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Филмовата емулсия – пътуване във времето

Author(s): Angela Gotsis / Language(s): Bulgarian / Issue: 2/2020

Experimental films abound in visual practices that use the motion picture film as an artistic expression by its right. The twentieth-century avant-garde cinema left a heritage of techniques – painting on and scratching the film emulsion, perforating, and gluing objects on it. The article displays various techniques developed by the experimental filmmaker Steven Woloshen. While integrating the abovementioned modes of artistic expression, Woloshen’s contribution to experimental (cinema) lies in his film destruction techniques. By rotting, boiling, and fermenting the film, Woloshen creates a kaleidoscope of abstract moving images. The author forms a new aesthetic, that of the damage.

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ФІЛОСОФІЯ АНАЛІЗУ МУЗИКИ АБО ГОРИЗОНТ, ЩО ПОСТІЙНО ВІДДАЛЯЄТЬСЯ

Author(s): Valentina Redya / Language(s): Ukrainian / Issue: 1/2021

Review of: Redya V. - А. Kravchenko «Instrumental chamber art of Ukraine. Late XX – early XXI centuries (semiological analysis)»

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Філософські та богословські основи іконо творчості

Author(s): Andrii Demianchuk / Language(s): Ukrainian / Issue: 1/2020

The purpose of the article is to study philosophical and theological principles of icon-painting, explain the material and spiritual nature of the icon, determine its principal difference from the non-sacral secular art, to show the role of the canonical icon in a Christian temple, its link with Liturgy. Methodology. A complex of methods has been applied in the study, such as: historical, comparative, analysis and generalization methods, descriptive, iconographic (principles and methods of depiction); technological; theological (analysis of the Bible texts); philosophical (substance and phenomenon; content and form; necessity and chance, etc.); inductive and deductive methods, etc. Owing to these methods we have studied philosophical and theological principles of icon-painting, explained the spiritual and material nature of the icon and its difference from secular art. The scientific novelty of this work is in revealing the role of philosophical and theological principles of icon-painting. In this context, we have studied the material and spiritual nature of the icon and, in particular, revealed its fundamental link with Liturgy. Conclusions. The icon is a sacral work that has not only the material but spiritual character as well. This explains its link with Liturgy. It is based on the philosophical and theological principles that do not contradict but supplement the established canonical iconographic rules elaborated in the 9-10th centuries and the national art traditions. In today‘s sacral art along with the use of the established traditional symbols there exist attempts to create the new specimens of a transcendental icon. We shall note that the underlying rationale of the transcendental icon is God’s secrets open to perception a priori (through faith) and a posteriori (through experience). Therefore, the icon through its transcendental nature must, as it is done by the Word of God, reveal God’s secrets and deliver them to all people. The icon is also metaphysical. This is a very valuable property that makes it different from other works of secular art, for example, from a portrait. There are many definitions of this term in philosophy, but metaphysics in theology has a concrete content: this is a high spiritual world of God’s existence. Jesus resurrected from the dead and His saints are in this world and they are the objects of imaging in the icons. The icon is ontological as it expressly shows the possibility of a perception of the supreme cause of existence. In the philosophy ontology is the branch exploring the supreme foundations of all things in existence, sources of existence, moving forces of the world-building. Christian ontology shows God as the primary source of all things in existence. However, exploring the problem of philosophical and theological principles of icon-painting still requires more detailed studies and new approaches.

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Фолклорни и извъневропейски елементи в западноевропейската музика от втората половина на ХХ век: Жан-Клод Елуа и Хосе Луис Кампана

Author(s): Ivanka Stoianova / Language(s): English,Bulgarian / Issue: 2/2019

The article is a follow-up to a paper delivered at an international conference on Bulgarian Musicology: Retrospectives and Perspectives (2018) dealing with various trends in the adoption of Extra-European influences, the earliest of which having to do with some contemporary transcriptions of folk songs in compositional works from the second half of the twentieth century. The previous publication brought forth one of these trends, i.e. the contemporary transcriptions of folk songs as evidenced by Luciano Berio’s oeuvre; two more trends have been outlined and exemplified here through the creative work of next-generation composers Jean-Claude Eloy and Jose-Luis Campana. The first one is manifest in the use of specific vocal/instrumental techniques and formation principles, and the second in the invention of a new musical substance by means of contemporary technologies allowing for the use of instrumental timbres previously unknown to the Western-European tradition. These developments in European compositional work have been interpreted as a testimony to the process of overcoming the aesthetics of exoticism in the conditions of contemporary globalization.

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ФОРМУВАННЯ І РОЗВИТОК КИЇВСЬКОЇ ШКОЛИ ХУДОЖНЬОГО ТЕКСТИЛЮ: ТРАДИЦІЇ ТА НОВАЦІЇ

Author(s): Olena Maydanets-Barhylevych / Language(s): Ukrainian / Issue: 1/2021

The purpose of the article is to outline – based on analyzing the development of the Kyiv School of Decorative Arts in context of the historical and artistic process of the XXth to XXIst centuries – the main principles of specialization Art Textiles on the ground of the Mykhaylo Boychuk Kyiv State Academy of Decorative and Applied Arts and Design. The methodology consists of applying an art history approach to historical and artistic analyses of works of artistic textiles, as well as the systematic consideration of peculiarities of the Kyiv School of Decorative Arts. The scientific novelty lies in the substantiation of a phenomenon of the Kyiv School of Art Textiles, creative pedagogical and scientific-methodological means in teaching students, themes of diploma theses as an important component in preserving ethnic memory, and national-cultural identity. Conclusions. The results of the study highlight the features of the artistic language of the Kyiv School of Textiles, the specifics of scientific and pedagogical methods used in the Academy, as well as the creative guidelines of the teaching staff. Defined are prospective trends of development and strengthening of the Department of Art Textiles and Costume Modelling, principles of comprehending the conventional art and its transformation into the newest stylistic forms to meet today‘s requirements. The scientific research gives an idea of the current state of decorative art and artistic textiles, and the creative contribution of the scientific and pedagogical staff of the ATCM Department in the context of the integration of Ukrainian art into the European cultural space.

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Формування національної ідентичності українського суспільства засобами театру

Author(s): Nataliia Leonidivna Yuhan / Language(s): Ukrainian / Issue: 2/2019

The purpose of the article is to examine the plays of contemporary Ukrainian playwrights who depict the most acute social and political conflicts of the era, analyze their poetics, the features of functioning in the cultural space of Ukraine and the possible influence on the formation of the national identity of society. The methodology consists of the use of methods of analysis, synthesis, comparison, as well as hermeneutic, cultural-historical, sociological approaches. The scientific novelty of the work lies in the fact that for the first time in the history of Ukrainian literature and theater an integral analysis of the plays of contemporary national playwrights N. Marchuk, P. Arye, N. Simchich, J. Bezpyatchuk was carried out, their performance features in the cultural environment and significance for society were studied. Сonclusion. The author came to a conclusion that, referring to the tragic historical events of Ukraine, modern playwrights combine a historical basis with elements of the Baroque drama, analyze history through the prism of modernity, but at the same time base on realism as an artistic method of depicting reality. The ideological differences between the Ukrainian people and accomplices of the communist regime or part of the Russian-speaking population of modern Ukraine who are oriented toward the so-called «Russian world», are reflected in the personal relationships of the characters of the plays and go beyond the stage action. The plays of contemporary Ukrainian playwrights contribute to the formation of historical Ukrainian-centric and social memory, and this, in turn, affects the formation of the national identity.

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ФОРМУВАННЯ ТА РОЗВИТОК ТЕХНІКИ ВИКОНАННЯ НА ПУАНТАХ У КЛАСИЧНОМУ ТАНЦІ

Author(s): Hanna Oleksiyivna Perova / Language(s): Ukrainian / Issue: 33/2018

Purpose of the article is to identify the main stages of the formation and development of dance technique on pointe shoes in classical dance. Мethodology. Based on the analysis of the scientific literature, the use of the historical chronological approach, the method of systematization, it was possible to conduct a scientifically objective study. Scientific novelty. In the article the periodization of the development of dance technique on pointe shoes as a component of the evolution of classical dance Conclusions. It is sufficiently conditional to distinguish periods in the process of evolution of the technique of dance on pointe shoes. The origins of the technique of dance on pointe shoes reach antiquity and the Middle Ages.

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Формы социальной активности молодой интеллигенции 1960-х годов в пространстве провинциального города

Author(s): Natalia Yurievna Krivopalova / Language(s): Russian / Issue: 3/2018

The article shows the activity of the young Samara intelligentsia as a part of City youth club as reflection of new social, ideological and art tendencies of the 1960-s. Forms and content of work of the clubmen seeking to become participants of public life of the city are analyzed. The main projects of club which have changed space of a country town and put significant cultural traditions are revealed.

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ФОРТЕПІАННЕ МИСТЕЦТВО КОМПОЗИТОРСЬКОЇ ШКОЛИ ОДЕСИ: ПЕРЕДУМОВИ І РЕАЛІЇ (ВІД ХІХ – ДО ХХ СТОЛІТТЯ)

Author(s): Ludmila Ivanova / Language(s): Ukrainian / Issue: 37/2020

The purpose of the article is to mark the style main position of Odessa composer creative community on the base of the analysis piano works of the significant for this city’s creative personalities from XIX to the XX century. The methodology of the study is revealed in riverbed intonation approach that is to say by means of beliefs about the unity of process factors in music and speech, as this bequeathing in works of B. Asafiev and his followers in Ukraine, unrolled specified interdisciplinary generalization, on the example textbooks of A. Losev, R. Ingarden, E. Nazaykinkij, E.Markova, and others. The scientific novelty of the work is conditioned by originality style categorizations of composer regionalism of the Odessa since the given approach to piano works on objective history reason was not brought forth. Conclusions. Piano compositions of composers presented Odesa creative this sort school from XIX to XX century that is to say in time of the bloom of the Odesa as the center of the South of Ukraine and the largest her city demonstrated reaction, first, on winnowing the modernist style-vanguard this history stage, in some cases overtaking creative openings Petersburg and Moscow, secondly, correlations of the Ukrainian-Russian and other national introductions formed the harmonic interaction and this differed from another large center of the Ukraine level Kyiv, Lviv and exceeding activity Harkov on meant temporary area. As a whole piano creative activity, either as art in general, exceedingly harmonious is bound was with culture of the salon as an aristocratic cultural donation that was defined by the official status of the Odessa - the third city to empires, which inertia of the position was saved up to begin Second world war.

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Фотографията като документ. Временна скулптура и празнична украса за 1 май 1945 г. в София

Author(s): Maria Miteva / Language(s): Bulgarian / Issue: 4/2020

This article is based on photographic images as the sole evidence of the visage of temporary artworks. An object of interest is the monumental decoration put up on the occasion of May Day, International Workers’ Day in 1945, in Sofia, Bulgaria’s capital. A parallel is drawn between the images of sculptures, captured in nine photos from the photographic archive of Todor Slavchev (1900–1992), and information in records from the archives of the Union of Bulgarian Artists and major publication on the subject. This paper focuses on problems of art commissioning (mainly public) and art-commission relation, as well as on the structures and the organisation of art practices in the decade preceding 9 September 1944. The article seeks to trace the ‘evolutionary’ line in the development of the processes, rather than the ‘revolutionary’ one, proclaimed under socialism. The facts of the report by the evaluating commission on the artwork performed on the occasion of Labour Day are provided in detail, citing the teams and their artworks. The subject of labour was visualised by presenting the main sectors of the then Bulgarian economy: farming (figures of a “Sower” and a “Female harvester”), crafts (“Smith”), mining (“Miner”), industry (“Industrial worker” and “Female tobacco worker”) and construction (“Builder”). War, an undesired, yet existing reality, was also included in the statuaries (“Warrior”) and the still discernible role of intellectuals (“Mental Work”). A figure of a “Partisan” pointed towards the hero of the new era.

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Фотографските конкурси – пречка или стимул за развитието на българската фотография? Фокус върху 70-те и 80-те години на ХХ век

Author(s): Katerina Gadjeva / Language(s): Bulgarian / Issue: 2/2019

Tens of photographic competitions were held in Bulgaria in the 1970s and 1980s. These activities were presented like an opportunity for comparison, improvement, evaluation. Their development was purposely stimulated by the authorities as a tool to control the media. Participating in such competitions was a major concern not only of amateurs, but also of professionals. The evaluation criteria for both were the same, and this led to a number of problems. This paper focuses on whether competitions helped Bulgarian photographers or rather hin-dered them and what their real impact on the photographic life in Bulgaria was.

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Фотокнига ли е „фотокнигата”

Author(s): Nadezhda Pavlova / Language(s): Bulgarian / Issue: 4/2020

The article investigates the terms photobook, photographic book and photographically illustrated book and how these terms have been used in different periods; when they have come into being; in which scientific or art researches they occur. The emergence and increased use of the designation „photobook” at the turn of the twenty-first century is considered. The text goes back to the second half of the nineteenth century to delve into the earliest sources in which the use of the term occurs. A graphical analysis by Jose Luis Neves is presented using the Ngram Viewer tool, which outlines the frequency of use of the abovementioned terms, from the mid-1800s to 2019, in digitised English texts in Google Books. The data obtained seem reliable enough to serve as evidence of the predominant use of „photobook” in the last two decades and its scarcity in previous periods. Following the graph, the publications that have contributed to the popularisation of this term are considered. Several iconic ontological studies are presented, which reconsider the history of photography through its role in publications and their contribution to the shaping of the contemporary understanding of „photobook”. The coming of a parallel form of photobook, which replaced the photo album on paper copies and was launched onto the mainstream market, is considered, as well as the reasons for such replacement: the arrival of digital technologies in photography and printing. Recently published books are also described, which guide the more ambitious authors on how to self-publish.

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ФРОНТОВИЙ РИСУНОК УКРАЇНСЬКИХ МИТЦІВ ПЕРІОДУ ДРУГОЇ СВІТОВОЇ ВІЙНИ

Author(s): Yuliya Maystrenko-Vakulenko / Language(s): Ukrainian / Issue: 40/2021

Purpose of the article. During World War II, hundreds of Ukrainian artists were at the front. The drawings they created were a powerful source of propaganda for the Soviet regime. At the same time, in the general unity of the fullscale front-line drawing the individual features of artists of great artistic skill are clearly traced. The aim of the article is to determine the circle of leading Ukrainian artists who during the Second World War were in the troops of the Workers 'and Peasants' Red Army (RSCA) and worked in the field of drawing; to study the genre, artistic and stylistic structure, as well as materials and techniques of frontal drawings; identify the features of the reproduction of space-time in the front-line drawing of Ukrainian artists. Methodology. The study is based on the principle of historicism, a combination of historical and cultural, contextual methods, art history image and stylistic and system-comparative analysis. Scientific novelty. Peculiarities of human psychology of perception were clearly manifested in the drawing of frontline artists. The compression of the time field in the drawings of frontline artists is due not only to the doctrine of socialist realism, which was based on spatial three-dimensionality, but also to the peculiarities of human perception of time and space in stressful conditions. This also explains the difference of time display in the drawings created by the artists in the conditions of the front and evacuation. Artists, whose period of study coincided with the years of the avant-garde, the introduction of formal foundations of art in educational institutions, have achieved a much deeper and broader interpretation in the drawing of temporal and spatial categories. Conclusions. Frontline sketches were pictorial diaries: notes, sketches that were intended to be triggers for memories, for further writing of pictorial "memoirs" - paintings on the theme of war. This theme of Soviet propaganda will become a pass for future decades in all artistic spheres, both artistic and literary, musical, film and theater, etc., ensuring the favor of party leaders and the respect of the average Soviet man. Drawings of Serhiy Hryhoriev, Zinovy Tolkachov, Vasyl Ovchynnikov, Anatol Petrytsky, Georgy Melikhov, Anton Komashko and other prominent Ukrainian artists are distinguished by the ability to give the passage of events the meaning of epic generalization, elevation above the simplified goal of capturing the moment.

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Функции на цвета в съветското кино от 60-те години на ХХ век

Author(s): Nataliya Nyagolova / Language(s): Bulgarian / Issue: 1/2018

This report features the functions of colour in the Soviet cinema films in the period of The Thaw. In the 60s, a refusal of colour use and filming of black and white movies is a frequent phenomenon (M. Hutsiev The Stands of Ilich, 1962, Yosef Heifits The Day of Hapiness, 1963, S. Gerasimov Journalist, 1967, V. Basov Shield and Sword, 1966, P. Todorovski Magician, 1967, etc.). The use of this technique was defined by several factors:– the desire of the cinema of the Thaw to defer from the decorative and theatrical colour scheme of the Stalin era;– turning light into a main instrument of the “cinema language”;– the poetic approach to the film narrative and the specific drama effect of the visual plot structure of the films;– the claim of the cinema artists of the 60s to create an author’s independent and intelligent cinema, without any relation to popular art.

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Функционалізм Баухаузу та його вплив на розвиток дизайну і реклами (до 100-річного ювілею)

Author(s): Svitlana Valeriyivna Pryshchenko / Language(s): Ukrainian / Issue: 4/2019

The purpose of the article is to theoretical summarize the significant influence of the Bauhaus higher school of Architecture and Design (1919–2019), the cultural symbol of Germany on the formation and development of art-project activities of the 20th – beginning of the 21st cent. The methodology consists in the interdisciplinary approach to forming the design objects, using system-structural, socio-cultural, axiological, art-historical and comparative methods. Scientific Novelty. The culture-aesthetic fundamentals of functional style in the subject-spatial and visual-informational areas are comprehensively considered: the furniture, utensils, textiles, sign forms, industrial and advertising graphics, photographics, poster, packaging, book design, web-design also. Based on the stylistic analysis of empirical materials from different countries, it is proved that the style of the Bauhaus school has artistic and functional values, and its works have received the status of world artistic heritage. Conclusions. In the conditions of contemporary stylistic chaos, the transformation of Postmodernism into Post-postmodernism and production glut, Functionalism are becoming increasingly popular in the varieties of Design and Advertising. The study made it possible to conclude that along with the postmodern and post-postmodern tendencies, the fundamental foundations and principles of Bauhaus compositional formation continue to live. At the beginning of the XXI century. in terms of style chaos, functionalism, constructivism, minimalism, sometimes combining with elements of other styles, forming modern polystyles, are quite popular in the varieties of design and advertising. Analyzing the components of the art and design culture, paying special attention to its aesthetic problems, we emphasize, firstly, Bauhaus has significantly influenced the design and advertising in the context of visual communications, and secondly, the formation of design objects is determined by the target groups based on target groups certain functions and aesthetic ideals. The processes of globalization and deglobalization have led to contradictory situations in the cultural and artistic environment, characterized not only by diffuse enrichment, eclecticism, kitsch, pseudonationalization, but also by the return to the "world of pure forms" of the Bauhaus - flatness, geometry, search of color graphs.

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Ханс Зедълмайр (1896–1984): Структурен подход и предмодерни ценности

Author(s): Angel Angelov / Language(s): Bulgarian / Issue: 3/2021

The prevailing part of art historians, critics and theoreticians from the mid-1950s even until today feels related to the means of expression of the modernist art trends from the last decade of 19th c. until the end of 1960-s. Modernism has become a sacred text, whose complexity should be interpreted, but not criticized. Sedlmayr’s conception of art is built on moral, religious, aesthetic and political grounds, which are the very reason for the actuality of his works – both in the specialized sphere of art history and in the wider public debate on values. That is why I will analyse his structural approach mainly in relation to his anti-modern conception of art. This is the task of this study. Sedlmayr’s effort to turn art history into a “strict science” is an independent part of his scientific pursuit; it is in relation, but is not subordinate to his conception of modern art. Those publications of his are discussed but only in the specialized literature on history of the methods in humanities, while his conception against modern art acquires an exceptional popularity. Because of that reason his theoretic contribution to the study of art remains in a penumbra. I argue that Sedlmayr’s conception has the following coinciding points with the official understanding of art in the time of socialism: – A denial to estimate art with aesthetic criteria, which the ideologists of socialist realism define as formalism, and Sedlmayr as aesthetism; – In socialism art should represent a positive ideal; Sedlmayr calls this ideal “human measure”;– Art should habituate to morals; – A conviction that the modern art from the end of 19th c. on is decadent; – A criticism against the “dehumanization” of art.

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Характерні види техніки у творах пограниччя класицизму й романтизму

Author(s): Zinoviy Pavlovich Burkackiy / Language(s): Ukrainian / Issue: 3/2018

Purpose of the article is an analysis Concerto for clarinet with orchestra J.Stamitz, W.Mozart and the First from four compositions of this sort L.Spohr in directivities on revealing the most impressive responsible moments of sounding, which require escalated attention of the performers when preparing to appearance and in the process of the concert play. Scientific novelty of the study is defined that that for the first time in domestic musicology are analyzed in elected foreshortening of the works of J.Stamitz, W.Mozart, L.Spohr. Conclusions. From offered history review follows that phenomenon of the concert interpretation of the clarinet with the artistic approbation of his specifics in composer creative activity J.Stamitz, W.Mozart, L.Spohr formed in a time of the late classicism - an early romanticism. In recommended burn-in collection etude more than 70% whole material is subordinated, naturally, specified base technicianstroke factor mastery of clarinetist. Offered jagging of the passing of the technical borders in working of the clarinetist professional, from beginning to Master, concerns the gradation of the difficulties accordingly stage technical and of the artistic growth of instrumentalist and particularity his readiness. However, specified three base technicians-stroke positions (lеgаtо, stаccаttо, detached), which source moment is realized "imitation operatic vocal" (lеgаtо), but instrumental "facility" show two other technical acceptances, - cover, as far as possible, the whole instructive material in collection, collected by author given work. In them incarnate stylistic "symbols of mastery" of clarinetist, forming source point and development art plays itself on clarinet.

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Харпократ в Тракия през Гръко-римската епоха

Author(s): Vessela Atanassova / Language(s): English,Bulgarian / Issue: 25/2020

When Ptolemy I became ruler of Egypt (306 BC), he continued to have interests in Thrace and Asia Minor where Lysimachus, its ruler, married his daughter Arsinoe II. Most likely, their wedding was fixed with certain benefits, which led to the permanent presence of the Ptolemy in Southern Thrace. In fact, the whole 3rd century was marked by the presence of the Ptolemies in Thrace. This for sure, but also for some other unclear reasons facilitated the spreading of the Egyptian cults in that region. Several Egyptian deities, mainly Isis and Sarapis, but some other deities in relation with them, were found on various documents attesting their presence in Thrace from the Hellenistic period to the end of the Roman Era. Harpocrates, the presumed son of Isis and Sarapis in Greco-roman period, was one of those deities. Unlike his divine parents, he was a synnaos theos and his cult spread on a different manner. According to the monuments he was more likely worshiped because of his qualities as savior god and his magical competences. The study will examine the existing documentation and will discuss the mechanisms of spreading of the Harpocrates cult in Ancient Thrace from the Hellenistic period onward.

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Хореографічна освіта в Україні (1945-1975 рр.)

Author(s): Nadiya Oleksandrivna Gorbatova / Language(s): Ukrainian / Issue: 39/2017

Purpose of Article. To review and analyse the features of higher choreographic education in Ukraine (1945-1975) in the context of improving the professional practice of the teaching staff of vocational schools and training schools for the training of cultural workers, as well as to explore the problems of the formation and development of the Amateur choreographic art as an important component of choreographic education. Methodology. The methodology of the certain research is the organic combination of the basic principles of research: objectivity, historicism, systematic, integrated approach, development and pluralism, and to achieve the objectives of the study the following methods of scientific knowledge: problem-chronological, specific historical, statistical, descriptive, logical and analytical. Scientific Novelty. Scientific novelty of the work consists in a comprehensive study of the state Supreme choreographic education in Ukraine in the context of reorganization of the educational process of the period 1945-1975 and analysis of the organization and operation of Amateur dance groups in the system of extracurricular education and leisure activities. Conclusions. The basic theoretical foundations of Amateur choreographic education in Ukraine 1945-1975 were developed the structural units of the Ministry of culture of the USSR, Central House of folk art of the USSR and the leaders of the groups and musicians who adopted the experience of leading teachers of choreographic art, enhancing their own professional level and shaping the principles and methods of dance pedagogy.

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ХОРЕОГРАФІЧНИЙ СИМФОНІЗМ У КОНТЕКСТІ ОНОВЛЕННЯ УКРАЇНСЬКОГО БАЛЕТНОГО ТЕАТРУ (50-60-ті рр. ХХ ст.)

Author(s): Kateryna Lukyanenko / Language(s): Ukrainian / Issue: 36/2019

The purpose of the article is to identify the specifics of integrating the principles of choreographic symphony in the Ukrainian ballet theater during the Khrushchev "thaw." Methodology. The method of historicism is used (to study the process of introducing dance symphony in the context of the particularities of the cultural and historical situation); typological method (which helped to identify the specifics of the construction and composition of dance forms); comparative analysis method (for comparing the methods of revealing the character of a hero through dance in ballet performances on the stages of Ukrainian theaters of the 50-60s of the XX century); method of the stylistic approach (aimed at determining the specifics of the choreographic structure of ballet productions) and other. Scientific novelty. The concept of "choreographic symphony" in the context of the innovation of the creative search for domestic choreographers of the 1950–1960s; the methods of choreographic symphonism as a new form of ballet performance were identified and characterized, and the contribution of the Ukrainian choreographers A. Sheker, V. Vronsky, M. Tregubov, N. Skorulsky and I. Kovtunov to the development of the artistic-figurative forms of Russian ballet art was determined. Conclusions. The study of choreographic symphonism in the context of updating the Ukrainian ballet theater of the 50–60s. The twentieth century, on the example of productions of leading domestic choreographers, revealed that individual ballet performances, mass or solo parts are based on the development of choreographic themes with their parallel development and contrast; combination of choreographic themes with music; unity of musical and choreographic forms; conducting rhythm in tact and thematic terms; coincidence of choreographic emotional and sound-emotional upsurge, as well as colorful instrumentation and dance movements. Elements of ballet symphony, manifested primarily in the specific construction of the composition, were actively integrated by Ukrainian choreographers to achieve innovative choreographic expressiveness based on dance and in accordance with the imagery, the structure of the musical score.

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