DOI: 10.7256/2454-0625.2020.10.33879

Abstract: The subject of this article is the interpretation of male images from W. Shakespeare’s “The Winter’s Tale” by the choreographer C. Wheeldon in the context of its conceptual commonality with the literary original. The goal of this research is to determine the stage means and elements of choreographic language used by the choreographer for creation of male roles, as well as to draw ideological-imagery parallels with the original text. Methodological foundation of this study features the principles of critical analysis of text of the play along with the semantic analysis of choreography, developed in the scientific works of such theoreticians of ballet art as Lopukhov, Dobrovolskaya, Krasovskaya, Surits, Slonimsky. Comprehensive approach towards interpretation of the literary original on the modern ballet stage required  the analysis of such sources, as the English-language peer reviews of the world premiere of the ballet and video materials from the archives of the Royal Opera House in London and the Bolshoi Theater in Moscow. The author also applied the method of overt observation based on the personal experience of working with Wheeldon in Bolshoi Theatre, and accompanied by the analysis of rehearsals from the author's archive (over the period from March to April 2019). The author carried out a detailed semantic analysis of the stage interpretation and choreographic language of the male images of W. Shakespeare's play of the later period “The Winter's Tale” in the eponymous ballet of C. Wheeldon (which served as the key instrument for this research). The conclusion is made that the conceptual ground of Wheeldon’s interpretation of the male images is based on the Shakespeare’s text adapted to the realities of a stage performance.  He employs a wide array of plasticity and other innovative means of expression, applying an individual approach towards staging each male role.

DOI: 10.7256/2454-0625.2020.10.34092

Abstract: The subject of this research is the cultural succession of decorative elements of the ethnic ornament of Sami people. In light of the migration past, the question is raised on the possibility of simultaneous assimilation and introduction into their culture of ornaments and words by the Ancient Sami population. Special attention is given to the examples of explicit concurrence of the elements. The author sets a scientific task to find the evidence of residence of the Ancient Sami people in the territory of northwest of Kostroma Region in Russia from the perspective of cultural succession. The main research method consists in the synthesis of various sciences. Archaeological research alongside the data from historical records and toponymic studies allow comparing the data in the field culture and applied art. Leaning on the analysis of literature and images, the author structures the chain of logical reasoning . The acquired data give understanding of the visual expression of the regional cultural heritage and possible assimilation of the elements of decor by the people who abandoned the territory centuries ago. The result of this research consists in providing the evidence of cultural succession, determination of timeframe and geographical area with regards to assimilation of the elements applied art of other ethnoses by the Ancient Sami population. The novelty of this work lies in comparison of decorative patterns of different generations and ethnoses, and the fact of formation of the general basic culture of Sami people. The conclusion consists in detecting the presence of decorative elements of the Mari ornament in the Sami ornament based on the analysis of various sciences. This proves the succession of cultural heritage of this region throughout multiple generations.

DOI: 10.7256/2454-0625.2020.10.32501

Abstract: The object of this research is the works of the prominent Russian writer F. M. Dostoevsky. The subject of this research is the opinion whether F. M. Dostoevsky first and foremost is the Russian philosopher and thinker, and only then a writer. The author examines the peculiarities of such roles in culture as philosopher, thinker and writer, which gives grounds to question unambiguous reference of the works of prominent Russian writer as activity of the thinker. The peculiarity consists in the fact that F. M. Dostoevsky’s literary texts is so rich in images and themes, that shifting the specificity of his artistic image into the background is not quite justified. Special attention is given to clarification of the essence of activity of the philosopher and the writer. The key research method is the comparative analysis of the facts of such types of social practice as the profession of writer, philosopher and thinker in their relation to the fundamental concepts of time, space, text and nature of its perception from the outside perspective .The main conclusion consists in the statement that the philosophical text maintains neutrality in relation to time, as is being written from the standpoint of eternity. Literary text, in turn, is “submerged” in time and space of the events taking place within it, and relies on recognizability of the characters and their existential characteristics. F. M. Dostoevsky appears to the audience as the creator of storylines and images, rather than a person who sets the trends and concepts of social movements.

DOI: 10.7256/2454-0625.2020.10.34037

Abstract: This article offers the concept of culture based on the authorial version of semiotic and environmental approach. The stages of the author’s culturological research are outlined: from the semiotic concepts of “Moscow Methodological Group" to the extensive interpretation of semiotic and environmental approach, in which the core of semiosis is the patterns, and namely semiosis sets the human living environment. Based on these facts, a new interpretation of culture is proposed. At the same time, the author differentiates two types of cultures: 1) the main subject is the social collective and collective individual inseparable from the collective; 2 a person appears on the scene of history, and culture consists of the three types of individuals ‒ collective individuals, individuals, and intermediaries between individuals and collective individuals. It is underlined that since the antique culture, an important role in cultures is played by intermediaries (philosophers, pedagogues, politicians, artists), as well as by various forms of communication. Antique culture also marks differentiation of two forms of world development, one based on the creation of patterns, and the other – on modeling and scientific examination (the latter includes schematization of reality as one of essential moments). Leaning on such division, the author discusses the peculiarities of patterns and models, as well as cognition based on modeling. The theoretical and methodological reasoning and hypotheses are confirmed by the analysis of cases and structuring of methodological patterns. The article provides a sketch of the genesis of cultures from antiquity to modernity, and crisis of the latter.  

DOI: 10.7256/2454-0625.2020.10.34181

Abstract: In this article, the author advances the idea of generalized corporeality in its functional manifestations in the acts of communication, activity, and theatrical art. The work is dedicated to the problem of “smart body”, in other words, conscious and manageable generalized corporeality is one of the core themes in development and self-improvement of acting skills and onstage genuineness. The key problem is the problem of harmony, unity between inner and outside, words and doings, thoughts and actions, realized by the actor just partially, so is by the stage director and audience. The author attempts to describe this problem by means of post-nonclassical philosophical methodology offered by V. S. Stepin, concepts of post-nonclassical practices, synergy of motion and state, which marks the synthesis of the ontologies of states of generalized corporeality and temporal ontologies, introduced in the previous article. The author also attracts the concept of unconscious reflection of V. Lefebvre, which describes a special type of reflection as a certain unconscious component of generalized corporeality that creates a specific interpretation of the skill and work with time in post-nonclassical context. Interpretation of the acquired acting skills that taught in many schools of classical and contemporary theatre, from K. Stanislavski and M. Chekhov to A. Artaud and E. Barba, are also viewed through the prism of reflection of synthetic ontologies of generalized corporeality. In conclusion, the author introduces theatrical interpretation of the twofold activity triad, which allows embracing the relationship between various observers, the actors of theatrical event: actor – stage director – audience.