Memories of Nikolay Tsiskaridze about outstanding ballerina Marina Semenova, a graduate of the Leningrad Choreographic School (now ARB them. Vaganova). The story about Semenova’s lesson for soloists of the Bolshoi Theatre and her teaching method.

The article is devoted the unknown works of Soviet theater’s artist Anatoly Alexandrovich Kolomoitsev, N. Akimov’s talented pupil, who died on the Leningrad’s front in 1942, 25 years old. The author introduces into the scientific turn Kolomoitsev’s sketches for the ballet by B. Asafiev «The Night before Christmas» (1938, choreographed by V. Varkovitsky) and choreographic miniatures, that were staged at the Leningrad Choreographic school at the end of 1930-ies («Yurochka», «Norwegian dance», choreographed by L. Yakobson). The author reveals in the study features of Kolomoitsev’s stylistic manner, its working methods with artistic images and stage space, author identifies the artist’s penchant for Comedy performances. Presented sketches and fotos are published for the first time.

The article presents a brief outline of the creative biography of Vadim A. Sirotin - the ex-soloist of the Mariinsky Ballet, choreographer-tutor, lecturer of Vaganova ballet Academy,.

M. Frangopulo’s memoirs, devoted to the Great Patriotic War of 1941-1945. With the Theatre of Opera and Ballet named S.M. Kirov author was evacuated in Molotov (now Perm). In these parts fragments of memoirs were published in the local newspaper. Manuscripts, surviving in the archive of Vaganova ballet academy, for the first time published in full. The final part of the manuscript (first and second parts were printed in №№ 38-39.

Article devoted the social, psychological and aesthetical causes for confrontation between Prokofiev and Balanchine at the time of composing «Prodigal Son» ballet are investigated. This ballet, initiated by Diaghilev, was created in accordance with the complementarity principle, with ambivalent musical and choreographical components in their contradicting unity.

It is noted that masterpieces of Yakobson’s musical and choreographic theater were born and still live on because all the components of ballet creativity are successfully balanced.

S. Diaghilev is known for his discoveries of numerous composers for European audiences. Among them was Russian émigré, composer, songwriter, poet, musical writer V. Dukelsky (Vernon Duke), who had made his debut at Ballets Russes with ballet «Zephyr et Flore» in 1925 and later moved to the United States. Author of the article explores historical background of Diaghilev’s and Dukelsky’s collaboration and following reminiscences of it in Dukelsky’s work. The article is focused on cantata «Epitaph» which was the composer’s homage to Diaghilev’s memory and which was composed by Dukelsky to pay last respects not only for impresario but for ending epoch of European culture as well.

Five new ballets staged by young Russian choreographers were performed during last two seasons in the Yakobson Ballet Theatre. Evening of ballet «The Faces of Contemporary Choreography», that has become the first production created by young ballet masters, has given a name to the development strategy for the theatre, headed by Andrian Fadeyev. Following the Yakobson’s idea to create the place where young choreographers could be searching for «new forms» Andrian Fadeyev has already invited to cooperation Anton Pimonov, Vladimir Varnava, Konstantin Keikhel. Each of them has their own distinctive idea of dance and ballet performance. And this is the reason their ways of working with the same company worth being represented and analyzed.

Article is dedicated the maintenance «ballet physical form» during the vacations with help of special gymnastic. Purpose gymnastic is not only to preserve and improve the physical abilities of children, but in reducing injuries. Testing of this gymnastic was carried out on students grades 1-2 Vaganova ballet Academy.

The author describes the air gymnastics «Unnata Aerial Yoga» and the possibility of its application in the art of ballet. This gymnastic may not only contribute to the improvement of professional ability of ballet dancers, but also to help during recovery after exercise or injury.

Research of a technique of teaching classical dance A.Y. Vaganova and identification of her intrinsic bases is a key to understanding of the mechanism of training in classical dance and formations of professional competence of pupils. Professional competence of pupils includes knowledge and ability to put into practice the logic of development of movement skills put in Vaganova’s system.

In the article presents the results of a research of general endurance of students Vaganova ballet Academy based on the Harvard step test, as well as the results of a research of the reaction of the cardiovascular system to the load during a lesson of classical dance.

Currently, classical dance is experiencing an «endurance test» because of the great number of different styles and forms of modern dance. In order to preserve the overall aesthetics of the Russian School of Ballet, the new method would have to be developed, connecting original traditions with the requirements of modern dance - enhanced performance technique and skills of acrobatics. The necessary innovations in ballet education can be based on new discoveries about the human body. Modern medicine possesses everything necessary in its knowledge of anatomy and biomechanics to lay a foundation for a new system of artistic training. It can determine the further development of classical dance and enable graduates of the Academy of Russian Ballet to retain a prior lead position in the ballet world.

Very difficult to overestimate the importance of a foot condition for a career of dancer. Formation of the arches of the foot going during the period before enrolling in higher education and professional dance schools. This article presents the results of research the state of the arches of the foot of students of the Vaganova ballet Academy 8-9 and 1st grade. In addition, the results of the author’s methods of prevention flatfoot for preschool children.

The view of body of the dancer’s (such as weight) is one of the key elements of the esthetics of classical dance, it is especially important for the dancer’s women. One indicator of the level of body weight is body mass index. If there are deviations from the normal level of the index requires more careful study of the component composition of the body. In the sports disciplines this practice is deeply developed, in contrast to the classical ballet. In the absence of data regarding of the normal body mass index of the dancers, and also a component of body composition, it is important to research this issue. This article presents the results of the research of body mass index and body composition component pupils graduating class of the Faculty of Performing Vaganova Academy of Russian Ballet.

Based on the increase of physical activity in the ballet, as well as the complexity of the system of training of the future ballet dancers, the author article sees the need to develop and implement in the training of future ballet dancers medical-pedagogical control.

In this article highlights the importance of breathing exercises for ballet dancer, statistical data about the functional status of the respiratory system pupils Vaganova ballet Academy, from Laboratory of medical-biological accompanying of choreography in 2011-2015. Particular attention is given to the experimental use of flight director specially developed breathing exercises, results of experiment and discuss them.

The article deals with the problems of the constituent elements of medical and biological support of choreography: medical and pedagogical control, scientific research, medical and biological component of choreographic education. A comparison with the development of medical and biological support in the PC&S and ballet schools abroad.

In the article presents the results of the analysis somatotypes of students 1/5 class (performing faculty Vaganova ballet Academy) by scheme Heath-Carter.

The article is devoted to study of self-esteem of adolescent ballet dancers. Surveyed 150 students in grades 3-7 (105 boys and 45 girls) aged 12 to 18 years. Method: a modified technique of Dembo-Rubinstein, composed of 7 bipolar scales. The study authors identified 5 types of self-esteem: «balanced», «euphoric», «depressed», «disharmonious» and «psychopathic». The article described the risk factors of maladjustment of individuals with the last four types.

Preserving the health under intensive physical and psycho-emotional stress during training is central problem in the practice of dance schools. At the same time in the North on the human body affect the specific environmental factors causing significant tension of regulatory mechanisms. Good nutrition, providing increased needs of the organism, is the key to successful adaptation and maintaining work capacity. Development of nutrition standard for specific age, sex and professional groups should be based on scientific research, using modern methods of objectification of energy requirement and costs.

The aim of the article is to analyze the phenomenon of frame of thinking in music of postserializm. As a scientific paradigm, it had a strong influence on modern consciousness, and the specifics of the composer’s thinking. The new concept of music is a universal frame structure - a mental construct, a way of thinking, the structural frame, which becomes a tool for the design of the content. For postserialistic epoch framing the way the information becomes heir to the tradition of serial structural thinking and at the same time sound and visual way to maintain relations with tonal music. This method has the information capacity and versatility. It is based on identifying the relationships of various elements and forms a visual representation of information, often with the help of graphic and symbolic structures. The author identifies three ways of frame presentation of information in the new music: the frame structure, the frame-visual image and frame the story. As the musical examples are the works of H. Lachenmann and S. Sciarrino.

The article is devoted to the problems of atmosphere and energetic nature of action of performance. Taking Michael Chekhov’s ideas about atmosphere as a soul of performance as a starting point, author gives the notion of the atmosphere as “the soul of character” and discribes appearing and life of the atmosphere in development of action of performance; the action of performance is regarding as a psycho-energetic process of changing of its creators in dialoge to each other.

The article addresses the phenomenon of the «panpsychic theatre» of L.N. Andreyev viewed from the perspective of theatre and art developments in the early 20th century. This approach helps to identify the origin of the new theatrical idea as well as its relevance and unique character. The article focuses on the « Letters about the Theatre» - Andreyev’s aesthetic manifesto, - which reflects his views on theatre and playwriting in the early 1910’s. The article dwells upon the notion of «panpsychism» introduced by Andreyev and draws distinction between «panpsychism» as a poetic device employed by the author in his plays of the 1910’s, and, on the other hand, «panpsychism» as a literary trend in the authors’s creative work of that time. The article also researches into the influence of A. P. Chehov’s novelty drama and its stage interpretation by the Moscow Art Theatre upon Andreyev’s creative work.

Statement of Tchaikovsky’s opera «Eugene Onegin» at the Bolshoi Theater (1908) is, in the author’s opinion, a clear indication of occurrence at the turn of the new century opera. Not pushing an authoritarian leader in the person of the chief director, opera performance is now anticipated mandatory presence of a single artistic-aesthetic concept of stage works. The authors of the play was a serious step on the way to the stage the decision of the director of the opera as a work of art.

In article analyzes the system factors of formation of academic music and the orchestral folk instrumentalism, which determined the ascending and descending lines in the process of combining traditional musical instruments in collective forms of playing in Mordovia.

Isabella d’Este was one of the most educated ladies of the Renaissance. In his personal quarters, as well as some other sovereign princes of that time created studiolo, a special kind of Cabinet, decorated in a special program, revealing the image of the ideal ruler. But she had nearby a «Grotta», which was a separate room for her collection. The outstanding collection of the Marquise of Mantua was predominantly works in different art forms, work from ancient and modern masters. There were sculptures, cameos and intaglios, medals and coins, vases of colored stone, made of silver, but also of the natural curiosities.

Clause is devoted to last, Fifteenth symphony of the largest representative of Russian culture. Its concept till now is actively discussed by researchers, and the uniform sight at it does not exist. The author results different, sometimes inconsistent sights of known musicians at this mysterious composition and states the treatment of its concept.

The author considers the existing periodization of creativity I.F. Stravinsky, and offers a critical rethinking of the process. The purpose of this article - to try to map out a periodization, which came to strict criteria of comfort, and to suggest other names periods. Noting as a new «stylistic zigzag» turn to the avant canon «In memory of Dylan Thomas» in the later work Stravinsky author believes that the interest in dodecaphony’s method to appear on the threshold of the 70-th anniversary of the composer, is one of the milestones in the evolution of style. Based on the two extended periods, of which the first is the leading newfolclor’s principle (1902-1923), and the second shall be approved by the new trend of the classics or classics of XX century (1923-1966), Stravinsky showed phenomenal daring quest and discoveries in the years of «The Rite of Spring» and balancing classic trends in the coming years.

The scores and the instructions as intermedia art forms take the important place in the genre system of the contemporary art. The history of their emergence is connected with the fluxus - one of the movements in the action art of the second half of the XX century. In this form of the action art is required the preliminary record of the plan of an estimated action. Such records gradually gained independent art value and became the form of a separate genre. Some fluxus special editions - collections of scores and instructions were created. In this article the specifics of these genres are considered, their origin and their role in the change of the relation to creativity in the contemporary art is traced.