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From the Editor

Zengin S.S.

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Luhansk region: cultural policy in the context of interstate frontiers of a single people

This article sets out a roadmap for the cultural policy of Luhansk (Luhansk Oblast; Luhansk People’s Republic), which over the past 35 years has been part of three states – the USSR, Ukraine, and Russia. The relevance of the topic lies in the dichotomy between cultural-studies and statist approaches to the study of socio-political processes that unfolded during an era of momentous socio-economic change and transformations in state-building.

The article’s novelty consists in the authors’ emphasis on the historical‑cultural and civilizational unity of the peoples of the Luhansk territory, which enabled them to preserve their ethnocultural cohesion amid turbulence and the continuous turnover of institutions across these three state formations.

The study highlights both commonalities and particularities in Luhansk’s cultural policy across several areas: the arts; cultural‑educational and social spheres; the reinforcement of traditional values; historical memory; interethnic friendship; the organization of heroic‑patriotic events; and folk festivals, customs, and public celebrations. A landmark event in the context of the new statehood was the celebration of the 80th anniversary of the Victory of the Soviet people in the Great Patriotic War, which included commemorative events at the Pylon of Glory, the Victory Banner procession, and the requiem “Arise, Great Country”. The article concludes that the civilizational significance of the “Russian world”, rooted in centuries‑old cultural‑historical traditions, remains resilient and contributes to the preservation of unified statehood amid various socio‑political changes.

Keywords: Lugansk region, Russia, cultural policy, statehood, state ideology, tradition, cultural integration, national identity. 

Denisov N.G., Korzhikova Z.A.

pp. 14-25

The main transformations of Russian theatrical culture in the 21st century

The article examines the problem of the transformation of Russian theatrical culture in the 21st century, in an analytical comparison with the system of K.S. Stanislavsky, who defined this type of culture in the 20th century. The authors set the objectives of the study to compare the modern basic components of theatrical culture (drama, acting, and directing with its expressive means) with similar basic foundations of theatrical culture in the views of K.S. Stanislavsky.

The relevance and novelty of the research are determined both by the authors' methodological approach to the very concept of “theatrical culture” in its correlation as a professional with the system of K.S. Stanislavsky, and in the analysis of modern realities of Russian theatrical culture.

Using a wide source base of modern research, the authors come to the conclusion that post-drama, play theater and expressive means of modern directing as a whole are not oriented towards the traditions of Russian theatrical culture, representing the eclecticism of postmodern culture and contradicting the methodological and axiological guidelines laid down in the system of K.S. Stanislavsky and defined the great culture of the Russian theater of the twentieth century.

The article concludes that without reliance on traditional values, one of which is the system of K.S. Stanislavsky, the modern culture of the Russian theater cannot develop and transform in both creative and axiological moral directions.

Keywords: theatrical culture, K.S. Stanislavsky's system, post-drama, play theater, directing.

Naidenko M.K., Vasilchenko N.N., Zhurkov M.S.

pp. 26-38

The problem of stylistic polyvalence in the landscapes of kuban neoavant-garde painters at the turn of the XX-XXIcenturies

The landscape as a distinct genre in the work of Kuban painters at the turn of the 20th–21st centuries has not yet been the subject of specialized research, that determines the scientific novelty of this article. The aim of the article is to examine the stylistic features in landscape works by Kuban painters of the late 20th and early 21st centuries, executed in an avant-garde style. The objectives of the article are: to identify the characteristics of the plastic language of Kuban landscape painters of this orientation, to determine the degree of influence exerted by Western European and Russian masters of the late 19th and 20th centuries on the formation of their individual style; to outline the specificity of the figurative-emotional structure of their works. Based on a series of landscape works and using the methods of formal-plastic and comparative analysis, the authors identify distinctive features in the creative approach of Kuban masters within the landscape genre. These artists departed from the traditions of Kuban landscape painting accepted in Realism and Impressionism, performing in an innovative mode of expression described by the authors as avant-garde. The article traces the extent of influence exerted by Russian and Western European art of the late 19th and 20th centuries on the formation of the stylistically original aesthetics of Kuban avant-garde landscape painters during this period. The authors conclude that the landscape works of Kuban painters from the late 20th to early 21st centuries exhibit a diversity of stylistic vectors. They further establish the influence of movements such as Post-Impressionism, Symbolism, Surrealism, and Expressionism on the development of these artists' plastic manner. Philosophical mysticism and a sense of “otherworldliness”, combined with the semantic depth characteristic of the Russian Peredvizhniki, constitute essential components of the figurative structure in the examined works of Kuban avant-garde landscape painters.

Keywords: Kuban painting, landscape genre, turn of the 20th–21st centuries, avant-garde tendencies, stylistic focus.

Beletskaya N.V., Mityagina Yu.S.

pp. 38-48

Regularities in the evolution of modern russian monumental painting

Contemporary monumental painting in Russia is studied using the author's method of analyzing the interpretation of form, space and color scheme. For the first time, the video sequence of murals is systematized based on the principles of creating an image on a plane, which include: 1. Planar interpretation of form and space (lack of volume and depth in the work). 2. Conditional interpretation of form (the presence of any condition when creating an image, for example, only with the help of light and shadow, where the border between them serves as a place of a break in form, without developing the nuances of form in light, halftone and shadow, or its transformation, the introduction of a drawing line indicating the direction of movement of the form within the silhouette). 3. Conditional interpretation of space (any discrepancy with the realities of nature). 4. Conventional color (when it does not correspond to the realities of nature, for example: red, blue or any, unreal color, face, or environment, introduction of synthetic color: green fluorescent, blue fluorescent, open violet, red, etc.). 5. A unified style of image in painting is the belonging of the applied pictorial means to a single method of interpreting form, space and color scheme (for example, volumetric-spatial interpretation of form and space in accordance with the realities of nature is the use of light, halftone, shadow and contrast to create form and planarity; if the work is a planar solution, then the entire image lies in one tonal plane, volume and space are not developed).

Keywords: monumental painting, murals, conceptual interpretation of form and space, easel painting, color.

Kalashnikova E.A.

pp. 48-58

Christian motifs in porcelain of the Chinese Ming and Qing dynasties XVI–XVIIIcenturies

This study offers a comprehensive analysis of 16th-18th century Chinese porcelain featuring Christian subjects, viewing it as a crucial instance of intercultural dialogue between China and Europe. It addresses the fragmented nature of current scholarship by providing a holistic understanding of the ideological and artistic aspects of these artifacts. The article argues that this porcelain was not merely a trade good or missionary tool but resulted from complex cultural adaptation and stylistic synthesis.

The analysis draws on existing examples of Chinese export and domestic porcelain with Christian iconography from the late Ming and Qing dynasties. This includes pieces made using various techniques like blue-and-white ware, enamels. European engravings, disseminated by Jesuit missionaries, often served as the primary visual sources for the narrative scenes.

In writing the article, the following methods were applied: theoretical (analysis of the cultural phenomenon of 'porcelain with Christian motifs' in China, assessment of factors contributing to the emergence of this direction, and its significance for Chinese and European art), comparative (comparison of Chinese and European artistic and ideological features in porcelain items), inductive (generalization of available information obtained from sources on the topic), and deductive (art historical analysis of artworks).

The study begins by outlining the historical context of Jesuit missions in China and their strategy of cultural accommodation. It then explores the Jesuits' role as patrons in producing Christian-themed porcelain. The main body analyzes how specific iconographic subjects (e.g., Crucifixion, Nativity) were reinterpreted through a Chinese aesthetic lens, with European compositions transformed by placement in traditional landscapes and Christian symbols juxtaposed with Chinese motifs.

The author concluded that Chinese porcelain with Christian themes is a vivid example of stylistic hybridization, rather than blind imitation. Chinese artisans creatively reinterpreted Western models, integrating them into their own artistic system to produce unique, syncretic works. This porcelain played a significant dual role: introducing Christian narratives to a Chinese audience while shaping an influential, exotic image of China in the West, thereby fueling interest in Chinese art and directly contributing to the rise of the Chinoiserie style.

Keywords: Chinese porcelain, Catholic motifs, Christian iconography, evangelical subjects, the Ming and Qing dynasties.

Huang Tianqiao

pp. 58-67

The role of artistic means in the formation of an architectural image in the process of working on a clausura

The article examines the issue of preservation and continuity of the concept of artistic image through the prism of architectural representations in the framework of work on the enclosure. The connection between the artistic image and artistic techniques in the process of searching for the ideological and semantic image of an architectural object is revealed. The example of the enclosure reveals the instrumental connections of line-spot-color as permanent methodological techniques for the formation of an artistic image in the search for an architectural form.

The relevance of the work is due to the need for an in-depth study of the role of artistic means in the formation of an architectural image in the process of working on the enclosure.

The purpose of this article is to analyze the artistic image in the architectural enclosure through the prism of the patterns and connections of the line, spot and color. The methodological basis of the study is the principles of system analysis, comparative approach and visual modeling. The work uses methods of art analysis, which allow to reveal the peculiarities of the interaction of line, spot and color in the architectural composition. Thus, this study is aimed at deepening the understanding of the role of artistic means in architecture.

Considering the artistic image in architectural design as a result of the use of artistic means in the work, we would like to dwell on the role of the line, spot and color in its formation. This triad is fundamental in both art and architecture.  “Line, spot, point, and color are universal means that can depict any shape, create the illusion of space, determine mood and associative sensations.”

For the practical analysis of the interaction of line, spot, and color in the architectural clause, the architecture students were given a graphic clause called “Museum of 1 Picture” within the framework of the “Architectural Design” discipline. Conclusions. In the presented works, students took into account the functionality, aesthetics and interaction of the object with the surrounding space, using the techniques of combining three basic tools: line-spot-color. The significance of the results obtained for theory and practice lies in deepening the understanding of the role of artistic means in architecture. Theoretically, the study expands the knowledge about the patterns of interaction of lines, spots and color, which can be used to develop new approaches to design. Practically, the results of the study can be applied in architectural practice to create more expressive projects.

Keywords: architecture, artistic image, clausura, line-stain-colour.

Romanova A.A., Andriyash A.V., Pokhlebaeva M.B.

pp. 68-80

Greco-Roman Cupids in the Guise of Historicism: the Phenomenon of English Perfection

The article examines Wedgwood's works of jasper ceramics from the 18th and 19th centuries with an antique theme of a mythological nature as an example of exquisite taste and elegance. It presents a comprehensive art-historical analysis of a jasper tray produced by “Josiah Wedgwood & Sons” in the 1860s–1880s, now in the collection of the Saratov State Radishchev Art Museum. The aim is to identify the artistic and semantic transformations of the Cupid motif in English decorative arts of the 18th–19th centuries through three relief compositions on the tray (“The Sale of Cupids,” “Psyche Captured by Cupids,” and “The Punishment of Cupid”). For the first time, the study seeks to determine the form and function of the object, the specifics of its artistic expressiveness, dominant stylistic devices, compositional solutions, and the semantic interplay of its narratives, along with their ethical-aesthetic meanings and value orientations in relation to the cultural context and social expectations of Victorian society. The research employs formal-stylistic, iconographic, hermeneutic, and comparative methods. Its scholarly novelty lies in the first holistic interpretation of a Wedgwood jasperware object with classical themes as a hypertext, in which plastic form and semantic content constitute an integrated system. The reliefs featuring Cupid are examined in their iconological transformation from ancient prototypes, through Renaissance mediation, to Victorian reinterpretation. The analysis demonstrates that these works are not mere copies of antique motifs but Renaissance-mediated transformations, in which Cupid becomes less an embodiment of destructive passion than a vehicle for the didactic and moral-aesthetic ideals of the Victorian era. Particular attention is paid to the gender-specific function of the object (the tray as part of a lady’s “trinket set") and to the symbolism of the “cage” as an emblem of social control over passions. The conclusions highlight that the phenomenon of “English perfection” in Wedgwood ceramics emerged as a result of culturally reframing antiquity in a modern context, turning decoration into a cultural code and a means of aesthetic and ethical influence in the spirit of Victorianism. The reliefs form a coherent “narrative of feelings” and reflect the Renaissance’s unique mediating role within English Neoclassicism.

Keywords:Josiah Wedgwood, reception of antiquity, Renaissance, art of Victorian England, historicism, Cupid.

Devyataykina N.I., Dovgalenko A.S.

pp. 80-90

Russian origin in the history of polyphony

In the theory of the emergence of polyphony, not only the “Eurocentrism” of this process is often emphasized, but also the fact that this is primarily a Western European “theoretically charged” movement in the historical development of music. However, as studies show, the actual genesis of harmonic polyphony in musical culture has objective (having the universality of its manifestations) foundations. This means that he was not exclusively “Western European-centric” and needs to take into account those forms of implementation in which harmonic polyphony arises naturally, as a process non-deterministic by ideological musical theory. For the nature of the emergence of polyphony, the fundamental is the historically natural transition from omusical speech intonation to singing, intonationally most clearly expressed in the expressively significant opening of the central tone of the melody (“mesa”) into an octave and the re-organization of all intonation based not on the dominant of expressive speech, but – “conscious octave sound identity”, octave splitting of the center of intonation bonds and the corresponding rethinking of intonation in melodies. This leap is most evident in cultures not burdened by instrumental-musical and dominantly dance basics, with developed forms of communal life and traditions of democratically mutually respectful collectivism. These features were characterized, in particular, by the special cultures of “women's gatherings” in Russia, the culture of “men's feasts” in Georgia. It is in these conditions that the observation of the progressive development of speech-oriented (one-voice) singing into polyphonic-polyphonic becomes available. In the conditions of cultures that traditionally combine vocal and instrumental intonation, as well as including developed forms of (theoretically and ideologically equipped) professional musical art, the named process of transition from “tetrachordno” organized intonation to “octopus” and the nature of occurrence in the conditions of the latter forms of polyphonic polyphony is already more complicated and hidden, not so obvious and natural.

Keywords: melointonation, polyphony, harmony, polyphony, subvoting (contrast) polyphony.

Borisov B.P.

pp. 90-99

The song layer as a stylistic device in the films of director Georgy Danelia

The objectives of the article are determined by: revealing the genre and stylistic nature of the song content; defining the dramatic functions of musical material in the structure of films; analyzing the methods of intonation modeling through borrowed and author's compositions. The methodological basis of the research is based on an interdisciplinary approach.

Based on modern research concepts of author's and borrowed musical material, the functions of the songs “The day comes, the day goes” (G. Kancheli, E. Yevtushenko, R. Rozhdestvensky, V. Kikabidze), “Chito-gwrito” (G. Kancheli, P. Gruzinsky), “Ov, Sirun, Sirun” (arranged by G. Kancheli, folk), “Suliko”  (arranged by G. Kancheli, A. Tsereteli) in the film "Mimino" and "Odessitka" (O. Strokov, L. Zingertal), vocalization, “Mama, what will I do”  (I. Philip, G. Kancheli), referring to the aesthetics of the 1980s in the film "Kin-dza-dza."

It is proved that the three musical and dramatic lines of the film “Mimino” – lyrico-psychological, ethnocultural, everyday, representing a mixed type of drama (a combination of features of conflict-dramatic and epic development), are reflected through musical material organized into a system of themes. Each of the lines is associated with certain emotional zones of the film: nostalgia and longing (“Chito-gwrito”), philosophical reflection on time and life (“The day Comes, the day goes”), comedic and cultural interaction (“My Dog”, “Suliko”, “Ov, Sirun, Sirun”), emotional cues of the environment (“lezginka”, noise episodes, vocalizations).

In the film “Kin-dza-dza”, the main expressive means of sound compositions is not melody, but rhythm and noise effects, illustrating the paradoxical expression of the plot and the idea of the film.

The author comes to the conclusion that the song layer in G. Danelia's films plays a key role in revealing the characters' characters, philosophical and social themes. The songs in his paintings are an important tool that creates a special atmosphere where humor, absurdity and tragedy become an integral part of the filmmaker's cinematic language and style.

Keywords: film music, Georgy Danelia, Giya Kancheli, song layer, leitmotif, stylistic device.

Tugaev V.O.

pp. 99-108

The role of N.S. Rechmensky's works in preserving and popularizing the musical cultural heritage of the Chechens and Ingush

The relevance of the research topic is due to the lack of research on the creative and scientific path of the composer and folklorist, specialist in Chechen and Ingush musical folklore N.S. Rechmensky. The purpose of the article is to analyze the role of the composer N.S. Rechmensky in the development of Chechen musical culture. This goal is realized by solving the following tasks: to characterize the creative path of N.S. Rechmensky, analyze his works dedicated to the musical folklore of the Chechens and Ingush; to identify the features of the composer's work that had the greatest influence on the musical culture of the Chechen and Ingush peoples. The subject of the study is the work of the composer N.S. Rechmensky and his influence on the development of the musical heritage of the peoples of the North Caucasus.

The scientific novelty of the study lies in identifying the cultural aspect of the influence of the composer's creative heritage on the musical culture of the Chechens and other peoples of the North Caucasus. The methodology and methods of the research are based on an interdisciplinary approach that combines the methods of history, cultural studies and the sociology of art. Historical-genetic and comparative methods of analysis are used.

The source base of the research includes archival materials on the life and work of N.S. Rechmensky from the funds of the Russian State Archive of Literature and Art (RGALI), musical works by N.S. Rechmensky and articles by researchers on the composer's work.

The authors of the article come to the conclusion that the research and developments of N.S. Rechmensky are not used actively enough in the work of modern musical groups of the Caucasus. At the same time, many works have been preserved in the archives, the processing of which the composer has almost completed, therefore, scientists studying the folklore of the Chechens and Ingush should pay attention to them in order to present them to the general public. And the undeservedly forgotten works and musical works of N.S. Rechmensky, who made his creative contribution to the victory of the Soviet people in the Great Patriotic War and actively contributed to the preservation of the musical heritage of the Chechens and Ingush, should be actively used in educational and outreach work in musical groups and schools, in the works of modern musicologists and folklorists.

Keywords: musical culture, Chechens, Ingush, composer N.S. Rechmensky, songs, dances, musical art.

Murdalov M.M.

pp. 108-124

Style and genre range of orchestral music in the works of A. Daurov

The article is devoted to the study of the genre range of orchestral works by composer A. Daurov, identifying the features of the author's individual style. The relevance of the chosen topic is explained by the lack of musicological research devoted to the study of A. Daurov's musical heritage. In the process of analyzing the works, the genre diversity of the author's orchestral music is determined, and the peculiarities of the composer's handwriting are revealed. The article analyzes the following works by A. Daurov: “Islamey”, “Song of a mountain stream”, “Karachay-Cherkessia is mine”. The name of the founder of the professional school of composition A. Daurov is known today not only in the Karachay-Cherkess Republic, but also in the circles of musicians throughout the North Caucasus and beyond. Through his compositions, the composer introduces the listener to the rich and distinctive musical culture of the peoples of his native republic. The choice of works for analysis is determined by the concentration in these compositions of the essential features of A. Daurov's compositional style – the attraction to cyclical forms, the appeal to the national Circassian folklore. Through the means of musical expression, A. Daurov gives his works a national coloring and flavor, which is a distinctive feature of his musical language.

Based on authentic folk themes and plays, A. Daurov does not quote them, but reinterprets and interprets them in his own way, using classical musical composition techniques. This is what gives his music its individuality and defines the composer's style.

Keywords: A. Daurov, musical genre, musical style, national music, folklore, сircassian composer.

Lashcheva E.V., Albotova A.A.

pp. 125-133

Dynamics of the Orthodox Church singing tradition of Harbin in the XX–XXI centuries

The article outlines the main stages of development of the liturgical and singing tradition in Harbin, a special territory of China, where after the October Revolution of 1917 the majority of the population were Russian emigrants professing Orthodoxy. It should be noted that Orthodox choral singing, undoubtedly brought to China from outside, was not the only precedent of choral performance during worship and by the time of the mass emigration of Orthodox to Harbin it was already a phenomenon that had taken root in the Celestial Empire, thanks to the centuries-old work of Christian missionaries. At the end of the 19th – beginning of the 20th century in Harbin, along with the construction of a large number of Orthodox churches, the singing concelebration of the altar and choir in parishes was quickly organized, choral groups were created, where musicians found an additional way of their professional self-realization. The best musicians were attracted to the churches, Harbin composers wrote for the choir – M. Altabasov, N. Vorotnikov, N. Lebedev, K. Pavlyuchik, I. Raisky, P. Raspopov, S. Savvateev, P. Shilyaev – whose music is still in demand at church services today. Three stages are distinguished, the first of which is the largest culminating (before 1956), which ended with the fading away during the cultural revolution (the second stage) and an attempt at restoration and renewal after 1978 – the time of reforms and openness. The attention is focused on the fact that today, when relations between China and Russia are intensively developing, and China remains an attractive region for Russian tourists and entrepreneurs, the number of parishioners is constantly growing, including due to children of mixed families and baptized Chinese, the need to translate sacred texts into Chinese and create a singing corpus of texts, adapted both verbally and musically, is realized. A kind of social order has arisen, when the demand for such activities initiated both creative acts and administrative actions. The new singing reading of canonical liturgical texts is also touched upon by the researcher of Chinese musical culture, composer N. Starostina, whose work is distinguished by its scientific intensity, preliminary deep analysis of traditional musical poetics of China. An optimistic forecast is given for the dynamics of church singing in Harbin in connection with the high level of intercultural dialogue between the countries today and the political will of the leaders of China and Russia.

Keywords: Harbin musicians, Orthodox singing tradition, church singing, composers, choral art.

Zheng Yuxin

pp. 133-141

“Formidable Hymns of the Glorious Zaporozhian Army, or Military Sonata for Timpani” by V.G. Kikty: Musical Poetics and Artistic Potential of a Solo Instrument

The article examines the work for solo timpani by Russian composer Valery Grigorievich Kikta in the light of innovative artistic trends of the 20th century, caused by the strengthening of the role of percussion instruments in modern musical art, as well as the deepening of the programmatic nature of the sonata genre.

The purpose of the work is to consider the artistic, figurative and performing aspects of the military sonata by V.G. Kikta “Formidable Hymns of the Glorious Zaporozhian Army”. To achieve this goal, the following tasks were set: to determine the features of the use of the program component in the work, to analyze the expressive and performing aspects of the composition, to identify the increased artistic potential of the timpani as a solo instrument of the orchestra's percussion group.

The author of the article briefly describes the history of the emergence of timpani, their penetration into secular music of Western Europe, as well as the role of timpani in the life of the Zaporozhian Cossacks. The author also focuses on the changing role of the accompanying and rhythmic instrument of the percussion group of the symphony orchestra, the gradual transformation of the timpani into a solo instrument with their inherent artistic imagery and expressiveness. The use of a diverse sound palette and various technical methods allowed V.G. Kikta to recreate an original “live” picture of history using only four sounds of the timpani. Having created a bright programmatic concert sonata for timpani “Formidable Hymns of the Glorious Zaporozhian Army”, the composer clearly demonstrated the rich artistic potential of the percussion instrument, opening up a broad perspective for its transition to an interesting solo concert practice, not inferior in its importance to other instruments of the symphony orchestra.

Keywords: timpani, sonata, Valery Kikta, programmatic music, performance techniques.

Zanin E.V.

pp. 142-148

The Art of Playing the Pipa: History, Theory, Practice

The article considers the development paths of the art of playing the pipa. The sources of the formation of performing culture are studied, problems of modern theory and practice are covered. The most representative trends in the evolution of the instrument that influenced the formation of the modern timbre-sound palette of the pipa are determined, and the special role of Liu Dehai as one of the leading performers is highlighted. Consideration of the main trends in the development of the art of playing led to the conclusion about the existence of the principle of continuity as the basis for the formation of technical skill in playing the pipa. Unique features of the art of Chinese lute require careful attention to the problem of choosing a repertoire. The existence of a large number of compositions, contrasting in style and technique, facilitates the process of selecting works for different levels of training of performers. However, the need to strictly follow the selected indicators determines the criteria for the relevance of pieces in terms of technical complexity. The identification of uneven distribution of musical material leads to the conclusion about the need to systematize collections based on the principle of technical and artistic complexity. In this regard, a promising direction in the development of the art of playing the pipa today is the course taken to update the theoretical base. In conclusion, a conclusion is presented on the need for a harmonious fusion of tradition and innovation in relation to one of the most ancient instruments of the country of China.

Keywords: Pipa, Chinese lute, traditional instrumental art of China.

Li Anni

pp. 148-157

Demonstration of the moral choice of a creative figure in cinema: axiological approach

The problem of the article lies in the ambiguity of the moral choice of movie characters from Russian and foreign films, which leads to the demonstration of certain immoral behaviors to the audience. The research methods in the article include observation, typologization, comparative and hermeneutic analysis. Their use is justified by the fact that a movie is perceived visually and audibly, and these methods are focused on collecting and analyzing information received through the visual and auditory channels of perception.

We have compiled a list of 73 films (31 Russian and 42 foreign) according to the following criteria: the main character is a creative figure, and the plot of the film is based on a fairly detailed description of his creative path, with episodes showing psychological personality traits, motivation, self-esteem and behavioral patterns. As a result, we have identified the trials, conflicts, and crises characteristic of films about creative figures, which put the characters in a situation of moral choice.

As a conclusion, we note that in the patterns of behavior of cinematic characters in the creative field, one can discern subtle differences between moral norms and moral choice. This choice often becomes a violation of moral norms for the sake of the success of a creative project, therefore it is necessary to distinguish a creative personality with all its vices and weaknesses from the work it has created. Modern Russian cinema allows many moral liberties in depicting the image of a creative figure, which, on the one hand, brings his image closer to realistic, non-idealized human behavior, and on the other hand, casts a shadow on the high standards of morality that are traditionally prescribed to artists.

Keywords: morality, moral choice, conflict, cinematic hero, artistic image, creative figure.

Boshuk S.V.

pp. 157-166

Modern forms of radio broadcasting in the context of using Internet technologies (using the example of the radio station “Govorit Maykop”)

The article provides an overview of theoretical research analyzing the impact of the Internet on the processes of media convergence. It examines forms of Internet broadcasting in radio. Using the example of electronic media in Adygea, the study explores the processes of structural and genre transformation of media under the influence of the development of Internet technologies. The author aims to identify the level of impact that electronic media in Adygea have on the socio-cultural space of the region through the Internet and their influence on contemporary culture. To achieve this, the research analyzes concepts of the presence of electronic media in virtual space, the application of communication methods with Internet users within their boundaries, as well as their ability and opportunities to shape their own agenda in the surrounding reality. The study employed theoretical and empirical research methods, including descriptive, comparative, experimental methods, content analysis (which examined publications from television and radio on official websites and social networks), and sociological survey methods. The article specifies the weak points of Internet broadcasting by electronic media in Adygea. They include low multimedia capabilities of websites; limited activity on social networks; insufficiently developed modern forms and genres of Internet broadcasting; and, in some cases, a conscious limitation of communication with users. After empirical investigation of the activities of the radio station “Govorit Maikop”, the author came to conclusion that this radio channel is an example of a modern mass communication medium that positively influences the socio-cultural situation in the region. This is largely due to its use of Internet technologies and social networks. In contrast to many other mass media, an important aspect of the value and popularity of "Govorit Maikop" radio station is its respect for the listeners, users, and subscribers; high-quality sound recording; authors’ positive attitude and their desire to avoid sharp political and economic issues that can provoke tension and depressive moods in society; the focus of broadcasting on gently fostering patriotic values.

Keywords: Adygea, electronic media, Internet broadcasting, social networks, socio-cultural space, radio, “Govorit Maykop”, virtual space.

Zhachemuk V.S.

pp. 166-173

Holidays of the Oryol region: towards the formation of mass musical and theatrical performances of a literary type

The article is devoted to the formation and development of modern literary and artistic holidays, using the example of the Oryol region as the third literary capital of Russia. The relevance of the topic is due to the study of little-known regional traditions and their dynamic development in the course of general cultural transformations of modern Russia. The article highlights the problems of the formation of a modern festive culture of the region, reveals ideological and thematic, directorial and production issues of the organization and implementation of mass literary and artistic events.

Domestic festive culture is a rich architecture of theatrical performances, which is constantly changing based on various factors.  Of greatest interest to our research is one of the central regions of Russi. The festive culture of the Oryol region, as well as our modern country as a whole, is in the process of formation.

The Oryol province has been famous for its literary history for several centuries, because such great people as I. S. Turgenev, N. S. Leskov, A. A. Fet, F. I. Tyutchev, I. A. Bunin and many others lived and worked here. All of them give the region a special significance, which is reflected in the cultural life of the region and its festive calendar. The geographical position of the region, its relatively close proximity to the capital region provides the opportunity and need for constant development. Oryol is considered a city of students, since in the central part of the country, this is a region where a wide range of specialties is presented. Another very important factor in the constant development of the festive culture of the region is the presence of a professional educational link - the Oryol State Institute of Culture. These factors are important for understanding the development of directorial technologies in the Oryol region.  It can be said that after long dynamic changes in the holiday culture, in the last decade such a holiday phenomenon as literary and artistic holidays has begun to crystallize. In the 21st century, literary holidays in the Oryol Polesie have become the calling card of the region. They reveal the essence of the holiday culture of the Oryol region.

Keywords: literary holidays, festive culture, directorial and production activities, event, regional calendar.

Koroleva E.S.

pp. 173-182

Theatrical trends in contemporary musical art

The article examines modern trends in musical art, which actively integrates elements of theatrical performance, choreography, show, leveling the boundaries between “pure” instrumental and stage theatrical art. Actualization and rethinking of folklore sources, which actively entered into composer's work at the turn of the 20th-21st centuries, contributed to the formation of new genre and style models, changing the perception of academic music. The opuses of M. Fuksman are considered, who applied innovative approaches to composition, using theatricality, elements of performativity and the latest methods of vocal and instrumental sound production. The composer's special view of the interaction of styles leads to a dialogue of cultural layers of an impressive time range, which is characteristic of the postmodern era. In this regard, a new form of interaction is formed, where music, in contact with ritual spectacle, becomes very multifaceted and polysemantic, combining the past and the present in a single text. Attention is focused on the use of bricolage and simulacrum, due to which a feeling of dissolution of reality in an artistic environment is achieved, where original elements turn into multi-layered copies devoid of semantic unambiguity. In the context of modern trends in musical art, one of the features of the aesthetics of postmodernism is revealed, erasing the line between high and low, forming the phenomenon of shocking music-making, combining performative practices, the influence of mass culture and pop genres. A significant expansion of the expressive and semantic possibilities of music is noted, including through overcoming traditional demarcations between high and mass genres, through parodic and even absurd outlines found in the opuses of modern composers. An attempt is made to build a new way of perceiving musical art, where multiple semantic layers, textual parallels, create a separate world in which the listener / viewer finds himself in the face of not only musical aspects, but also philosophical, cultural, historical and mythological symbols, immersing him in existential reflections.

Keywords: folklore, folk instruments, performance, Composer Mikhail Fuksman, instrumental theatre.

Krivosheev M.B.

pp. 183-184

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