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The article focuses on a significant aspect of Romania’s musical-theatrical history, namely the musical „Adio Chiustenge!” , composed in 2016 by Dumitru Lupu, a composer from Dobrogea, in close collaboration with poet Carmen Aldea-Vlad, the author of the libretto. Dumitru Lupu was a complex personality: composer, conductor and pedagogue. Music his enjoyed great popularity until present, characterized by a melodiousness and special expressiveness, which shaped him a complex musical profile, of a melodist. In this article, we examine D. Lupu’s creative evolution within the context of Romania’s non-academic musical culture. Additionally, we analyze the aspects of the evolution, composition, and dramaturgy of this musical, which holds an important place in the country’s musical-theatrical history.

El presente artículo aborda el tema del caminar. Se profundiza en los elementos del habitar la ciudad y el ritmo en ella, esto último se dirige en dos vías: el ritmo de la música y el paso que tienen los sujetos al caminar. Para el desarrollo de la propuesta, se recurrió a la observación in situ de lo que ocurre en la Avenida Central de San José y se contrastó lo observado con teoría psicoanalítica, así como con aportes de autores como Le Breton (2022) acerca del caminar, quienes se consideraron relevantes para realizar este análisis. Se encontró que, en el acto de emprender caminatas, participan distintas emociones y el deseo de la persona que camina. Resultó evidente que cada sujeto marcha de forma diferente, ya que posee experiencias diversas que inciden en su paso/ritmo, es decir, en la manera de transitar y habitar por los lugares.

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Copyright of Studii de Ştiintă şi Cultură is the property of Studii de Stiinta si Cultura and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Fiddlers and their music were a very important component of the music of Moldavia, Wallachia, and Transylvania. Mentioned in documents since the 16th century, fiddlers were indispensable at the princely court, where they participated in most of the ceremonies in which the ruler played the principal role. The fiddle music varied depending on the characteristic music of the regions in which they settled, as well as on various foreign influences, especially the Ottoman classical music practised in those areas bordering the two Romanian Principalities. Thus,it gradually became possible for the fiddle music to acquire an individual identity and a specific social profile. The present study by no means exhausts the documentary sources regarding general aspects of this category of ‘fiddlers’, nor of their music, but it should be said that comparable research is largely absent in Romanian scholarly literature. The main focus rather is on general aspects of the tradition, and less on the particular. This paper outlines the general framework in which fiddlers appeared, but also highlights their placement in Romanian musical culture. It also tries to promote some awareness of the foreign and domestic influences that have been imprinted on their music, as well as of the musical instruments they have used. One aspect of the study is represented by comparative analysis of different written sources to indicate how the fiddlers have been referenced over time. All these aspects captured in this first article represent a contextualization of the fiddlers’ practice, and at the same time serve as a broad introduction to a second article, which is unprecedented in its scope, and adopts an original historical approach to the entire ‘phenomenon’ of fiddle music and fiddlers. Both parts of the study should be considered complementary, and together they constitute a seminal contribution to the subject. [ABSTRACT FROM AUTHOR]

In this essay, I use the song 'Let It Go' from Frozen as a steppingstone for addressing song and animated musical film as combined media, or rather integrations, and, based on the models put forward by Lars Elleström, propose a framework for discussing different kinds of synchronic intermediality. I propose that when analysing synchronic intermediality, we need to consider (at least) three types of combination: 1) combination of modalities (understood as formal structures framing the content), 2) combination of qualified aspects (understood as conventions of media products, herein those aspects tied to media representation), and 3) combination of semiotic content. [ABSTRACT FROM AUTHOR]

It so happened that for the end-of-year exam performance with students from the Faculty of Theatre and Film, Babeº– Bolyai University, the preparatory tea chers chose a shortened version of Stephen Sondheim’s (1930-2021) musical Into the Woods, adapted for young people. As a voice coach and accompanist, I felt it was important to establish a deeper friendship with this previously unfamiliar work. Therefore, I first watched the Broadway film adaptation of the piece, then studied the libretto and the music associated with the lyrics. Simultaneously, I began to research Sondheim’s musical and lyric-writing activities. [ABSTRACT FROM AUTHOR]

Copyright of Opuntia Brava is the property of Universidad de Ciencias Pedagogicas de Las Tunas, Centro de Documentacion e Informacion Pedagogica and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This collectively authored position paper discusses “hybrid” Shakespeares in Central and Eastern Europe, focusing on productions that offer formal experimentation and transnational perspectives. While their contexts remain regional, they provide an insight into how Shakspeare has been mobilised regionally. The paper consists of four distinct parts, each considering Shakespeare in a hybrid form: in opera, dance and musical theatre as well as puppetry in the transnational, regional context. The general discussions of Shakespeare’s presence/appropriation in these art forms are followed by case studies that illustrate the significance of hybridity that characterises Shakespeare in the Central and Eastern European transnational context. Our brief analyses and selected case studies suggest a need for a detailed study of Shakespeare and performative arts in Central and Eastern Europe that would concentrate on the transgressive impulse these theatrical blends realised through formal experiment and artistic innovation. The publication of the article was supported by the International Visegrad Fund, project no. 22210007, titled “Crossing Borders with Shakespeare since 1945: Central and Eastern European Roots and Routes.” The project is co-financed by the Governments of the Czechia, Hungary, Poland and Slovakia through Visegrad Grants. The mission of the Fund is to advance ideas for sustainable regional cooperation in Central Europe.

Peter Kunze’s book Staging a Comeback: Broadway, Hollywood, and the Disney Renaissance is a (overwhelmingly) well-researched study of the transmedial migration of popular narratives in the 1980s and the 1990s. Focused on Disney’s appropriation of the Broadway integrated musical (H. Ashman, A. Menken), the study demonstrates how the musical theatre conventions improved the quality of Disney’s main product — the animated film. Kunze engages in close reading of an extended episode from the history of cultural production (the Disney Renaissance), showing the complexity and unpredictability of various media convergences. For instance, the book reconfigures the roles of managerial and creative labourers behind the Disney transformation, wittily (and convincingly) bringing to the forefront 1982 as annus mirabilis, which triggered immense changes in the cultural sector. After discussing Disney's appropriation of the musical Broadway, the book reveals how the updated animated musical comes back to the theatrical stage and transforms ‘respectable’ Broadway by alternative styles and agendas (Julie Taymor’s The Lion King). Apart from other sources, the research uses hardto- access archival materials, the author's interviews with the practitioners and their entourage.

The article is dedicated to a fragment from the musical Adio, Chiustenge!, composed in 2016 by the Romanian composer Dumitru Lupu, namely Ma-ntorc la tine iar. The stylistic and genre methods, structural aspects of this aria, the vocal techniques, interpretative challenges, and recommendations for overcoming them are highlighted.

One of the most accomplished musicals of all time, "My Fair Lady" remains a landmark in the history of the musical genre: this musical was a successful multicultural alliance: it was based on a play by the Anglo-Irish playwright George Bernard Shaw, a musical score by the Austrian Frederick Loewe and a libretto by the American Alan Jay Learner, the velocity of the melodies and choreography, as well as the jazz rhythms, being genuinely American. The topic of the current research is based on the ways in which George Bernard Shaw contributed through his play "Pygmalion" and also as a music critic to of a landmark musical, which is "My Fair Lady". [ABSTRACT FROM AUTHOR]

The reciprocal principle of the synthetic performer's self-training is the focus of this study because it is a fundamental pillar of role construction in musicals and operetta performances. By the term synthetic I distinguish that performer who has mastered the vocal, dance and acting arts, through which he realizes his roles in a given musical-stage work. The definition Synthetic is most accurate because of its broadness. The purpose of the independent work is to help the artist, within a rehearsal period, to prepare for each subsequent stage of the process. It is important to be able to get to the point where, when you go out in front of an audience, you will feel confident, completely removed from the feeling of fear and mistakes. When the actor has worked out individual elements calmly during self-preparation, they remain in him as safe places and he incorporates them during rehearsals. The process that the performer enters into while exploring the role on their own, much more quickly and naturally reaches the building moment of unlocking the SPONTANEOUS GAME. It is important during the independent work that the performer calmly and analytically outlines for himself exactly who in his role makes him insecure. The three main aspects that a synthetic artist should work on are: - the actor's construction of the textual part of the overall structure of the musical-stage work. - vocal learning and situating in the role structure of the individual musical numbers. The logical linking of the previous acting scene and the musical number. The discovery and exploration of the musical touches given by the composer to enable the performer to build a full-blooded vocal-artistic image. - overall plastic ideas, searching, by improvising the most accurate physical characteristic of the character, during the rehearsals with the choreographer these ideas can be shared and become the basis for developing the dance passages. Another direction in which the performer can practice independently is working out and perfecting dance passages already set by the choreographer. There is a triunity between these elements of the musical and the operetta, with certain binary relationships between each of the elements. Particular attention is needed on the accompaniment. Again, by asking specific questions, one must gain insight into the relationship between the accompaniment, the message of the song, and the musical score. The synthetic performer may experiment different physical body behaviours during the performance of a musical number in order to be able to suggest ideas during rehearsals to continue working on with the director, choreographer and scene partners. [ABSTRACT FROM AUTHOR]

The article is written in connection with the anniversaries of the life of the great Russian thinker Alexey Fedorovich Losev and is devoted to one of the aspects of his aesthetic research related to the interpretation of music in Neoplatonism. This article makes sense to emphasize the substantial ontological essence of music, relying on Losev’s phenomenological-dialectical method, on his commitment to Neoplatonism as the last significant ancient philosophical movement. Losev considered the philosophical foundations of music in the cosmological treatises of such philosophers as Quintilian, Proclus, Sallust. Touching upon the ancient origins of the philosophy of music as an aesthetic field, the author refers to the Pythagorean teaching of the divine number and the musical harmony of the spheres. At the same time, Neoplatonic ancient philosophy demonstrates different types of existence of music, or ancient Greek music. The combination of the logical and the illogical in Losev’s philosophical thinking allows the author to present through the prism of the philosophy of substantial musical existence the closeness of the idea of the existence of the music of the Neoplatonists, proceeding from the ideas of the One, and Losev, the divine unity, where the thought of music goes far beyond the limits of the actual musical art. Music in philosophical knowledge is outside of art as world harmony, substance, becoming in time, divine number, or the life of numbers, the expression of the numerical first principle. In the sources, the author used the works of A. F. Losev: “The History of ancient Aesthetics”, “Dialectics of myth”, “Dialectical foundations of mathematics”, which presents a deep connection between mathematics and music. At the same time, the author relied on his aesthetic research “The Logos of music in the phenomenological-dialectical method of A. F. Losev”, and other chapters of his book “The Value of Music: a philosophical aspect” and his dissertation “The concept of the value of music as a substance and a way of value interaction of a person with the world”. Summarizing, the author moves from the dialectic of musical-substantial being to the philosophical concept of “musical” as an aesthetic category that requires further research.

This is a film review of The Bitcoin Car (2023), directed by Trygve Luktvasslimo. [ABSTRACT FROM AUTHOR]

This article offers an analysis of the performance Opera mleczana (Milk Opera), directed by Mikołaj Grabowski, which premiered on 9 March 2003 at Narodowy Stary Teatr im. Heleny Modrzejewskiej (Helena Modrzejewska National Old Theatre) in Kraków. Its libretto and music by Stanisław Radwan were based on satirical drawings by Andrzej Mleczko. Using the theory of intermediality, the author interprets not only the content of the performance, but also the various forms and means of expression it employs, borrowed from opera, musical, film, soap opera, and comic strips. It is argued that the show’s hybridity contributed to its popularity, as it made it easier for the actors to connect with a multigenerational audience.

Henry James's The Ambassadors is considered by many James scholars his most complex novel and his central character, Lambert Strether, a man whose decisions are not always easy to explain to either the reading audience or the other characters in the text. Adapting this work to other media formats presented challenges that, this article argues, were not fully met. One of the major problems faced by the two television versions and one theatrical version of this work is their failure to address what James calls a 'virtuous attachment', a term understood by Strether to define the relationship between young New Englander Chad Newsome and his French 'companion', Madame de Vionnet. This article examines this issue as well as the particular demands that television and stage adaptations of literary works must address and that these ambitious and distinctive approaches to The Ambassadors faced, including adapting the work into a big Broadway musical. [ABSTRACT FROM AUTHOR]

The positive impact of group music-making on subjective well-being has been shown in various contexts, yet very few studies have focused on community musicals. The purpose of this intrinsic case study was to explore the well-being of adults who participated in Whoop-Up, a musical variety show consisting of singing, dancing and acting, for parents, staff members, alums, alums' parents and friends of a primary school. Data were explored through the lens of the PERMA framework. Twenty-one adults aged between 21 and 75 involved in Whoop-Up in 2018 volunteered to participate in the study. The findings indicate that participants experienced positive benefits in all the sub-domains of subjective well-being according to the PERMA framework. Meaning was the most salient dimension, followed by Engagement, Relationship, Positive Emotions and Accomplishment. The findings suggest that participation in Whoop-Up may impart a deep sense of meaning for participants, embedded in positive emotions, which could foster strong interpersonal relationships between parents, teachers, alums and the school environment as a whole. [ABSTRACT FROM AUTHOR]

The creative genius of some of the most famous names in the field of American musical comedy from the beginning of the 20th century produces and typifies certain winning standards and formulas in terms of the composition and production of musical theater plays and their transposition into film adaptations. [ABSTRACT FROM AUTHOR]

The current study came to shed light on the process of musical taste and its relationship to the functional exchange between the religious and secular lyrical heritage, which the researchers formulated with the following question: (Is there a relationship in the process of musical taste in the functional exchange between the religious and secular singing heritage). Which aimed to: Reveal the process of musical taste and its relationship to the functional exchange between the religious lyrical heritage and the worldly lyrical heritage. The third chapter included the selection of (17) samples from the research community converted between the religious and secular lyrical heritage. As for the fourth chapter, the results of the research included the following: The impact of the process of musical taste in the functional exchange between the religious and secular lyrical heritage and vice versa, on (Iraqi songs, radat, and virtues) the most famous and popular, and popular in Iraqi society. In light of the results, the researchers concluded the following: taking advantage of the technical and artistic advantages in the production and performance of the worldly lyrical heritage, and applying it in the production of religious heritage, while adhering to the privacy imposed on it by the religious pressure Then recommendations, proposals.

The article is devoted to analysing the stylistic dialogue in the music of Michel Legrand to three films by Jacques Demy: The Umbrellas of Cherbourg (1964), The Young Girls of Rochefort (1967), and Donkeyskin (1971) created in the genre of “comédie musicale” (musical comedy, musical). In the first part of the article the author examines the French sources of the American musical (from the comedy-ballet Le Bourgeois Gentilhomme by Moliere and Lully to the operettas by Jacques Offenbach), which allow us to comprehend the deep connection of the genre with the European art of the past and to understand the naturalness of the appeal to the idea of the musical by Demy and Legrand. The second part is an introduction to Jacques Demy’s creative method which is characterized by ambivalence, constant balancing between the auteur and mass cinema, between a realistic approach and theatricality. The third part is devoted to studying the origins of Michel Legrand’s stylistic experiments (on the one hand — serious academic education, training with Nadia Boulanger; on the other— work with world-class jazz musicians), as well as to analysing three layers: jazz (improvisation, the nature of arrangements and harmonies on the example of The Umbrellas of Cherbourg), romantic (the application of the features of the genre of piano concerto in The Young Girls of Rochefort) and baroque (the use of the principles of orchestration, polyphonic forms, rhetorical figures in the Donkeyskin). The author concludes that Legrand and Demy, along with Bernstein and Sondheim, Webber and Rice, marked with their creativity the overcoming of the musical genre crisis of 1940–1950s associated with a shortage of meaningful librettos, lower quality of vocal-symphonic material, and a shift to entertainment and visual appeal to the detriment of musical dramaturgy. Despite the immutability of the basis of a musical, the director and composer expanded understanding of the genre and gave it an elegant French accent.

Este artículo analiza la película Sueños de Tay Pi (1951), dirigida por Franz Winterstein para la productora Balet y Blay, a raíz de la reciente proyección de una copia conservada en Filmoteca Española. Comparando esta versión con dos documentos inéditos como el tratamiento original y el guion técnico de Winterstein podemos valorar las diferencias entre versiones y las intenciones personales del autor, que se encontró con numerosas dificultades de producción. También comprobaremos que la película sí tuvo una distribución comercial, contrariamente a lo que se pensaba. Todo ello nos permite reconsiderar una obra insólita que a pesar de los problemas referidos intentó abrir caminos nuevos en el cine de animación español, con una propuesta arriesgada y moderna.

The purpose of the article is to carry out a holistic analysis and determine the specifics of directorial means of interpreting ballet art in showing the formation of an artistic personality and delineating scientific guidelines that will contribute to studying the phenomenon of ballet directing in the screen and stage space. Research methodology. The research used an interdisciplinary approach based on the following general scientific methods: induction, deduction, complex art analysis, and synthesis, which contributed to the elaboration of a broad factual basis of the screen interpretation of ballet creativity in the context of the formation of the ballet personality of the performer. Argumentation of the uniqueness of ballet directing in the context of screen art was provided by using methods of systematization and generalization. The typological method helped to consider common artistic principles in the creative pursuits of masters of screen and stage art. Analytical and systematic methods contributed to the study of the art history aspect of the problem. Scientific novelty. The article systematizes and expands scientific ideas about the place and role of screen and stage directing in the system of humanitarian knowledge. The art of directing is defined as a universal type of artistic and aesthetic activity; the mutual influence is clarified and the mutual enrichment of theatrical and audiovisual arts in the development of directing tools is shown. Conclusions. It has been found that the directors' screen creativity expands and deepens knowledge of ballet art, and gives impetus to the active development of the ballet masters’ creativity, ballet performers in the stage space, in particular, in the production of musicals.

Old Possum’s Book of Practical Cats (1939) de T. S. Eliot adquirió mayor popularidad tras ser adaptado a musical por Andrew Lloyd Webber (1981). El entretenimiento popular fue para Eliot una fuente de inspiración, lo que hace especialmente interesante examinar el proceso contrario: ver cómo su poesía ha inspirado otras artes y cómo esta adaptación ha interpretado o transferido el ritmo y sentido del humor de Practical Cats. Este artículo se centra en cómo el musical Cats de Lloyd Webber está en continuidad con las teorías de Eliot sobre drama, música y baile, especialmente influenciadas por el music hall.

Copyright of Cuadernos de Historia del Arte is the property of Cuadernos de Historia de Arte and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Dr Bogdan Milanković was one of the key figures in the musical life of Sarajevo between two world wars. A doctor of Romance philology who spent his working life as a high school teacher, Milanković also served as director and teacher of the District School of Music, president of the Sarajevo Philharmonic, music writer, and violin maker. The article is a contribution to the biography of Bogdan Milanković based on archival sources and historical press, while trying to determine his influence to the development of musical culture in Sarajevo in the interwar period.

The consequences of the partially coerced opening of Japan to the Western world in the second half of the 19th century went far beyond economic and political goals and considerations. The previously secluded land almost instantly became a source of artistic inspiration and endless fascination. Japonisme, the term by which the latest craze become known in France, was no passing fad. For many decades, Western artists, most of whom had never set foot in Japan, derived profound inspiration from all facets of the mysterious culture which unfolded in the period. Thus, with scant information and a lack of accurate records being available, common gossip and unfounded rumor filled in the blanks of official reports and naval tales, connecting the dots between the real and the imagined. In this paper, I succinctly examine the story of Madame Butterfly, cutting across time, genre and borders in the works of John Luther Long, David Belasco, Giacomo Puccini and Claude-Michel Schönberg/Alain Boublil. I contextualize the selected narratives within their socio-political frameworks, but also consider the ramifications of the past and present-day adaptations from the 21st-century perspective, in the light of current struggles for (adequate) representation. Lastly, I examine the production of Miss Saigon (2019–22) at the Music Theatre of Łódź, Poland to compare how the staging of such a musical in a predominantly racially homogenous country affects the perception of Orientalist works. As such this section is a case study based on personal interviews conducted by the author with the producers and cast members.

Copyright of Culture Context / Konteksty Kultury is the property of Jagiellonian University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Despite a renewed interest in educational practices to develop future music educators in South Africa for a rapidly changing professional landscape, little is known about the meaning students themselves ascribe to these practices towards their own development as music educators. This instrumental case study investigated the learning experiences of second-year BMus students creating a musical for pre-schoolers. Data were collected through interviews, observations and reflective journals. Six themes emerged through a thematic analysis of student experiences, namely interaction, preparation, skills development, stagecraft, performance and enjoyment. A conceptual model that explains the production of a musical as a pedagogical praxis connects these themes with existing literature on three teaching and learning approaches that framed the study, namely authentic arts-based pedagogy, project-based learning and community of practice. [ABSTRACT FROM AUTHOR]

This paper analyzes the film Sueños de Tay Pi (1951), directed by Franz Winterstein for the production company Balet y Blay, as a result of the recent showing of a copy preserved in the Spanish Filmoteca. Comparing this version with two unpublished documents such as the original treatment and the technical script by Winterstein’s, we can assess the differences between versions and the personal intentions of the author, who experienced numerous production difficulties. We will also verify that the film did have a commercial distribution, contrary to what was thought. All this allows us to reconsider an unusual work that, despite the aforementioned problems, tried to open new paths in Spanish animated cinema, with a risky and modern proposal. [ABSTRACT FROM AUTHOR]

This article exposes the elements that legitimize the takarazuka musical theater, founded at the beginning of the 20th century, as a performative language. It starts with two shows, Rose of Versailles and Once upon a time in America, highlighting three elements of analysis: acting methodology, scenic atmosphere and gender performance. It infers the subversion of the woman's role as an artist and the negotiation between current gender standards through small reinventions and inherited technical attributes. Takarazuka performativity resorts to artistic and commercial choices that promote the friction and fantasy of genders, in addition to aligning political precepts from the feudal era with modernism.

The article is aimed at the analysis of the requirements for song translation. We have considered the studies of foreign and Russian linguists on song translation, identified the difficulties that a translator may face, translation solutions, and criteria for song translation. We analyzed the lyrics of the song What I’ve been looking for and its official translation performed by Mikhail Cherepnin and then we discovered whether the translator complied with the requirements or not. Background. There is a number of translation solutions and rules that allow achieving adequacy in the translation of musical texts and libretto of musicals. The analysis of M. Cherepnin’s translation is made on the material of the text of the High School Musical musical film. Purpose. The article considered the features of the translation of a musical text on the example of the translation of the song What I’ve been looking for performed by M. Cherepnin. Materials and methods. The material of the study was the High School Musical film and its official literary translation into Russian. We used the method of selection and analysis of theoretical material, the method of pre-translation, translation, post-translation analysis and comparative method when analyzing the text. Results. The results of our study showed that M. Cherepnin faced a lot of obstacles when translating the text of this musical film. His main goal was to preserve the singing component of the text, and not its figurative system, which affected the aesthetic and emotional impact. Practical implications. The results of our research can find a wide range of applications: they will be useful both for amateur translators involved in the interpretation of musical works, and for professional translators and linguists actively working in the field of song translation and studying it as a phenomenon.

Copyright of Revista Musical Chilena is the property of Universidad de Chile and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Papers of Hungarian Studies / Hungarologiai Kozlemenyek is the property of Faculty of Philosophy, University of Novi Sad and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The purpose of the article. Comprehensive analysis and determination of the specifics of directorial techniques in depicting the formation of a free artistic personality by means of ballet and delineation of scientific vectors that will contribute to the versatile study of the phenomenon of ballet directing on stage and screen. Research methodology. The research uses an interdisciplinary approach based on the application of such general scientific methods as: induction, deduction, identification, complex art analysis, synthesis, which contributed to the development of a broad factual base of screen reading of ballet works through the formation of the performer's personal freedom. Argumentation of the uniqueness of ballet direction in the context of screen art was provided by using methods of systematization and generalization. The typological method made it possible to consider common artistic principles in the creative pursuits of masters of screen and stage art. Analytical and systematic methods in their unity became useful for studying the art history aspect of the problem. Scientific novelty. Systematization and expansion of scientific ideas about the place and role of screen and stage direction in the system of humanitarian knowledge at the current stage of the development of society. Definition of directing as a universal type of artistic-aesthetic, moral-ethical and educational activity; in clarifying the mutual influence and mutual enrichment of theatrical and audiovisual arts in the development of directing techniques. Conclusions. It is substantiated that the creativity of film directors develops and expands knowledge about ballet art, gives impetus to the development of creativity of choreographers, ballet performers in the stage plane, in particular, in the production of musicals. [ABSTRACT FROM AUTHOR]