activities of Hilferding in the 1750s in Vienna, analyzes the peculiarities of cooperation between the choreographer and composer J. Starzer, reveals the characteristic features of the musical and dramatic solutions of ballet performances and determines the role of the choreographer and composer in the run-up to the ballet reforms.

The article highlights the biography of the Czech philosopher J. Patochka. The article shows the influence of the philosophical ideas of Plato, G. Hegel, E. Husserl, M. Heidegger, A. Gehlen on the formation of the philosophy of art of J. Patochka. The theoretical problems of the history of art are highlighted, including the purpose of art, the definition of artistic style and the features of twentieth-century art. The article Art and Time (1966) was translated into Russian for the first time and was introduced into scientific sphere.

The article considers the creative activity of E. V. Kolobov as an example of a complex and multifaceted process of the conductor’s influence on musical material and stage action. The creative, rather than recreating, role of the conductor in an opera performance is presented in the context of a modern stage director’s opera theatre. The innovativeness of E. V. Kolobov, which was the basis of his personality and the condition that allowed the conductor to become a unique phenomenon of the national culture, is emphasized. Three main directions in the maestro’s creative style are analyzed separately: work with the libretto and score, work with musicians and singers, and staging work. Particular attention is paid to E. V. Kolobov’s conducting style.

The article examines the history and current state of the genre of Russian song on the stage. The author provides arguments in favor of the fact that at present it can be argued about Russian song as a separately formed pop genre that continues its active development in modern times. It is an adaptation of a folk song or an author’s stylization for folklore; performed in a professional folk manner of singing; authentic or stylized costume. The main function is to broadcast the traditional values of Russian people.

The sound solution of film in contemporary cinema reflects the complex interaction of new technical possibilities and current currents of philosophical and aesthetic character, which is realized in the director’s concept and the film script. In genre filmmaking, the sound solution is primarily oriented towards directly affecting the audience’s emotions. It should correspond to the concept of the director and scriptwriter, and enhance figurative and content resources of other means of cinematographic expressiveness. The role of immersive sound in creating “illusion reality” is analyzed. At the same time, surround technologies, location of discrete noises, moving objects, creation of volumetric soundscapes can manifest their capabilities in different ways. Immersive sound expands the diegetic space of film.

The article is devoted to the substantiation of the genesis of the collaboration between business and art as institutions, as well as the creative partnership of artists of various types and areas of artistic activity. The article discusses collaborations in the space of modern metamodern culture, analyzes the processes of oscillation/oscillation between opposite oppositions, which, merging together, form the third semantic integrity of artistic projects. These processes are illustrated by the example of an art collaboration in the field of classical and popular music. As a result, it has been proved that the interaction of partners in such a new multifunctional format as an art collaboration is becoming in demand, as it opens up new opportunities for presenting art in new non-academic forms, which attracts a wide audience.

The article is devoted to the corporeality in the performance Vladimir Mayakovsky, held in Petrograd on the stage of Luna Park in early December 1913 as part of the project “the world’s first futurist theater”, organized by the society of artists Soyuz Molodyozhi and literary group Hylaea. The author, using the comparative method, analyzes corporeality in the theatrical meaning. As a result, on the one hand, the performance presents a model in which the performer abandons the role in its classical sense, thereby becoming a central element of the stage performance. On the other hand, the performance attempts to deconstruct the anatomy of the human body, which is a distinctive feature of Futurist aesthetics.