DOI: 10.7256/2454-0625.2022.6.38010

Abstract: In this paper, the author continues to study and comprehend the author's interpretation of J. Neumeier images of the main characters of the ballet "A Midsummer Night's Dream". A meaningful interpretation of the choreographic embodiment of Hippolyta and Theseus, one of the two hypostases of the main characters of the ballet, is carried out in order to identify their features in the context of the performance and the choreographer's creativity. Based on the methods of ballet studies analysis approved by historians and ballet theorists Dobrovolskaya, Krasovskaya, Surits, the author used comparative-historical, ideological-artistic and analytical methods, as well as the method of included observation (based on personal experience with Neumeier). In the course of the source analysis, the author used video materials from the archives of the Hamburg "Ballettzentrum" and the Moscow Bolshoi Theater. A detailed analysis of the choreographic score of the roles of Hippolyta and Theseus allows us to conclude that Neumeier makes two detailed duets that differ from each other as the main fragments characterizing these characters. In the first of them, the choreographer uses a rich duet technique: upper supports without approaches (often starting from kneeling positions), non–standard combinations of paired rotations - elements that determine the further line of development of his choreographic style. The composition and means of choreographic expressiveness of the second duet are rather atypical for Neumeier's work. Here, the choreographer, with poses and technical solo fragments of the dancers, hints at the similarity with the ballets of the classical heritage, with the help of which he emphasizes the ceremonial and ceremonious solemnity of this duet. It also uses such an additional attribute as a train, which gives the ballerina's movements even more weight and royalty. Thus, the choreographic development of the images of Hippolyta and Theseus occupies one of the key positions (along with Titania and Oberon) in the play "A Midsummer Night's Dream", and also becomes an important stage in the evolution of the author's style of J. Neumeier.

DOI: 10.7256/2454-0625.2022.6.35785

Abstract: The object of the study is radical changes in gender relations in France in the first half of the XVII century, increasing the social role of women.The process of turning the knightly estate into a courtier against the background of the strengthening of the royal court leads to the fact that men leave the historically habitual and habitual ideal of knightly valor, entering the space of salons and the court. In this space, they are forced to comprehend the art of secular communication that is new to them and the art of liking the participants of this communication. That art, which, according to contemporaries, was perfectly mastered by women. Through language, education, literature, women take part in the birth and establishment of a public space built around new gender norms, a new practice of fiction. The recognition of a woman in the moralistic literature of the first half of the XVII century as equal to a man in dignity and nobility makes her an equal participant in secular communication. Women's authority eventually begins to determine the direction of criticism, women act as arbiters of good taste in literature and art. At this time, a modern view of the relationship between the sexes is being formed. All these phenomena are characteristic of European culture as a whole and largely determine the modern European mentality. The analysis of the historical prerequisites for the increase in social activity and the role of women is extremely important and relevant both for understanding many historical realities, including the formation of the European gender tradition, and for studying the influence of these processes on the formation of new aesthetic ideals. Gallant aesthetics develops with the participation and under the influence of women, since gallant culture is a culture permeated with the idea of love.

DOI: 10.7256/2454-0625.2022.6.38258

Abstract: The object of research of this article is the existential experience of a person in a virtual space, realized in the phenomenon of loneliness. The subject of the study is the refraction of the desert metaphor in relation to the virtual world. As you know, the development of modern information technologies has led to a change in the existential coordinates of a person, therefore, immersion in the virtual space for the current generation is becoming more and more relevant, and sometimes replacing many real events. The question of the interaction of man and technology acquires contradictory facets, because the threat of total convergence of virtuality and reality no longer seems so mythical. It is these provisions that force us to reconsider the position of a person in the modern world and try to assess this. The paper attempts to analyze the existential space of the virtual world of man through the metaphor of the desert. As a result, we can conclude first of all, that the natural desire of an individual to be in society can be perfectly realized in the virtual world, but it turns into an increased attention of the individual to himself (the need to satisfy his virtual requests), which leads him to a feeling of loneliness. And secondly, applying the metaphor of the desert to the virtual space, we see that it hides the context of solitude, care, to find answers to many questions. A person in the virtual world sees himself through the prism of his request into the virtual void, sometimes without even waiting for an answer to it, which once again confirms the idea of some kind of existential experience of loneliness in the Internet space. The scientific novelty of the work lies in the application of the metaphor of the desert to the existential space of the virtual world.

DOI: 10.7256/2454-0625.2022.6.38308

EDN: DRPEVY

Abstract: The article analyzes Pushkin's poem "Eugene Onegin" and two opposite interpretations of it, by Alexander Minkin and critic Vladimir Kozarovetsky. The author partially agrees with the interpretation of the poem proposed by Minkin, objects to Kozarovetsky, but mainly interprets "Eugene Onegin" on the basis of his concept of art and the methodology proposed by him for analyzing works of art. The views on the poem of Minkin and Kozarovetsky are compared: the first believes that the poem describes the moral evolution of the personality of Alexander Sergeevich, and the second that we have a brilliant hoax started by Pushkin to shock readers. The author offers his own reading of Pushkin's poem, in which much is based on the analysis of artistic reality. He shows that the narration in "Eugene Onegin" is conducted from four persons (Pushkin himself, Onegin, Tatiana and the rest of the characters), and the narrators convey their ideas and contents to each other. Although formally Onegin says very little, Pushkin speaks for him a lot and intelligently; although Pushkin is not Onegin, but Onegin's fate threatens Pushkin as well. The narrator in the poem "Eugene Onegin" resembles Proteus: sometimes he speaks for himself, following his character and nature, then on behalf of other narrators, hiding behind their looks and speeches. The reader needs to understand this poetic masquerade: to separate the author from the heroes, to understand where the author is, and where he is the hero and narrator, where the heroes speak for themselves, and where on behalf of Pushkin? Having built such an artistic reality, forcing the reader to work, solving the author's constructions, reflecting on his life, Pushkin acted as a real innovator of art.

DOI: 10.7256/2454-0625.2022.6.38336

EDN: EIZXEV

Abstract: The article presents two plans for the analysis of the famous production of Rimas Tuminas "Eugene Onegin". The first discusses the problems and difficulties of translating Pushkin's poetic work into the language of the theater. At the same time, the author uses the analysis of this production carried out by Alexander Minkin in the book "Mute Onegin". In particular, a number of techniques are considered (splitting the heroes, Onegin and Lensky, into two persons, giving historical events a modern form of existence, which implies rethinking them); they, according to Minkin, were used in his production by Tuminas. The author provides a voice to Alexander Sergeevich, who does not recognize his work in the production of Tuminas, assuming that he solved problems far from those that interested Pushkin.   In the second part, a reconstruction of the logic is proposed, in accordance with which Tuminas most likely acted, creating his own statement. The author shows that, firstly, Tuminas is not trying to present Pushkin's brilliant work in a new, modern way, but creates a new work, his own; secondly, the artistic reality of this new work is made up of very different events, including reflexive ones. He raises the question of how these heterogeneous events create a whole. If in the traditional aesthetics the artist depicts the world and life existing outside of a person (or inside him), which are considered as universally significant for everyone, then in the new one the world and events of consciousness of the personality of the artist and the viewer are described and constituted.

DOI: 10.7256/2454-0625.2022.6.35993

EDN: EKSCFP

Abstract: The subject of the study is the existing classification of graphic art of anarchist periodicals of the turn of the XIX–XX centuries. The object of the research is publications devoted to the problem of compiling a classification of works of graphic art of anarchism. These are the works of R. and E. Herbertov, A. Dardel, L. Litvak, J. Godard-Davant, K. Ferguson - foreign experts in the field of anarchist graphics. There are no domestic publications on this topic. The author of the article pays special attention to the similarity in approaches to the classification of different authors and the existing gaps in this field of art criticism in order to determine further prospects for the study of the issues under consideration.   The scientific novelty of the work is to clarify the classification trends not systematized in Russian historiography, proposed in the literature in English, French and Spanish, on the basis of which a methodological basis for the analysis of the topic is being developed. The methods used in the work are as follows: analysis of historiography in order to identify existing approaches to the study of graphics of anarchist periodicals; comparative analysis, which allows us to compare the two main trends (according to the thematic-iconographic and figurative-thematic principle) with each other, finding further perspectives of interpretation and existing gaps. The results of the study reveal the existing tradition of classification, the authors of which promote their methods, preventing the emergence of other approaches and types of classification that can shed light not only on the image of an anarchist, but also on the peculiarities of the dialogue between anarchist graphics and the artistic avant-garde.

DOI: 10.7256/2454-0625.2022.6.35754

EDN: EOXATF

Abstract: The relevance of this article lies in the fact that design, as a phenomenon of project activity, is one of the leading areas of project culture of the XXI century, but despite this, in modern art and design activities, gender inequality in the implementation of creative projects can be observed. This contradicts the equality declared by the European society. A similar situation has existed since the very beginning of design as a special sphere of human activity. Consideration of this issue from the cultural, cultural and historical side will reveal the structural relationship between the stated principles and the reality of gender policy in the field of design. The purpose of this work is to highlight and systematize the main contribution of women artists, Bauhaus designers to the development of design in general. The object of the study is the gender policy of the Bauhaus school. The subject of the research is the artistic, craft and artistic — project activities of female students and teachers of the Bauhaus School. The authors consider the Bauhaus in the socio-cultural aspect of gender policy, identify the personalities of women, analyze and structure their contribution to the development of art.Having examined the Bauhaus school in the socio-cultural aspect of gender policy, the authors revealed that despite the declared gender equality, women were limited in their activities and rights. Based on the data obtained, the authors revealed the dependence of women's education in the Bauhaus, firstly, on the school course dictated by the leadership, and secondly, on the political and economic processes taking place at that time in the country and in the world as a whole. The authors highlighted the personalities of Bauhaus women, such as Gunta Stelzl, Annie Albers, Marianne Brandt, Gertrude Arndt, and also revealed their role in shaping design as a non-gender profession.