The article is devoted to the study of ballet with the singing of Kurt Weill’s “Seven Deadly Sins” in terms of its implementation of the theory of the epic theater of Bertold Brecht. It analyzes the libretto of the work, during which the socio-political ideas broadcast by it are established. Particular attention is paid to the subsequent identification of elements of the musical language aimed at embodying the principles of the Brecht theater. Their search takes place in the vocal and instrumental layers of the musical development of the work. As a result, the peculiarities of the ballet’s decision are noted, realizing some of the provisions of the epic theater: among them, a one-plan allegorical interpretation of characters and an orchestral system of symbols aimed at denouncing society. The predominance of musical development over the dance principle is also emphasized, which may serve as a reason for rethinking the genre indicated by the composer.

The article is devoted to Shakespeare’s comedy “A Midsummer Night’s Dream” interpreted in the opera by B. Britten. The focus is on the plot and structural features of the British composer’s work, specified by the genre nature of the English writer’s play. The chosen aspect of the study provides its scientific novelty since the work of B. Britten has not yet received an exhaustive understanding in Russian or foreign musicology. The authors analyse the process of transforming the literary source into the libretto, they also consider the stages of plot composition including implementation of structure and genre patterns of myth and fairy tale in the opera. The theories of V. Propp (morphology of the fairy tale) and M. Tarakanov (operatic plot motifs) involved in the study made it possible to identify the deep connection of the figurative sphere and the compositional and dramaturgic logic of Britten’s work with the archetypal structures of ritual and myth, originally laid down in the play by W. Shakespeare. 

This article examines the creation of Alexei Rybnikov’s “«Juno» and «Avos»” identifying the specifics of the libretto and the key principles of musical embodiment of the mystery opera’s central ideas. The authors also conduct a comparative analysis of Andrei Voznesensky’s poem «Avos!» and the opera libretto based on it. In “«Juno» and «Avos»” the plot structure and language are modified, key ideas are highlighted, and the characters are reimagined. The religious theme is updated, and the love story is presented in a more elevated light. The three key dramatic ideas advanced by the production’s creators are consistently developed in both the libretto and the music. The central character of Count Rezanov is characterized much more diversely than the supporting characters. 

This article is the first in musicology literature to examine the work "Three Frescoes" for button accordion by Krasnoyarsk composer O.O. Meremkulov, written in 1984. A sequential analysis of the theme is provided, revealing its intonational genesis and genre nature, on the basis of which a musicological interpretation of the composition’s figurative structure is proposed. The composition of the musical material, which conditionally represents bell ringing, is of particular importance, which explains the increased role of the auditory spectrum and the proliferated use of various seventh chords with embedded tones. Observations are made about the patterns of musical form – the unique mosaic-like nature of the composition and the significance of the framing principle, which operates both at the level of individual parts and at the level of the cycle. Techniques that contribute to the effect of disabling a temporal parameter are analyzed. According to the analysis results, cross-thematic connections between parts play an important role in the organization of the cycle, giving the entire composition intonational integrity and symphonic quality. Observations made during the study allowed concluding that O.O. Meremkulov’s work has a hierotopic orientation in that it creates a special sacred space using specific intonational means.

The article analyzes images of women in Aleksandr Rodchenko’s photography of the 1920s–1930s and their artistic and ideological function within the context of early Soviet visual culture. The relevance of the study lies in the need to clarify the role of the female figure in shaping the “new vision” and in the emergence of normative models of representation in Soviet visual discourse. The aim of the research is to trace the dynamics of the shift from images in portraits of the author’s closest circle to the construction of the “new woman” as a collective ideal. The material for analysis includes Lilya Brik in Aleksandr Rodchenko’s Studio (1924), Portrait of Mother (1924), Varvara Stepanova. Double Portrait (1925), Girl with a “Leica” (1933). The methodological framework combines formalcompositional, iconographic, and semiotic analysis, supplemented by cultural-historical context. The results show that in Rodchenko’s work the female figure is not a secondary motif but a meaningforming element of the “new vision”: viewpoint, diagonal composition, fragmentation, and series-based approach operate as a visual rhetoric of modernization, translating corporeality into a language of collectivity, ideological normativity, and social inclusion. It is demonstrated that the shift from personalized images to typologized forms of representation is accompanied by a change in the status of portraiture from the fixation of individuality to the production of a socially significant model. The main conclusion is that female images in Rodchenko’s photography function as a mediator between Constructivist form and the project of transforming the subject in Soviet culture, as Constructivist devices convert the private female portrait into a representation of a social role and a typological image aligned with this project.

The article examines the creative and pedagogical activities of Vladimir Kulikov and Maria Kulikova in the context of the formation and development of the Krasnoyarsk School of Graphic Design (KSGD). The novelty of the study lies in the attempt to systematically reconstruct and describe for the first time a local, region-specific pedagogical model that influenced the formation of the visual-communicative environment of Krasnoyarsk at the turn of the late 20th and early 21st centuries. The key stages of the Kulikovs’ professional development are analyzed, along with the distinctive features of their artistic and methodological approaches, which were shaped through both teaching and practical design work. Particular attention is paid to the impact of the couple’s individual creative experience and pedagogical principles on the establishment of the regional model of design education, as well as to the stages of creation and development of KSGD. The study identifies the interplay of systemic project-based methods, visual thinking, and authorial artistic strategies within the educational process, as realized in students’ practical assignments, coursework, and diploma projects, thus revealing the specific characteristics of the Kulikovs’ pedagogical practice within KSGD.

The focus of this article is Wang Guangyi’s oeuvre, analyzed through his search for new forms, methods of production, and the philosophical shift from rationalism to Pop Art. Special attention is paid to the formation of the worldview of young Chinese painters in the 1980s. The authors examine the influence of foreign artists, modernism, postmodernism, and the philosophical theories of Georg Wilhelm Friedrich Hegel, Ernst Hans Gombrich, Friedrich Nietzsche, Arthur Schopenhauer, and Jean-Paul Sartre, treating them as an integral part of modern Chinese visual art. By studying Wang Guangyi’s memoirs and interviews, the authors introduce new information about the factors that influenced the formation of his style within academic discourse. The article notes the impact of the artist’s painting on the development of modern art in China. The authors conclude that throughout his life, Wang Guangyi searched for the “spirit” rather than the external form, thereby shaping his individual creative method.