This article examines the evolutionary development of choreographic form in the theoretical works of J.-G. Noverre, C. Blasis, as well as in the works of Ch.-L. Didelot. The features of small and large forms in the works of J. Perrot and A. Saint-Leon, the predecessors of M. Petipa, who completed their final formation, are analyzed. Examples are given of modification and improvement of the choreographic forms pas de cinq and pas d’action in the ballet The Pharaoh’s Daughter in the editions of M. Petipa (1862) and P. Lacotte (2000). And also, a natural change in the first upper lift from the pas de trois of the ballet Paquita in the version of M. Petipa. A methodological analysis of the variation of the fairy Violante from The Sleeping Beauty ballet in various choreographic versions is presented

The article is devoted to the features of the libretto of I. I. Valberkh’s ballets. First of all, the author analyzes the symbols, signs, and gestures present in them. The symbols are associated with a description of the features of the scenography of solemn ballets. Signs explain the action taking place (inscriptions; objects of special meaning; “speaking” names). Gestures reflect the characteristics of the characters’ stage behavior, while emotional “gestures” reflect obvious manifestations of the feelings they experience. Analyzing the cases of mentioning dances, the author comes to the conclusion that their place in the dramaturgy of the production was important for the choreographer. The author pays special attention to mentions in the libretto to the music of ballets. At the end of the article, the author comes to the conclusion that a thorough analysis of the librettos of Walberg’s ballets helps to better understand the choreographic performance of the early 19th century. This analysis can also contribute to attempts at modern reconstructions of the ballets.

The article examines the work of W. Forsythe. A characteristic is given of his individual method of work, formed on the basis of a combination of classical dance traditions and modernist and postmodernist concepts. The influence of G. Balanchine’s choreographic principles on the production activities of W. Forsythe is traced. A comparison has been made of the approaches of choreographers in the ballets Agon by G. Balanchine and In the Middle, Somewhat Elevated by W. Forsythe. The connection between the experiments of W. Forsyth and the teachings of R. Laban and M. Cunningham is shown. The improvisation technologies developed by W. Forsythe are identified using the example of Eidos: Telos.

Based on the collected facts and expressive examples, the article reveals for the first time the activities of the choreographer of the Imperial Theatres M. Petipa in composing dances in opera performances of the second floor of the 19th century. The impressions of contemporaries about Petipa’s choreography and performers are given

The article is devoted to the pedagogical activities of Ekaterina Vazem at the Imperial Theater School in St. Petersburg. After her stage career ended, the former prima ballerina taught in the middle classes of the ballet department for 10 years; she taught Matilda Kshesinskaya, Julia Sedova, Anna Pavlova and others. The article attempts to investigate the ballerina’s pedagogical skills: to study Vazem’s activity as a teacher, to identify the peculiarities of her ballet class, to determine the level and quality of teaching. The article is written on the basis of archival documents and memoirs of ballet dancers

The article is devoted to the consideration of the musical and dramatic features of the score of the comedy pantomime ballet Dancemania, a performance staged by choreographer Pierre Gardel to the music of Étienne Méhul in 1800 at the Paris Opera. The duality of perspectives on the musical consideration of Dancemania is noted: a) as a sphere of manifestation of the choreographer’s musical experiences - selection of music for the ballet score, participation in the performance as a violinist; b) as a new area that expands the creative range, revealing new facets of E. Méhul’s talent – vocal, by type of giftedness, composer, author of operas and revolutionary songs. The main directions of the genre priorities of P. Gardel’s creativity during the period of social and political transformations of the French Revolution of 1789–1799 are covered. Special techniques of musical dramaturgy are identified, used in the joint work of the composer and choreographer on the selection of music: the inclusion of fragments of J. Haydn’s symphonies in the score of “The Judgment of Paris”, the use of quotes in Dancemania.
The circumstances determined by the influence of the ballet tradition are revealed, which complicated the establishment of the authorship of Méhul’s ballet scores. The genre and dramaturgical features of the musical text of Dancemania are explored: musical techniques aimed at supporting and illustrating pantomimic action are noted (the use of repeating motifs, building a structural and compositional solution in accordance with the unfolding of the action). The special dramatic role of the quotation (the melody of “Gavotte de Vestris”) is noted, helping to “clarify” the central point of the plot. The role of E. Méhul is revealed as the founder of the tradition of creating an original ballet score with the inclusion of borrowings from works of theater and dance music, which was later supported by Méhul’s apprentice and follower, Ferdinand Hérold.

The article reconstructs the history of the development of Saint Petersburg‑Leningrad ballet school’s classical dance curriculum, opening a new angle of its unification process. The study is based on archival materials of Saint Petersburg Central State Archive of Literature and Art (coll. 259, Vaganova Ballet Academy collection), Russian State Historical Archive (coll. 498, Petrograd Theatre School), and Saint Petersburg State Museum of Theatre and Musical Art (coll. 242, A. Vaganova collection). The chronological framework of the research dates from 1863 to 1928. Statutes of the Imperial Theatre School established that P. Fedorov first attempted to integrate the dance curriculums in 1863. The next step refers to developing the classical dance curriculum by V. Stepanov in 1895. P. Gerdt, K. Kulitchevskaya, N. Legat, M. Obukhov, and M. Fokin made another attempt to create the curriculum in 1905. According to the hypothesis proposed in the article, the 1925 curriculum, created by L. Volynsky for the State Choreographic Technical School (Russian Ballet School), was based on their developments. The final stage of the curriculum formation dates to the post‑revolutionary period. The change in political conditions and reorganization of the educational institution influenced the beginning of regulating the educational process of professional ballet education. There was a transition to training in classes according to age rather than according to physical ability level, as was the practice in the pre-revolutionary period. The result of these reforms was the 1928 Classical Dance Curriculum, created by A. Vaganova, L. Leontiev, V. Ponomarev, and A. Monakhov.

The article is devoted to the study of the emergence and conceptualization of the partnering term in Western dance studies. It traces the use of the term as applied to the description of partnership in works devoted to the study of the theory and methodology of various dance disciplines. The main cases of mentioning partnership as a component of dance technique were recorded and analyzed. The aspects that determine the effectiveness of partnership as a component of duet dance forms are highlighted. An assumption is made about the gradual clarification of the content of partnering throughout the XXth century as a defining means of expression, and its value and significance for describing the history of contemporary dance as a qualitative characteristic and formative element of contact interaction is shown. The concept of partnering is considered as based on studies of classical dance, social dances, contact improvisation, and contemporary dance. The main ideas and postulates recorded in the most important works that define the nature of partnership in dance are highlighted. Conclusions are drawn about the historically fluid content of partnership as a special type of interaction in dance

The article examines the process of formation and development of the film fairy tale genre in Russian cinema. The adaptation of fairy tales in Russian cinema almost coincides with the time of the appearance of the first Russian films. In the 1920s and early 1930s, more attention began to be paid to the issues of children’s cinema, which expanded its thematic and genre boundaries, not only feature films and documentaries, but also animated films appeared more and more. After the creation of the “Soyuzdetfilm” studio in 1936 and with the advent of sound cinema, the fairy tale genre developed. Technical innovations make it possible to demonstrate on the screen everything that is a must-have attribute of fairy tales. The 1940s and 1960s were quite fruitful for film directors working in the fairy tale film genre. Fairy tale films on the big screen in the last decades of the Soviet power looked hopelessly behind the world level in technical terms. Today we can confidently talk about the revival of the fairy tale genre in Russian cinema. However, it is necessary to take into account the difficulties of creating children’s films not only in technical terms, but also in the use of artistic forms that correspond to the specific interests of young viewers

The article examines the formation of the phenomenon of abulia in contemporary art, as part of the reflection of the forms of development of postmodern philosophy. The expression of an abulistic mood can be traced both in performative and artistic practices, and in modern choreography, associated with the formation and development of the ideas of techno-determinism. The self-elimination of the creator and creator as a special concept is analyzed using the example of works of visual, musical, and choreographic art. Among the cultural phenomena associated with the manifestation of abulia in society is the widespread influence of “cancel culture” also on the formation of abulia thinking. Artistic lack of will is a narrative of modern realities.

This article examines Kitezh by Arthur Zobnin as a work of Russian metamodernism. What makes this opus metamodern is the way Zobnin works with the archetype, the unity of shimmering affect, the presence of tonality and simple harmony and metamodernist work with someone else’s material. What makes this opus a work of Russian metamodernism is quoting of popular melody from Rimsky-Korsakov and also its reliance on the cornerstone mythologem of Russian culture — vision of “Another City”.

The article is dedicated to Alexander Petrovich Antonovsky (1863−1939), the first bass of the Imperial Theaters, a graduate of the Moscow Conservatory (class of Professor Giacomo Galvani). The publication examines the singer’s participation in the premiere performance of the opera Pan Voyevoda by N. A. Rimsky-Korsakov. This is not the singer’s first experience in the composer’s performances. Having received good practice in Sadko (the part of the Varangian Guest), The Tsar’s Bride (the part of Malyuta Skuratov), A. Antonovsky once again coped with the task superbly. References to newspaper materials and archival documents reveal the attitude of criticism to the stage images created by A. Antonovsky, to his performance of the role of Pan Voyevoda. The drama of the musical image of the main character is revealed through the analysis of the tonal plan for the development of the Voyevoda’s leittheme in Act IV, which is full of special tension and poignancy. The semantics of the dark tonalities used by the composer help to reveal the diversity of the hero’s feelings and deep penetration into the psychology of his experiences.

The article is dedicated to two participants of the unique round-the-world journey of starving Petrograd children (1918–1921), rescued by the American Red Cross during the Civil War: Irina Venert and Leonid Yakobson. The fate of each of them was connected with the formation of such an artistic phenomenon as “Soviet ballet”. The author analyses the creative uniqueness of Yakobson’s gift as a ballet master and his artistic discoveries. It tells how an experienced viewer, armed with literary abilities, becomes a ballet critic in essence. It happens with Irina Venert. The forms of her statements are varied, the most numerous letters are reviews of performances of idols she honours as leaders in their generation. Her choice of heroes among the performers is very strict and limited: B. V. Shavrov, G. S. Ulanova, G. T. Komleva, V. V. Vasiliev. They are all united by common creative aspirations. The connection between Venert and the founder of Soviet ballet studies Y. I. Slonimsky is traced.