Suchergebnisse

The author considers historical trends in the development of project technologies in the arts. Various project and artistic solutions are analysed with the focus on various historical periods and styles, from the Ancient East to the Modern Age. An emphasis is placed on the era itself, which required a new approach to the organisation of theatrical enterprises and the performance production principles. The article also reveals the specifics of projects as a type of the human creative activity and defines the role of the project method as a system of unique and clearly defined actions aimed at obtaining specific results in a multifunctional environment within a specified period and within the allocated resources. The author shows that they are characterised by a deep mutual integration of the artistic and creative principle and the development of information technologies. The article contains various examples of the implementation of projects from the beginning of civilisation up to the twentieth century when art management appears as a form of arrangement of the theatrical business, and a combined company becomes possible. The author emphasises the role of the Russian Seasons by S. P. Diaghilev in creating conditions for the development of unique professional and artistic experience in Russia and other countries. Development of special knowledge and dialectics of research of project strategies in the twentieth century imply increasing importance of knowledge derived from the historical past, which can improve the competitiveness of performances, as well as of other creative works in the contemporary art market.

Ballet is often not just a way of expressing director's idea, it also reflects the conservative side of art. Ballet should be viewed as a source of preservation of classical art and development of its academic structure. Consideration of tasks other than the development of art already transitions ballet to the field of sociological and political scientific discourse. In this regard, the relevance of this study is determined by the border between modernity in ballet and the preservation of its traditional foundations. The novelty of the study is determined by the fact that modernity in ballet manifests itself not only as part of a performance or as a desire to form a public response. The main value is formed based on mutual assistance in the development of such parameters as innovative methods of artistic presentation, visual elements of ballet production and structuring of additional impressions from choreography for the viewer. The author shows that the central idea must be distributed to form the image of the viewer's involvement in the storytelling on stage and empathy both for the classical versions of the stage productions and in performance with avant-garde elements. The practical significance of the study is determined by the possibilities of the structural development of ballet in the general framework of choreography as an element of the social art development.

The article deals with the history of development of the antique theatrical architecture in the context of the environment that forms the territory acquiring the status of a cultural landscape. The material of antiquity is interpreted in the aspect of the formation evolution of theater buildings, ranging from ancient Greek to ancient Roman, which, despite being in ruins, amaze us with their large-scale and unspoiled architecture. The article attempts to systematize the valuable evidence of the past, material (theater architecture) and non-material (theater art), since the repertoire is alive as long as it is performed, and the theater architecture remains to posterity. There is considered their relationship in space and time. The study's methods (descriptions of the phenomena under study, field observation, problem-historical analysis) made it possible to focus on the construction specifics of the theater buildings located in open spaces representing cultural landscapes — vast areas of co-creation of man and nature. Over the epochs, the theater architecture, designed for spectacular performances and connected with the environmental factor and acting art, was transforming, just as the theater itself was changing, sometimes within a single performance on a single stage. Fragments of the lost cultural experience are today open systems in associative, semantic, historical aspects, as well as in terms of objects reconstruction. They form an attractive and popular place that goes beyond the limits of urban planning conditions and has the property of an important public space. The composition of theater construction and the principles of shaping that formed in the ancient period had a great influence on their subsequent development and have been preserved in modern design solutions. In this context, the experience of interpreting the architectural monuments belonging to the theatrical art has a great cultural and educational value, not only in terms of reconstructing the lost stratum of cultural heritage, but also, to a greater extent, in modeling a new vision of the emerging architectural culture of the world.