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The purpose of the articleis to formulate the basic principles of the “anti-theatre” programme of Zurich Dadaism, using the concept of “expressive dance” by Rudolf van Laban as a form of their approbation. Theresearch methodologyis based on a basic combination of historical-reconstructive, structural-analytical and comparative methods. Results.The article presents the practice of Hugo Ball’s Cabaret Voltaire in Zurich, from which the history of the most radical art movement of the “historical” avant-garde began in 1916, and artistic searches in the field of performing arts, which marked the activities of Tristan Tzara’s DADA Gallery in 1917. The author has also focused his attention on the stages of formation of the “expressive dance” concept by Rudolf van Laban, the world-famous Hungarian choreographer and the participation of the graduates of the Zurich Choreographic Institute in stage experiments of Dadaists. A comparative analysis of the artistic practice of the most radical art movement of the “historical” avant-garde, presented in particular at the Cabaret Voltaire and the DADA Gallery, and the Hungarian artist’s experiments in “free choreography” at the Zurich Choreographic Institute allowed describing the ways of organisation of “another stage reality” proposed by Dadaists and identifying their consonance with ideological and artistic grounds of the “dance grammar” developed by Rudolf van Laban. The scientific novelty of the studyis that the artistic results of the little-studied stage practice of the Zurich Dadaists (including simultaneous poetry and sound poetry) are emphasized through the use of conceptual provisions of Rudolf van Laban’s theory of “expressive dance” and methodology of “dance architecture”.

The purpose of the article is to highlight the concept of the New Humanitarian Knowledge as a complex, multidiscipline and adaptive system. The research methodology provides analysis of the problem field of the postculture and identification of its little-studied gaps; it also defines performance as one of the most striking phenomena of the postculture; finally, it helps to establish motivations for studying the history and practice of stage performance in the context of the New Humanitarian Knowledge. The scientific novelty of the study is determined by significant changes in cultural and artistic life generated by the development of humanitarian knowledge as well as by expanding the informative and analytical field of the cultural initiatives and the introduction of digital technologies in the process of creating an artistic product. In this context, the relationship between aesthetic and artistic innovations in culture and the complexity of the system of artistic analysis and the variability of knowledge obtained in the professional education is also revealed. Conclusions. It was proved that the formation of the New Humanitarian Knowledge was one of the results of modernisation of the humanitarian, in particular, culturological sphere — the transition to a mobile, multiparadigmatic, methodologically multilevel model of knowledge that responds to the so-called “volatile” creative structures, with their ability to rapidly review certain realities and values, and create new practices. It’s indicated that nowadays the most relevant category of the New Humanitarian Knowledge is performance studies, focused on the analysis of manifestations of performativity. In their system of research coordinates, the performance turn became one of the starting points for the era of postculture. It was concluded that the history and practice of the stage performance, which since the end of the last century has become a full-fledged participant in a process of organising a complex, diverse, artistically heterogeneous theatrical system, constantly fosters interest in performative issues. In turn, the functionally and methodologically enriched New Humanitarian Knowledge supports the progress of performative analytics in the system of new theatre studies, related to the topical agenda of “new visual” and performance as its valuable part.

The purpose of the articleis to determine the benchmark of the vanguard theatrical movement, which European art criticism reasonably recognized the “Ubu-king, or the Polishers” after Alfred Jarry’s tragifarce, performed in Paris, in the “L’Oeuvre” theatre, managed by Orillien-Marie Lunier-Poe (1896). This performance prompted the playwriter to create a new theatrical theory, where the European stage traditional attributes, such as a scenic space, dramatic action organization and acting, have been rethought. Jarry outlined his theory in several articles (“Ubu-king program”, “About the inexpediency of the theatrical in the theatre”, “Answer on the question about the dramatic art”, etc.) and a book “Gestes et Opinions du Docteur Faustroll, Pataphysicien” (“Gestures and Opinions of Doctor Faustroll, Pataphysician”) (1898, pub. 1911). At the same time in the field of the French culture itself this performance presented the surrealism – one of the powered (in the aesthetic-&-artistic sense) historic avant-garde branches. “Ubu-king or the Polishers” stylistic successor was Guillaume Apollinaire’s “Tiresias Nipples”, in 1917 showed by one of the surrealistic pioneers Pierre Albert-Biraud in the Paris stage laboratory “Art and Liberty”.The research methodologycombines elements of the historical-reconstructive and the structural-analytic methods.The scientific noveltyof the article means the introduction into the scientific use of the Ukrainian theatre researching “one of the most extraordinary French down poet’s” (Esslin) a little explored creativity and formation of the clearer understanding of the theatrical surrealism rising.Conclusions.Ukrainian theatre studies yet haven’t filled the gap regarding the formation of the historical avant-garde culture. Meanwhile, it’s an important part of the general cultural process; therefore its study is necessary for the more objective understanding and more resultative using of the achievements of the contemporary Ukrainian stage.