The purpose of the article is to consider the features of the stage embodiment of N. N. Sidelnikov’s ballet Stepan Razin staged by the Moscow Musical Theater. K. S. Stanislavsky and V. I. Nemirovich-Danchenko (1977, choreographer A. V. Chichinadze). Despite the obvious artistic merits of the play, there are practically no research papers devoted to it, with the exception of several reviews of the premiere. Therefore, some important details of the analysis of the musical and stage dramaturgy of the ballet Stepan Razin are covered for the first time.

The article, along with relying on published scientific and journalistic sources, uses fragments from the composer’s interview provided by the literary and dramatic part of the Stanislavsky and Nemirovich-Danchenko Moscow Musical Theater, as well as the author’s personal observations.

In conclusion, the conclusion is made about the scale of the idea of the performance, contributing to the creation, in fact, of a choreographic novel according to the idea of the composer himself.

The article reveals new facts and clarifies the details of the appearance of the ballet Gayane in the repertoire of the Opera and Ballet Theater named after S. M. Kirov. The events of the staging process of the pre-war period of work on the performance and the first showing of staged fragments of the ballet on the Leningrad stage are described. On the basis of archival documents, the reasons for the slowdown and delays in the process of staging the ballet in the pre-war period are explained.

A French dancer Eugène Huguet (1821–1875) devoted more than twenty years to Russian ballet. He was engaged to the St. Petersburg ballet troupe as a leading soloist, at the end of his performing career he taught at the Theater School. Huguet took part in almost every iconic St. Petersburg premiere of the 1850s, but until now he has practically not come to the attention of researchers (with the exception of minor mentions in the studies of V. M. Krasovskaya and Yu. I. Slonimsky). In this article, written on the materials of the periodical press and the personal file of the artist, stored in the Russian State Historical Archive, an attempt is made to review and analyze the performance activities of Eugene Huguet in St. Petersburg. The author sees the reason for the lack of attention to the figure of Eugene Huguet in the view of the ideal dancer of the era of romanticism, which has been established in ballet studies, which implies a harmonious combination of high performing technique and acting skills. Meanwhile, Huguet, who performed in divertissement numbers, was “simply” a virtuoso dancer and partner of a ballerina.

The article deals with the phenomenon of «dances in the opera» in relation to the music theater of Igor Stravinsky. From the standpoint of the specific weight of choreographic elements, four opera compositions belonging to the composer’s different creative periods are analyzed — The Nightingale (1908–1914), Mavra (1921–1922), Oedipus Rex (1926–1927), The Rake’s Progress (1947–1951) — as well as a musical play The Flood (1961–1962), written for the CBS television company, but during the life of Stravinsky also staged in an opera version (Hamburg, 1963). As a result, the author comes to the conclusion about the important role of dance impulses for the composer, they often define the key areas in the multi-level dramaturgy of the analyzed works. Thus, the experience gained by the young musician at the Petersburg performances of Marius Petipa receives a new implementation in the mature modernist theater of Stravinsky.

The article deals with mass theatrical performances dedicated to the City Day holiday, which is widespread in modern mass culture. The choice of topics is due to the importance of modern forms of social identification of the subject, the search for which is very acute at difficult moments in the development of culture and society. Theatrical performances are considered by the authors within the framework of mass culture as one of the manifestations of mass media, since constantly emerging new public holidays begin to line up according to the laws of ritual actions, endowed with symbolic meaning. That is why in modern festive culture there is a clear interest in the reconstruction of ritual forms that underlie theatrical performances and holidays. One of such modifications of family and household and, at the same time, calendar and ritual actions is the Day of the City. The article gives examples of the most characteristic theatrical performances dedicated to the Day of the City of Moscow in different years.

The article uses the example of two staged works Mtsyri (based on the poem of the same name by M. Y. Lermontov) and Cloud in pants (based on the poem of the same name by V. V. Mayakovsky) algorithms and mechanisms of work on the creation of stage theatricalization are revealed: the division of the staging process into semantic stages, the identification of artistic patterns of the main text, finding for them the equivalent of scenic expressiveness, the selection of lexical material, the formation of an image based on the interpretation of the proposed circumstances and artistic features of the source text and the chosen convention. The main emphasis is placed on the spatial-plastic solution, choreographic features of creating a stage image and creating a single staged composition, finding an independent plastic vocabulary that gives rise to a dramatic image in the space of the stage. As a result of the research, the authors come to the conclusion that the creation of a spatial-plastic solution of a performance is a programmable process combining rational calculations that subordinate emotional potentials to a common task in dramatic and lexical form.

The article raises the problem of the importance of studying classical dance training programs, their terminology, movement performance techniques and methods of combining both individual tasks and lessons as a whole. The difference in the trends in the development of the programs of the Leningrad and Moscow ballet schools is demonstrated, examples of the description and categorization of forgotten movements are given, a conclusion is made about the urgent need to study the experience of domestic masters and the experience of foreign ballet schools.

The objective of this article is to investigate the role of Anna Pavlova in the formation of British ballet. The British were introduced to Pavlova’s unique artistry in 1910, when she was touring in London. Soon afterwards, she founded her dance school in London (1913). The article discusses the working conditions of Pavlova’s troupe performers, her teaching methods as well as those of her most talented students who afterwards founded their own schools of classical dance, spreading the Russian school of classical ballet in Great Britain.

The article examines the activities of the Vladivostok branch of the Imperial Russian Musical Society (VO IRMS) through the prism of historical documents and archival materials, the substantive approaches of which did not fall into the current regional analytics. Outgrowing the boundaries of the Far Eastern theme, the article, using the example of the Vladivostok branch of the IRMS, raises general issues of the functioning of adaptive mechanisms in the implementation of the RMS/IRMS model, which successfully existed both in imperial and post-imperial Russian history. Turning to archival sources actualizes disparate documents, combining them into an integral set of materials that keep the memory of the history of the Vladivostok branch of the IRMS. It supplements the information about the creative potential of the region, its inclusion in the general program for the development of Russia in terms of music, specific individuals who ensure the continuity of professional musical development in the era of Sovietization. Contextual comprehension of archival sources of information contributes to overcoming the gap of epochs, providing historical bonds in the creation of a single historical line, allows you to make adjustments and deepen the understanding of past events, introduces new facts into scientific use, clarifies established ideas, serves as a guarantee of objectification and integrity in the formation of the historical memory of generations.

This article is devoted to the auditory aspects of the artistic practices of contemporary dance, such as – making live and electronic sound, the use of voice, speech and verbal expression in a dance pieces. The article identifies a number of key moments in the history of the relationship between the dancing body and sound in contemporary dance since the beginning of the 20th century. The author also takes into account some foreign studies of the role and significance of sound in the artistic practices of contemporary dance. In order to analyze the use of sound and verbal expression in dance on the local dance scene, the article examines some dance works by such Russian choreographers as — Alexander Kukin, Mikhail Ivanov and Nina Gasteva, Evgenia Andrianova. The author comes to the following conclusions: the drivers behind the practice of working with sound in contemporary dance are the attention to the body and the emancipation of the body, movement and dance; working with the auditory dimension in dance pieces expands the boundaries of corporeality and creates conditions for generating complex meanings.

Musical landscape painting is an important component of the image world of the works by the outstanding Japanese composer Toru Takemitsu. The problem of the root connection of his work, like many modern composers, with the foundations of his culture determined the subject of research - the image of the Japanese garden, which occupies a special place in the archetypal imagery of the land of the rising sun, in the context of which the garden is a special symbolic space connecting all natural elements – air, water, earth, heaven. The Japanese garden is one of the most important artistic phenomena of traditional creativity, within the framework of which its architectural, plastic and picturesque views are combined. The musical analysis of the works embodying the “garden metaphor” presented in the article is aimed at identifying a system of techniques through which a special coloristic, sonorous, timbre multicoloration, textural flexibility and spatial multidimensionality of Toru Takemitsu’s compositions dedicated to garden themes are achieved. The result of their parallel action is the effect of visualizing the musical space. These observations argue for a high degree of embeddedness of musical ideas and stylistic features of Toru Takemitsu in the system of fundamental artistic phenomena of Japanese art.

It is difficult to overestimate the significance and the role of film music, and they are determined primarily by the emotionally expressive function of cinema. The unity of audio and visual means works to enhance the emotional effect, in the limit − the “cathartic” effect. The expressive means of cinema are designed to provide a holistic, total perception of the film text, and within these means, music as an audiovisual synthesis occupies a very important place. Music interacts with the narrative, enriches the film and influences the audience’s interpretation. But if the basis of musical and literary synthesis is, as a rule, the so-called. “musicality” − in film music, many researchers usually see a different hierarchy: the inherent value of musical arrangement is “removed”, music is perceived as a derivative of film narrative. At the same time, views are becoming more and more popular, according to which the musical sequence of a film is a form-building element of an audiovisual dyad. The emotional function of film music is also inseparable from its communication function, because music has always been one of the important aspects of the communicative sphere.