Suchergebnisse

The 20th century has become a turning point in terms of genres, styles, and musical language. Wars, the openness of borders, Chinese trips abroad of their homeland influenced the penetration of Western influences and new technologies into the country, from industry to the musical art of education. The article reveals the formation of new genres and formats - music and song school, piano music, instrumental music, romantic song, symphonic work. Each of the works that gave rise to these genres has its own prerequisites for creation and historical and cultural reality, which allows us to trace the interrelationships in the formation and development of Chinese music in the early 20th century.

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.

This article aims at analyzing the genre features of the 20th century animalistic art as a special, original phenomenon of Russian artistic culture. There are highlighted the aspects that make up its content basis. The author considers the issues of human perception of an animal, attitude to it, the system of views on the world of flora and fauna, the methods of interpretation of animals and birds. Together, they form the specific characteristics of animalistic art, which appeared in their organized and integral form in the 20th century. The article is relevant because the relationship between human and nature is being more and more re-evaluated, which is why the ideological features and the system of views of the 20th century artists are getting increasingly important (in particular, in the historical and artistic aspect).Animalistic art, having become noticeable as a genre already in the 18th century, passed through the entire 19th century, and crystallized in the 20th century in the most characteristic, typical features in various types of fine arts (graphics, painting, sculpture and their varieties). There is no doubt that among other genres of fine art, animalistic art is an original visual and plastic phenomenon that is fundamentally different from the art that depicts a person. The article notes that the complexity of animalistic art lies in the properties of human perception, which is prone to subjective evaluation and, accordingly, gives an animal human traits. The principle of "imitation" of nature, the study of nature, being constantly followed by artists, pointed to the overcoming of the subjective moment and became the leading one in composing the figurative concept of an animal.

One hundred years ago in Brazil the rituals of Candomblé were feared as sorcery and persecuted as crime. Its cult objects were fearsome fetishes. Nowadays, they are Afro-Brazilian cultural works of art, objects of museum display and public monuments. Focusing on the particular histories of objects, images, spaces and persons who embodied it, this book portrays the historical journey from weapons of sorcery looted by the police, to hidden living stones, to public works of art attacked by religious fanatics that see them as images of the Devil, former sorcerers who have become artists, writers