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In the article for the first time in national study of art considered by the academic theory of dance and ballet renowned choreographers of the XVII−XIX century. Analyzed and translated into the state language of the unique theoretical foundations of the masters of dance and ballet Raoul-Auger Feuillet Jean George Noverr Carlo Pasquale Francesco Raffaele Baldassare de Blasis Leopold Adis August Bournonville.
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Purpose of Research. The purpose of the article is to analyse the theoretical principles of directing in the works of famous Ukrainian directors L. Kurbas, Y. Ilyenko and V. Kisin. The methodology of the research is based on interdisciplinary approaches, which allow to use the achievements of the history of culture, theory of cinema, theatrical, cultural studies, etc. The following methods are used: a comparative method allows us to compare the principles of directing in the fundamental works of L. Kurbas, V. Kisin and Y. Ilyenko; a historian one helps to highlight the universality of the principles of the creative process; the method of analysis gives the opportunity to highlight the basic ethical and aesthetic ideas of directing, which are described in the works of L. Kurbas, V. Kisin and Y. Ilyenko. Scientific novelty. The scientific novelty of the research is the analysis of the theoretical principles of directing in the works of famous Ukrainian directors L. Kurbas, Y. Ilyenko and V. Kisin and their praxeological dimension. Conclusions: The nature of the mass spectacle includes three spaces: stage, audience and temporal. This triune space requires the synthesis of many, even at first glance, incompatible means of expression, which determines such a principle as syntheticity, embodied in a combination of styles, genres and forms. In addition, it requires from the director-myth-maker, to professional skills, erudition, awareness, competence, mastery of professional terminology. All these postulates are contained in the creativity and practical activities of prominent figures of Ukrainian culture L. Kurbas, S. Ilyenko, V. Kisin.
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The purpose of the article is to study the theoretical foundations of understanding the phenomenon of the holiday, the definition of its potential and functions and the identification of the essential nature of the holiday. The methodology of work is based on the general scientific principles of research – terminological, historical and systemic. The purpose and objectives of the publication led to the use of such research methods: analysis and synthesis, which enabled to identify and analyse the poetic principles for understanding and to disclose the phenomenon of "holiday". The system-structural way allowed to reveal the functional components of the holiday. Scientific novelty consists in the study of the theoretical understanding of the phenomenon of the holiday, the discovery and substantiation of its potential role and significance in human existence. Conclusions. The study made it possible to state that the phenomenon of the holiday in its potential activates the cultural and artistic life of the people. The holiday has the assertive ability to preserve specific values that make sense to human life and are most characteristic of a particular social group, the people as a whole. The holiday is a cultural resource that promotes the transfer of cultural traditions and gives people the opportunity to make cultural self-identification. The holiday becomes a typical occasion for understanding the future, creating a model for a public organisation. Festive culture forms in man deeds, customs, norms of communicative communication, family, public, general public life, verbal formulas and gestures, ability to operate festive symbols, signs and objects.
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The purpose of the article. To study the influence of J. Pasha's treatises «Beschreibung Wahrer Tanz-Kunst» (1707) and G. Taubert «Rechtschaffener Tantzmeister, or the Gründliche Erklärung der fratzösischen Tantz-Kunst» (1717) on the formation of the theoretical foundations of dance teaching at the beginning of the eighteenth century in Germany. The methodology of the study consists of the principles of objectivity, historicism, multifactor, systemicity, complexity and pluralism; and to achieve the goal methods used: problem-chronological, concrete-historical, statistical, descriptive, logical-analytical. Scientific novelty. In the context of art studies study of the formation of theoretical basics of dance teaching in Germany at the beginning of the eighteenth century, the rare sources of European dance-masters - the treatises of J. Pasha, G. Taubert, S. Beer and J. Weaver - were reviewed and analyzed; the representation of contemporary dance choreographers about the theory of dance was determined and the aesthetic, theoretical and practical bases of ballroom, social and theater dance were analyzed; categories of Ausserliche Sitten-Lehre or visible ethics are considered, as well as substantiated the differences between the theory and practice and their interconnections; It was revealed that the theory of poetic dance is connected with practical questions of dancer's abilities and abilities, combination of steps, cadences, figures, etc. Conclusions. As a result of the art analysis of German rare sources of the 1700-1720's, it was determined that: dance theory based on aesthetics was formed and developed by dance master G. Taubert (1717), which, based on the generalization and comprehension of concepts and some aspects posed by J. Pasch, S. Beer and J. Weiver proposed a consistent theory of dance by studying the development trends and aesthetic values of dance art in the context of domination in Europe at the beginning of the eighteenth century French choreography.
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The purpose of the article is to reveal the role and significance of the art of the directing choreographer as thedriving force behind the development of the world choreographic culture. The methodology of the research is based on the general scientific analysis and synthesis methods as means for identifying the conceptual aspect of the choreographer-director art historical development in the process of mastering art studies, cultural literature, namely, historical-comparative and cultural-logical. Scientific novelty. In the historical context of the choreographic art evolution, the progress and the update of choreography, the development of ballet art in general, and ballet theater in particular, the fateful value of the choreographer-director art as a defining field is traced. Conclusions. The ballet theater is a synthetic art of creating visual and musical images. However, synthesis in ballet art is achieved only due to the extraordinary artistic thinking and the broad outlook of the choreographer to the holistic perception and figuratively-metaphorical reflection of reality. New trends and artistic currents primarily appeared in the work of choreographer-practitioners, and then there were theoretical justifications and declarations of the most modern aesthetic principles. The development of all genres of choreographic culture, as well as the enrichment of dance forms and expressive means of ballet, depends on the art of the choreographer-director.
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The main bulk of studies of G. E. Lessing’s dramaturgical and theoretical legacy is dated to the 1960s–1970s. However, given the present-day social transformations, it seems expedient to analyze his esthetical and art studies related writings in light of the views of previous generations of German philosophers, in particular, A. Schopenhauer, L. Feuchtwanger, E. Cassirer, G. Lukács, and others. Within this context, the system of Lessing’s views at theatrical art presents special interest, because previous researchers concentrated the main attention on the study of his purely dramaturgical works, whereas the enlightener’s findings as regards the stage art have obvious projections in theoretical thought of the 19th and 20th centuries. Lessing’s views were formed in the general stream of the new enlightenment paradigm, which actualizes the need to study his art studies-related legacy in correlation to philosophical and esthetical works of his predecessors and contemporaries. The change of worldviews in the 18th century could not but have bearing upon the cognition of the matters of art, particularly theatrical art. The beginning of Lessing’s theoretical activities falls to the period when esthetics has formed in Germany as a philosophical discipline in its own right. In view of the above, and for the purpose of more thorough cognition of the scholar’s esthetical and art studies-related legacy, cognition of the general panorama of the mid-18th century philosophical and esthetical thought also seems to be productive. The esthetic theory substantiated by the founder of esthetics A. G. Baumgarten has actualized combination of the rational and sensible origins in the art. But it was Lessing who, according to E. Cassirer, had the real influence onto the literature and art and ’who was able to synthesize the thought and action, theory and life, and therefore, completely realize Baumgarten’s requirement regarding vita cognitionis’. That, in particular, ensured his influence over development of theoretical problems of art as a specific field of cognition and gave certain meaning to the main esthetical notions. Relationship between the genius and the rule, difference of spatial and time-based forms of art, specifics of symbols they use, development of the typification, mimesis, catharsis, and other problems became a powerful impetus not only for the artistic practice of the 18th century but also for further theoretical esthetical discoveries. And although it seems that he represents ideological legacy of only the 18th century, it was him who completed esthetical thinking of the era, opening new opportunities of the literature and theatrical art, which gives reasons to regard his esthetical theories as not only a national but European achievement. The author notes the growing interest in the mid-18th century to genre-based specifics of art studied, besides Lessing, by J. G. Sulzer, G. F. Mayer, M. Mendelssohn. Lessing used M. Mendelssohn’s theory concerning mixed feelings when working on the matter of new means of expressiveness in the acting art. In order to understand the scale of Lessing’s theoretical achievements in the field of theory of drama, the article mentions the relevant achievements of his elder contemporaries, H. F. Gellert and J. E. Schlegel, whose thoughts stimulate certain interest from the viewpoint of pre-Lessing theory of drama. The article also describes Lessing’s opposition to the inertia of classicist esthetics. Considering ’inheritance of the entire nature’ the main challenge to art at that time, he creates a new, enlightening format of mimesis and categorically objects to J. C. Gottsched’s rationalistic prejudice. The latter’s orientation exclusively toward esthetics of the French classicism in development of theoretical and practical objectives of theatrical art was constantly criticized by Lessing. It became a manifestation of confrontation between English and French influence that was typical for Germany. As we know, Lessing favored the English vector in development of the national theatrical art, which brings his stance closer to the artistic preferences of J. G. Herder, J. W. von Goethe, and F. Schiller. The article also makes parallels between Lessing’s, Goethe’s, and Schiller’s views at the theater as an institution of imbuing a new moral into human conscience, to which Sulzer has previously pointed his attention as well. Therefore, the task of tracing the interrelation of philosophy and art via generalization of philosophical-esthetical and art studies-related thought of the mid-18th century that was set at the beginning of this work has discovered its productivity. Not accidentally, in the 20th century this area was further developed by G. Santayana and E. Surio, and the attempt to trace Lessing’s theoretical achievements in the analysis of subsequent philosophical studies of Germany which previously have not been employed in the study of the enlightener’s esthetical and art studies-related legacy has allowed for a more thorough determination of his significance for the subsequent development of the theory of art, particularly theatrical art.
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Purpose of Article. The goal of the research is to open the principles of the activity ballet theory in the interpretation of Jean-Georges Noverre (1727-1810), a famous French choreographer in the context of his cultural and practical heritage. Methodology. The methodology of the research is based on the method of historical reconstruction, analysis and synthesis. To solve the given task the author is guided by the principles of objectivity and historicism. Scientific novelty. The scientific novelty of the research lies in the opening the fact that Jean-Georges Noverre has called for cooperation of a choreographer, a composer, an artist and an actor. It reforms usual choreographic practice, makes this united creative process as an integral part of the success of the ballet. The French choreographer was the supporter of the additional and non-stop education of choreog-rapher, who should bring up the feature of true creation and realistic ballet in himself. Conclusions. In the article, the specific reformist approach of the choreographer for the ballet is underlined. It consists of the rejection of masks; primacy of d'action, revival of pantomime in ballet, mutiny against irrationalism and symbolism in dance, compositional balance of ballet, which has to install the emotional dialogue with spectators, homogeneity and harmonious interaction of all ballet components; dancer costume changes and the necessity for non-stop choreographic education.
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The article describes the basic educational and developmental problems of children's theater, the importance of aesthetic perception of the theatrical reality. The author pays special attention to the analysis of specific educational work with the young audience in modern times due to the adoption to the specific reality. The problem of education of the young audience is understood by scientists in the way of including one of the most important areas of study that is theater for children and youth as a specific social institution which aim is to understand culture, and national culture in the system of complex formation of personality, its personal ideals and values. The key problem can be traced in scientific works by: V. A. Asmus, M. N. Bakhtin, I. Bestuzhev, V. S. Bibler, K. M. Venttsel, L. S. Vygotsky, A. A. Huseynov, Yu. M. Davydov, A. Ya. Zys, S. M. Ikonnykova, L. Kohlberg, I. Kon D. Likhachev, I. V. Malygina, E. S. Markarian, V. M. Mezhuyev, M. Mid, Piaget, E. Pokrovsky, V. Remizova, A. Toynbi, M. Herskovits, E. Erykson. Scientific exploration N. M. Korniyenko, O. M. Semashko, H. O. Tovstonohova, V. I. Nemyrovych-Danchenko. All of them reveal the problem of personal education by means of the theater. The given article shows necessity of the continuous adoption of the art form and obtaining the artistic impression, which echoes in the children souls. The educational objectives of the theatre for the young spectators can be traced in the following areas: • appealing to actual dramatic works that help to understand the important aspects of social and personal existence, which stimulates the formation of his/her own view of life; • reference to the texts with the philosophical subtext that forms a holistic picture of the world and ability to broaden the perception of life. • taking into account the goal of dramatic work, like any work of art, the state of the individual that he perceives, i.e. deep catharsis (spiritual purification) that changes internal personality’s guidelines, enriches further internal development and improvement; • taking into account the pedagogical potential of works of art which are reviled through individual emotions since "artistically-shaped component in educational activities is a kind of "catalyse" of the creation process that helps to present the material more easily and clearly is required for the spiritual development of the individual". In the process of upbringing the children by means of a theatre the finest achievements of local and international art are joined, which of course, helps to develop person’s intelligence and to carry out different tasks at the class of literature. It is worth saying about the importance of the artistic value of the performance since it is becoming an essential condition in developing children's needs in the theatrical arts. Nowadays, the theater has to compete with such spectacular means as cinema, pop music, the Internet. This is especially felt among teenagers who attend the theater rare and rare. The researchers name three main ways of creating the aesthetic needs: the festivals of the youth theaters, the days "of opening the theatre doors" and different promotional activities to familiarize the younger generation with the full range of theatrical performances. The demands to the performance are so high that they must fully satisfied the increased needs of the modern audience. And, of course, as having been mentioned previously, it is necessary to form consciously perception skills of theatrical art that has its own characteristic features. The modern audience, according to critics, no longer needs to simplify the metaphorical language of art, because there was a gradual informative and spiritual adulating of the new generation, so if the director talks with his audience at the same intellectual level as he does, this will attracts his commitment and generate lots of interest. The increasing complexity of modern theater, therefore, caused by the need of time, reflects changes in the minds of new generations. It should be noted that the question of the correlation of artistic practice with children's theater aesthetic needs and attitudes of modern theatrical culture and needs of aesthetic education remains somewhat controversial. Instead, there is an urgent need to resolve it, because it directly affects the repertoire among Spectators’ politics. The managers of the Regional Russian theater for the young spectator pay much attention to the problem of aesthetic education of the younger generation, because this issue is very relevant, when gradually is formed a new cultural environment. Well-formed aesthetic perception of reality promotes harmonization of personal characteristics and the person develops its intellectual and spiritual potential, promotes creativity skills that help professional fulfillment in any area. In addition, aesthetic education is carried out in close relationship with moral education, the formation of patriotism, a sense of cultural belonging to a particular nation, religious group, as well as, tolerance towards other ethnic, cultural and religious groups that coexist individual. The theatre repertory policy gives special attention to the actual reading of Russian, Ukrainian and world classics as well as, to modern drama.
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The purpose of the article is to illuminate the influence of Sanskrit drama on the process of traditional Chinese drama genesis, to introduce into a Ukrainian- language scientific turn of a series of information on the history of Chinese culture that is only available in modern and ancient Chinese. The research methodology is to use a combination of historical, structural, typological-comparative research methods. This methodological approach allows us to reveal and analyze the influence of the Indian Sanskrit drama on the formation of Chinese drama. The scientific novelty of the work lies in the comprehensive coverage of the problems of the genesis of the Chinese traditional drama in the context of the Indian influence on the formation of the genre paradigm of Chinese traditional drama, as well as the systematization of material provided by Chinese researchers in Chinese, which has not yet been translated into the Ukrainian language and, in most cases, not entered into a scientific rush within the framework of the English literary criticism and cultural discourse. Conclusions. The idea of a dramatic action originated in India, and later, during the first millennium AD, the Indian Sanskrit drama was exported to the territory of East Turkestan and to the territory of Southeast Asia. Subsequently, the Uighur theater had a direct influence on the formation of the Chinese civilizational and cultural environment, which can be considered proven in the context of the actual material presented in the works of Chinese researchers, systematized and presented above. In the process of forming a genre paradigm of Chinese drama, in particular, the structure of the system of the role of Indian drama had a direct influence, as well as Indian influence was the structure of drama, there is a significant number of Chinese dramas, which present the motives of Chinese Buddhism.
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The article investigates the theory of inheritance of G. E. Lessing, which was analyzed in his theoretical researches.
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Purpose of Research is to identify the role of Terebovlia College of Culture and Arts in the development of folk and stage choreography of Ternopil region. Methodology. A set of methods was used, including analysis of the literary and source base, systematization of events on a chronological basis, analysis of the college through the prism of creativity of teachers, students, graduates. Scientific novelt. For the first time the activity of the choreographic department of Terebovlia College of Culture and Arts in the aspect of contribution to the development of folk-stage choreography was comprehensively analyzed; archival materials were introduced into scientific circulation, which clarify and supplement the available information on the activities of I. Nykolyshyn and the ensemble "Liubystok". Conclusions. The choreographic department of the Terebovlia College of Culture and Arts continues the traditions of folk and stage choreography established by the founders of the department. The key to a high level of student training was the constant desire of the teaching staff to improve their skills, education at the Kyiv State Institute of Culture O.E. Korniychuk, Rivne Institute of Culture, National Pedagogical University. MP Dragomanova. The model of educational work of the college provides not only purely training forms, but also powerful artistic and educational activities of teachers and students, which is manifested in staging and concert work. In the activities of student groups (Folk Dance Ensemble "Source" and Folk Dance Ensemble " Liubystok ") develops two areas of folk stage choreography – stylistically close to the original sources and academic. College graduates, thanks to concert and creative activities as part of student ensembles, acquire professional performing competencies in demand in the field of professional performing activities in Ukraine.
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Статията разглежда видовете теренна работа, практикувани от музикалните фолклористи в Института за музика (днес сектор „Музика в ИИИзк) – индивидуални командировки, групови експедиции, комплексни научни експедиции (организирани от БАН и включващи екипи от различни институти и различни научни специалности); записи „на място” в Института; събиране на образци от традиционната музика чрез т.нар. откупки. Проследено е развитието на изискванията за събираната информация от терена от установения през 30-те години модел в отдел „Народна музика“ към Етнографския музей до разгърнатите анкети на учените от Института за музика от 70-те години на ХХ век с неизменна опора върху функционалната класификация на народните песни. Коментирани са различните тенденции на документиране след навлизането на магнетофона през 1954, породени от различните приоритети на отделните изследователи. Представени са и установените в Института за музика процедури при обработването и предаването на теренните материали в архива (описи, дешифрации, преписи, инвентиране) и свързаните с тях дебати сред музикалните фолклористи.
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A brief introduction to the NBU Shakespeare Seminar by its initiator, prof. Violeta Decheva who traces the idea and the main themes since the beginning in 2013. Among the guest speakers were literary scholars, translators, theatre directors, actors etc., all part of the local Shakespeare territory.
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This paper focuses on the transformations in the apparatus of cinema studies, caused by the impact of globalization on cinema as an art form. Based on the historically determined dynamics between the global and the cinematic, the study aims to prove that cinema, from its very beginning, has been a target and, at the same time, an instrument of globalization. On the other hand, for various social and political reasons, since the start of its sound period in the early 1930s, the cinematic medium has been subjected to exclusively nationalistic interpretations for decades. The contemporary practice of transnational productions indisputably questions this methodology. The fact that film industries all over the world include two streams - a branch of national film making and a division of productions with different degree of international contribution - complicates the relationship between the cinema and the place , and forces a new approach towards contemporary screen arts on every level - from the analysis of the single work to the research on the global film industries. The term transnational cinema, proposed by Elizabeth Ezra and Terry Rowden, could provide the basis of an adequate approach towards cinema's new existence in a virtual world without borders. Several well known films - Lars von Trier's Zentropa; M. Night Shyamalan's The Sixth Sense and Signs; Ang Lee's Crouching Tiger, Hidden Dragon; Danny Boyle's Slumdog Millionaire, and Fatih Akin's The Edge of Heaven - illustrate the application of the term transnational cinema towards current film practices and its advantage to the explanations of contemporary cinema in terms of the local and the national.
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The article aims at the evolution of the female classical dance in the cultural space of Russia and European countries in the first half of the twentieth century. The article examines in detail the spread in the West of the Russian school of the female classical dance and its influence on the continuous development of ballet art in European countries. The period of 1909-1939 is considered to be the highest rise. During this time, all the components of ballet art – choreography, music, drama, fine arts – experinced a real flourishing. Simultaneously, there was a spatial distribution of the achievements of Russian ballet, their reproduction, as well as the synthesis of other ballet schools. This was due to the mass emigration of dancers and choreographers from Russia.
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Purpose of Article. Identify the main components of the actor’s technique, its role in the process of improving the professional activity of the performer, create a classification benchmark for professional competencies masters of stage art, and to characterize the features of acting equipment in work on multi-genre stage works. Methodology. The research methodology consists in the usage of art a method for the general simplification of an artist as a cultural phenomenon; a systemic method for interpreting acting techniques as the holistic design of the functioning of the acting craft; the analytical method for explaining the role and importance of acting technique as the fundamental landmark of cognition and improvement of the nature of acting professionalism; the axiomatic method for constructing logical provisions on the application of acting training as a postulate of mastery performance, as a basic professional method for, an appropriate understanding of the meaning and pragmatic characteristics, the usage of training exercises and tasks in stage technique of an actor. Scientific novelty. The scientific novelty of the study is to analyze the main components of the actor’s technique through the prism of sequential classification of professional competencies and differentiation actor’s internal and external technology in working on multi-genre dramatic creations. Conclusions. As a result of the study, we can conclude that the improvement of the acting professionalism and successful mastery is possible only with the dialectical interaction and interpenetration of three main factors: constant appeal to creative achievements and acquisitions of outstanding scenes of the past; practical knowledge of the latest acting techniques; effective and productive implementation of the performance of the role that foresees the creation of an appropriate image, its character, and nature of scenic existence.
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The Ukrainian contemporary choral groups increasingly turn to use the scenic action elements within the context of the concert-academic choral performance. They virtuously combine the classical training of musicians with modern scenography, different methods of the newest performance in their creation of the choral scene-view based on the composition. Here is the first presentation of the scenic-performing incarnation by H. Segal "Dushe Moya" ("My soul") choral concert, for which the starting point is the criterion of conducting and directing interpretation of the musical and poetic material. The choral theatre, its types and components – that are the choral performance, the theatrical "mixed" choral concert, the choral theatricalization, the scenization – are the phenomena which are intensively disseminated in the modern Ukrainian choral art. Its manifestations are various and they depend on the artistic intentions of the personalities – the composers and performers, that treat the concert-choral genre as the principal representative of this newest musical theatre art. The masters searching is toward from traditions – that is the concert for choir with its theater potential – to the performances, where the theatrical symbol acts as a components of the score works. It all demonstrates the actuality and prospectivity of the phenomenon viewed in the current article for further development of national and global choral culture. The choral concert by H. Segal "Dushe moya" (2003) based on the poems of religious poet-monks (ХVІ century) from the collection "Virshi pokayanni" has found its original interpretation of unordinary choral sounding in connection with the strict canonicity of literary text. Such type of the choral music interpretation, considering the combining of modern music language and stylization with the theatrical creative vision basis, are supposed to be the relevant and novel. The concert "Dushe moya" could be difficult to classified completely as any genre subtype of the choral concert. Here is the multi genres synthesis, typical for the modern choral concert, is observed. There are no direct indications by possible theatricalization in the original Concert text. The way to the Concert theatricalization in the performing synthetic version is coming through the detailed composition analysis and dramaturgy of the musical text offered by the composer. It’s typical that the author herself calls the Concerts parts as "songs". It indicates the specific feature of genre interpretation that is represented in composition. The music vocabulary basis of the author’s language that inspires the scene-performing interpretation are represented by the tonal and technical, from the vocal and choral performance’ point of view, virtuosity and complicacy, the polyphonic uncovering techniques, the unity of musical and timbre-acoustic dramaturgy, the dialogical structure of genre, that is related with the prayer structure as the communication form, the spiritual energy, the thematic mentality principle, the commitment to reflect the vivid human feelings and spirits, emotionally reinforcement. The profound philosophical sense and theatrical spectacle of musical action is concealed behind the external complicacy. The semantic logic of "Dushe moya" potentially contains the extensive range of properly conducting and directorial interpretation, that is generalized in such term as "theatrical and choral explication". The composition of H. Segal "Dushe moya" is considered not only from the musical but also from theatrical point of view. The basic theme of the Concert is the fight for human soul, its purification for the sake of Divine deliverance and commitment of verity quest. The common principles of conducting-interpretive perception of the choral concert as a staged action, is implemented in technical and organizational score. This is the detailed directing part of the choral performance, that is integrated in the musical score itself in form of the proper notes for choral members, facial ensemble, ballet, decorators, illuminators, costume designers, face-makers, property masters, basically all the people involved in theatrical and choral performance. The creation of theatrical version for the choral concert depends on relevance of interpretive-creative basis that is chosen by the conductor-choirmaster and that is better – in cooperation with the composer and director. The other kind of circumstances connected with the objective factors that are the presence of the talented conductor, highly skilled staff, professional directing and scenography, the financial support means for performance. Depending on existence of the mentioned circumstances, the conductor-directing ideas are implemented, the staging version is created either in the most complete variant or in edited, simplified to the necessary minimum version. This method does not apply for inclusiveness but targets just the possible ways of choral concert staging through the example of particular composition. The offered author’s creative method for performance of staging version by choral concert of H. Segal "Dushe moya" is open for theatricalization from review of the following circumstances such as: absence of the definite genre model; basing on the choral music origin as the syncresis of singing and action; complicacy of musical-poetic context, which revealing demands the visual row imposition. Keeping the "high style" of the Concert, orienting on the impressiveness, the concert-choral composition of H. Segal shows the stable tendency for scenic representation’s accent that is neo-romantic but reveals itself in the extensive stylistic range.
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The purpose of the article. To characterize the specific features and characteristics of the formation of the professional skills of the pop artist, to determine the specificity of the use of a trick as an effective method in a stage performance. The methodology of the research lays in applying analytical, art studying, empirical, comparative, functional and systemic means of studying the principles of the artist's work over the performance; the main components of the professional activity of an artist, which are conditioned by the specifics of the genre; analysis of the technology of creating the original genre performance with a trick on its base.
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Art festivals, particularly in recent years, have participated increasingly actively in the exchange of cultural values in artistic life. An adequate evaluation of their role for the contemporary society requires a more precise definition of their specifics, potential, benefits, and possible adverse consequences. The paper analyses the attempts at classifications of the arts and types of festivals. Using the provided data, a model of a typology of art festivals is proposed. The model takes into account both the achievements of the theoretical apprehension of the arts, and the specifics of the festival practices, which draw energy from various systems of social life.
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The article analyzes the typology of theatrical spectacle for rising event, including a calendar, unique, and that which occurs in the other event. The examples of the director's own practice by justifying the need for organizations to combine holiday traditions, experience, creativity, originality and uniqueness of design director.
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