French choreographer Angelin Preljocaj is among the most famous contemporary choreographers. His company, the Ballet Preljocaj, enjoys an overwhelming success.
His choreographic works are well known in Russia thanks to the Ballet performances on tour. Some of his works have become part of the repertoires of St. Petersburg and Moscow theaters. This article examines Preljocaj’s productions based on his interpretations of well-known ballets of Russian heritage.

Nowadays, the trend towards the mediatization of artistic tools is characteristic of various types of art, including the art of choreography. This is expressed in the expansion of the range of staging tools, which includes, among other things, media technologies. The constant improvement of media technologies and the gradual increase in their accessibility for practitioners give rise to the problem of finding adequate strategies for working with them. The article is devoted to the review of the strategies of working with media technologies in choreography presented in theoretical studies and aims to identify the most common artistic strategies. By the method of a systematic review of the literature, it is shown that, due to their flexibility, media technologies are in demand both by intermediate artistic practices and in theatrical productions. As a result, it was revealed that most of the studies are focused on examples of using media with an emphasis on interactivity and processality. The principles and goals of integrating media technologies into stage forms of choreography from the standpoint of dramatic expediency are not touched upon in the considered sources, with rare exceptions. The conducted review confirms the insufficient coverage of the use of media technologies in the development and implementation of the director’s choreographic plan and outlines directions for further research.

This article tells us about the relationship between philosophical concepts and artistic interpretations. The author of this article analyzes the expression of philosophical code in plastic, iconic texts. She reveals a new type of “ideacontent” of ballet performance on the example of the play Four characters searching for a plot

The purpose of the study of materials containing information on a musical side of the creative biography of the outstanding Danish choreographer August Bournonville (1805–1879) is to present a possibly complete picture of his musical life: musical experiences, impressions, events, interests, ideas that have become important factors of professional development and creative realizations that had a fruitful impact on the joint work of the choreographer with composers. This article is devoted to the study of the personal musical experience of the choreographer: performing and listening. The first was acquired by him in the practice of violin and vocal performance, the second was formed throughout his life, influencing the process of personal and professional improvement of the choreographer. In the field of creative interests of Bournonville, a special place was occupied by aspects of musical theater, the vocal art of the masters of the opera stage, and composer creativity.
The thoughts and impressions of the Danish master, a competent and deep artist, a professional art connoisseur, are of great interest to specialists in the field of composer creativity, the history of musical theater, and vocal performance.

The author refers to the ballet by Jan Sibelius Scaramouche in order to determine the role of dance (its poetics, symbolism, genre features) in the dramaturgy of the composition, originally created as a musical basis for theatrical pantomime and «reborn» into ballet. The most striking techniques of the composer’s work are noted, creating a unique artistic appearance of the ballet Scaramouche

The article deals with the problem of the functioning of post-minimalist music in contemporary dance. On the example of the creative collaboration between the American composer David Lang and the Canadian choreographer Édouard Lock, the author examines the interaction of the choreographic and musical components in their performances. The masters carried out four projects in the genre of contemporary dance – Exaucé / Salt (1999), Amelia (2002), Andre Auria (2006) and Amjad (2007). Lang and Lock were united by common aesthetic views on art, the free crossing of boundaries between academic and popular culture, a return to the origins of the language and, at the same time, the rigid rationalism of its organization, and the principled work with repetitive technique. An important expressive technique of Lang and Lock’s joint productions was the contrast of musical and plastic: neutral sound material, laconic diatonic patterns performed by the instrumental trio/quartet set off the extreme speed and automatic precision of movements at the limit of human capabilities inherent in choreography. The greatest attention is paid to the ballet Amelia, translated by Lock into the cinematic genre of film dance. Lang complements the piano trio with a vocal part: a female voice voices the lyrics of five songs by American rock musician Lou Reed. The appearance of the word expands the boundaries of the genre, and also introduces new semantic accents into the content. Unlike the “classical phase” of minimalism in the 1960s, post-minimalism began to absorb a variety of stylistic and emotional overtones, which, while maintaining repetitive technique, formed fertile ground for its expressive and free choreographic interpretation

This article is devoted to the reconstruction of lost terms and movements from the classical dance curriculum created by V. Stepanov in 1895 and regarded as the origin of unification of the Russian ballet school. The materials of the curriculum represent theoretical and practical interest and allow to estimate the historical level of the classical dance technique. The article compares the modern ballet terminology and terminology of V. Stepanov and V. Tikhomirov, who translated and partly transcribed the 1895 curriculum into Russian. As a result of the research the movements recommended for updating in the modern classical dance lesson were identified: battement tenant en haut, brisé Télémaque, glissade battu, pirouette sur le pivot, pas de Zéphire en tournant.

The formation of the methodology of teaching the discipline is not a shortterm process. Based on the complex interrelation of theory, practice, artistic goals (sometimes rapidly changing) and the accumulation of relevant knowledge in the discipline under study, the system is being built and refined. The scheme proposed in the article is a kind of draft of the methodological structure, representing the essence of the collected and analyzed theoretical and practical materials, taking into account the personal creative and pedagogical experience of the author. The article contains recommendations of an idealized pedagogical scheme and options for its adaptation to specific conditions, formats and goals of the educational process carried out by the author during the period from 2018 to the present. The methodological structure being formed reflects an up-to-date view of both the technical and physical sides of partnering and current trends in teaching choreographic disciplines.

The article examines the domestic cinema of the period of the Great Patriotic War. It is noted that documentaries and short propaganda films became the most operational cinematographic form of the first years of the war. The most mobile genres of cinema of this time were film reporting and newsreels of military operations. “Combat Film Collections”, despite their simplification and obvious errors associated with poor knowledge of the subject, inspired hope and faith in victory over the enemy and played an important role in moving filmmakers to more mature works. The article discusses the fate of war films released in the pre-war period, which did not stand the test of time. At the same time, it is noted that criticism of the creators of these films is not always fair. An analysis of new full-length feature films, which began to appear in 1942, showed that in this harsh time, thanks to the talent and dedication of directors, screenwriters and actors, many wonderful films were created that raised morale in the army and had a powerful mobilizing effect on viewers and brought victory over the enemy

The article reveals some peculiarities of the dialogization of modern rock by citing academic composers’ works. The research, based on systematics of citation specifics proposed by A. Denisov, which reveals the author’s approach to the “alien” text, presents the substantive and compositional aspects of the academic quotation usage in rock music at the turn of the 20th – 21st centuries. The most expressive and stylistically polar examples of appealing to musical texts of the professional composer tradition are used as material. The study draws conclusions about the citation semantics, which formation mechanism depends on: the choice of material for citation, the context in which the quotation appears, the type of its transformation, the density of use of the cited material. Taking into account these factors, the article demonstrates diametrically opposed creative side by rock bands and individual musicians in the issue of citing, such as Symphony X and Ligro, Anorexia Nervosa and Muse, Hollenthon and Slav de Hren, R. Williams and J. Zorn.

In the musical culture of the second half of the twentieth century, the penetration of foreign text, which takes place throughout the history of music, acquires a special meaning. It becomes one of the techniques of composition, the principle of the organization of the text, giving originality to the work. The issues of the plot, the transformation of sound streams into concrete or non-specific images determined by intuition, are pushed into the background, while the main goal of the intellect becomes the formation of form and the choice of expressive means. The aesthetics of postmodernism makes it possible for composers to use musical signs of the past in the body of their own opuses. Their introduction, juxtaposition becomes a vivid expressive and compositional means and is interpreted from the point of view of aesthetic trends of postmodernism. The works for guitar in which similar features take place are considered. Examples of borrowing text from the works of composers of Baroque, classicism, romanticism, adaptation of film music and subculture are given. It is revealed that postmodern culture, as a result of such integration, gets the opportunity to appropriate the energy resources of the epochs and genres to which it refers. In turn, the longknown musical material receives a new interpretation within the framework of modernity.

Among the tasks of modern art criticism is not only the opening of new horizons, but also the purification of oneself from rooted misconceptions and inaccuracies. The article is devoted to correcting one of these inaccuracies: the genre definition of one transcription by C. Saint-Saëns, which played a role in the formation of Prokofiev. It is shown that in this case there is confusion with the definition of the genre of dance, which arose through no fault of Prokofiev. The causes of the error, as well as some examples of the exact and inaccurate implementation of ancient dance genres in the work of composers of the 20th century, are considered.