СЦЕНІЧНИЙ СИНТЕЗ МИСТЕЦТВ МОДЕРНУ
STAGE SYNTHESIS OF ART NOUVEAU

Summary/Abstract: The purpose of the article is to determine the synthetic dimensions of modern culture as a particular communicative space. The methodology of the research is based on the application of methods of analysis of scientific literature, art-style analysis of works of fine arts to identify their subject-shaped series, and principles of form formation in the context of artistic communications. The scientific novelty is to find out the structure of synthetic trends of Art Nouveau style in its stage space. Conclusions. Art Nouveau style presents the subtle principles of stylism, which combined organism, ornamentalism. The harmony of style was more hypothetical than existing. In each work, one can see how harmoniously, disharmonious, and polyphonically the realities of the world of architecture, synthesis of arts, stage synthesis are combined. Thus, the modernist I. Stravinsky, O. Benoit, M. Vrubel, M. Roerich are not remakes that are mystified and transformed into a specific heroic epic. It is an authentic outburst of the spirit of breaking the classical culture. Art Nouveau is now emerging as a modeling system that actualizes the nostalgic scene. A. Tarkovsky, at one time, was very close to modern installations of culture (eternal juvenility and absolute spirituality), which is especially noticeable in his cinematic interpretation of S. Lem's Solaris. The director dreamed of some mystical power that exists outside of practice, outside the world, beyond individual choice, beyond the courage to be. The Art Nouveau style has a vast scene of world culture, in which its unique synthesis of the arts has formed. Theatricality is present in architecture, interior decoration, painting, graphics. Based on style invariance, all kinds of arts interacted in a shared communicative space and in separate stage ensembles, in particular opera, ballet art, etc.

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