DOI: 10.7256/2454-0625.2022.5.37921

Abstract: In this article, the author continues to study the choreographic interpretations of the works of J. Neumeier, in particular, the ballet "Lady of the Camellias". The identification of expressive staging means and choreographic elements used by Neumeier in the production of the "white" duet of Marguerite and Armand is carried out in this work in order to determine the place of this choreographic fragment in the performance and its significance both for the plastic embodiment of the images of the main characters and in the context of the evolution of the author's style. The author applied comparative-historical, ideological-artistic and analytical methods, as well as the method of included observation (based on personal experience of working with Neumeier). Video materials from the archives of the Hamburg "Ballettzentrum" and the Moscow Bolshoi Theater and lectures conducted by Neumeier on the eve of the Moscow premiere of "Lady of the Camellias" (recordings from the author's archive) were also used. A detailed analysis of the "white" duet allows us to conclude that the studied choreographic fragment is markedly different from the other two duets of Marguerite and Arman. From the point of view of developing the images of the main characters, this is the only episode of the play in which Neumeier allows the audience to see the light lyrics in the relationship between Marguerite and Armand. In the "white" duet, the choreographic innovations of the choreographer in the field of technically saturated duet dance, replete with upper supports, with a lack of preparation for them and constant control by the partner of the ballerina's movements, are especially justified. They are the main means of plastic expressiveness, creating the effect of flight, an unbroken flow of movements, as well as the visualization of musical legato. It is this duet technique (later actively used by the choreographer) that can be called a distinctive feature of the choreographic style of J. Neumeier.

DOI: 10.7256/2454-0625.2022.5.37942

Abstract: The article analyzes the international activities of the outstanding representative of the Chinese art world Xu Beihong. The subject of consideration is the artist's trips to the countries of Europe, Southeast Asia and the USSR in the 30s - early 40s of the XX century. Special attention is paid to how the painter organized the participation of Chinese artists in international exhibition projects. A detailed description of the most significant of them is given. The emphasis is on how Xu Beihong selected works for exhibition projects that could be called "pure and representative Chinese art." The role of Xu Beihong in the popularization of Chinese art is also revealed. The article reveals for the first time the stages and features of the activities of the outstanding Chinese artist Xu Beihong, focused on the popularization of Chinese fine art and culture outside China. As a conclusion, it is argued and argued that Xu Beihong's activities abroad, which included a variety of forms of representation of Chinese painting – exhibitions, lectures, master classes, scientific reports, information platforms, etc., was the first serious step that allowed showing the heritage of Chinese art culture to the general public outside China, to bring Chinese painting to the international arena.

DOI: 10.7256/2454-0625.2022.5.38000

Abstract: This article is devoted to the consideration of visual means of artistic expression in visual and cinematic social advertising in Italy. The research material was videos from the Internet archives of non-profit organizations and advertising agencies. The relevance of the research is due to the high significance of social advertising in modern society, and the novelty is due to the lack of works devoted to the study of visual means of artistic expression within the socio—advertising discourse of Italy. Within the framework of the study, methods of analyzing visual artistic images used in Italian social advertising were applied. An analogy was drawn between stylistic figures related to the field of philology and artistic and pictorial forms of the material under study. As the analysis has shown, the most popular visual means of artistic expression is metaphor; the author has identified a number of models of metaphorical transfers, on which most of the plots of social advertising are based, among which a special place is occupied by models of color and zoonymic metaphors. In a significant part of the videos, such means of visual artistic expression as allegory, personification, depersonification, hyperbole, allusion are also involved. Important conclusions are drawn about the cultural peculiarities of the use of these visual stylistic figures. A special contribution of the author is the development of a classification of metaphorical models of Italian social advertising, some of which may be applicable in Russia due to their universality.

DOI: 10.7256/2454-0625.2022.5.38079

Abstract: The article analyzes the features and meanings of the fantasy image of the Dragon in China and in European countries, their symbolism in historical traditions and in modern culture. In China, the Dragon is an example of the embodiment of a positive attitude of people, a symbol of goodness, well–being and universal worship, in Europe since ancient times it has been a symbol of evil and dangerous power, and the images of the legendary "dragon fighters" are recognized as heroes. The purpose of the article is to comprehend the resurgent interest in modern society in the peculiarities of the interpretation of this zoomorphic symbol in the cultures of the East and West. The concepts of the interpretations of the eastern and Western images were created in accordance with the spiritual needs that influenced their characteristics. A special contribution of the author to the study of this topic is the comprehension of the national influence of cultural traditions on the formation of artistic qualities in creating the image of a Dragon. It is concluded that the peculiarities of the evolution of images were manifested in the fact that in European art the images were oriented to realistic persuasiveness, and in Chinese art - to decorativeness. In addition, it was determined that the formation of this fantastic phenomenon occurred in accordance with the national mentality and the national picture of the world.

DOI: 10.7256/2454-0625.2022.5.36647

Abstract: In the XVII century in France, under the influence of gallant aesthetics, a new secular socio-integrative model and a new typology of the holiday were formed, which not only spread throughout Europe, but also reached Russia. The transformation of holidays into a management tool is influenced by specific socio-political reasons: the transformation of the knightly estate into a courtier under the onslaught of the advancing monarchy, the final collapse of the old feudal system with its traditional ties. At the same time, new ties and a new social structure of the monarchy of the classical model were being formed. Under the influence of these processes, royal holidays have turned from recreation and entertainment into a powerful lever of political and social influence, which is used by the royal power. The study of the holiday phenomenon has a multidimensional character. However, none of the researchers analyzed the festive culture of modern times from the point of view of a management tool. In this article, the phenomenon of a gallant holiday is considered not only as an important socio-cultural phenomenon, but as an institution of elite management, a new tool of power that helped solve economic, social and psychological problems. Under the influence of gallant aesthetics in France in the XVII century, a new scenography of the holiday is being formed - a holiday system on several sites united by one plot. This is what modern experts call the method of installation and dismemberment of space. This scenography will henceforth come into use and establish itself in the festive European culture for centuries.

DOI: 10.7256/2454-0625.2022.5.37747

Abstract: During the period of the Republic of China, China was in the complex context of the fusion of Eastern and Western cultures. Under the influence of Western women's educational thought, the artists of the Republic of China entered the modern context of the Republic of China as participants. In this article, the object of research is the "new women's painting" from 1912 to 1949. The study includes an analysis of painting practices and artistic concepts of new women artists in the Republic of China. Under the influence of internal and external factors, their participation in the modern transformation of traditional Chinese fine art and contribution to the development of new women's painting. The paper examines the formation of a new women's painting in the Republic of China from the standpoint of culture, sociology and education. Studying the background of the appearance of new women's paintings in the Republic of China, the artistic value and historical significance of new women's paintings in the Republic of China were discovered. It is demonstrated how new masters were born and developed in the clash of Chinese and Western art, new and traditional ideas and concepts. They freed themselves from the shackles of feudal female ideas and pursued an independent personality, rights and freedom. In art, he promotes the modern transformation of traditional painting with its unique emotional expression and fusion of Chinese and Western styles.

DOI: 10.7256/2454-0625.2022.5.37996

Abstract: The article is devoted to the discussion of the essence and nature of dance. At the beginning of the work, the author states his approach: consideration of dance within the framework of a broader whole (the reality of culture and communication), as well as development, analysis of new anthropological images and ideals, description of the reboot of physicality. Based on Aida Aylamazyan's research, the author characterizes two stages of dance development: the formation of classical ballet in the XIV century and the formation of free dance. In both cases, a new anthropological ideal was initially formed, the realization of which then entailed the formation of a new way of life, the transformation of physicality and a new synthesis of physicality in music. This pattern is confirmed by another anthropopractic, karate. In general, dance is considered from the point of view of three approaches: socio-cultural (analysis of new anthropological images and ideals), semiotic (the role in the formation of the reality of dance schemes and other semiotic cresdtv) and psychotechnical (the formation of a new physicality and reality). It is indicated that there is a need for another plan of study - psychological. Here, for example, "modes of the psyche" can be considered. The author assumes that living in dance and experiencing dance events is a person's life in a certain mode, conditioned by the dance narrative and the reality of dance. Without referring to the psychological plan, it is also difficult to talk about the formation of a dancer's personality.

DOI: 10.7256/2454-0625.2022.5.38062

Abstract: The article discusses the origin and evolution of women's visual art in China. The development of this artistic direction was due to the radical social transformations since the beginning of the Open Door Policy in 1978. Analysis of the art by Li Hong, Cui Xiuwen, Feng Jiali, Yuan Yaomin and others reveals main features of the evolution of women's creativity in China. The search and acquisition of female identity, the destruction of psychological barriers imposed by traditional ideas and stereotypes about a woman, her physicality, beauty, etc., the study of gender differences, the reflection of female subjectivity, the assertion of a new status for women in modern society - all this makes the content of Chinese women's art. The novelty of the research lies in the fact that the article studies the works of quite reputable Chinese artists who were not presented earlier in Russian art history science. This article is intended to contribute to the study of the processes of emancipation of the consciousness of the Chinese and raising the status of women artists in society. Reflections on personal experience, social problems and historical destinies determine the specifics of the artistic language of women's works. In view of the active feminist movements of our time, increasing attention to the inner world of women and criticism of patriarchal foundations, addressing this topic seems very relevant today.