Abstract: The work of Polish stage designer Andrzej Pronaszko embodied in a particular manner a certain turn to a new approach to the organization of stage space, which appeared to be a characteristic process for the Polish and European theatre of the first half of XX century. Pronaszko cooperated intensively with professional architects, which had a considerable effect upon his conception of stage space. The article reviews projects of the artist, which proved to be a realization of his conception of stage space referred to the „theatre of the future”: the stage design for the „Golem” play (1928), set up on the circus arena and the theatrical architectural projects of Simultaneous theatre (1928-1929) and the Mobile theatre (1934). Each of those three was created in cooperation with an architect (with Szymon Syrkus in the first two cases and with Stefan Bryła in the third one). In Polish theatre between two World Wars, scenography came out as a special domain of an avant-garde activism manifesting an uprise of the „theatre of the future”, which offered prospects of some extraordinary perceptional experience. The reviewed projects presuppose overrunning the boundaries of conventional theatre and using innovative engineering solutions in stage organization, lightning and sound engineering. They became an ambitious attempt to change drastically the mode of theatrical event at the level of the space architectonics and extend thereby theatre’s capabilities in dealing with dynamics of spectacle. The artist created new conditions for affecting the spectator’s comprehension of the stage performance.

Keywords: architectonics of stage space, theatre of the future, mobile theatre, simultaneous theatre, theatrical avant-garde, Andrzej Pronaszko, theatrical architecture, stage space, scenography, Polish theatre

Abstract: The object of this research is design as a cultural phenomenon and its historical formation. The subject of the study is the modernist design episteme, which began its formation in the paradigm of modernity. The purpose of the study is to show that in the modernist project, the development of design as a cultural phenomenon was not rigidly determined, and could have taken a different path. However, the historical choice was made in favor of American functionalism and European international design. International design creates a subject and information environment that is suitable for any country, regardless of the cultural context. This design meets the goals of globalization. At the same time, the essence of design also allows for such applications as the aestheticization of reality and the preservation of cultural identity. The main conclusion of the study is that the historical development of the design phenomenon could have taken a different path. The current state of design is determined by the vector of globalization, which was set during the transition from to modernism. This vector is the result of a choice in favor of functionalism, a style that meets the ideology of globalization, the transformation of society into a homogeneous consumer environment. It was during the Art Nouveau period that the genesis of design could have taken a different path, since Art Nouveau was originally a project of aestheticization and spiritualization of the subject environment, however, history has developed so that design has chosen a vector of development associated with functionalism. The scientific novelty of the study is connected with this conclusion, since so far the history of design has been interpreted unambiguously, from the standpoint of the advantages of international style and functionalism. While the phenomenon of design is broader, and may include the possibility of preserving cultural identity, which was discussed in the modern era.

Keywords: environment, aestheticization, design episteme, cultural identity, globalization, international style, functionalism, modernism, Art Nouveau, Design

Abstract: The object of research of the article is the process of development of art education in the Chinese city of Shanghai at the beginning of the XX century. The subject of the study is the contribution of educational institutions to the cultural life of the city, whose activities were aimed at training masters in the field of fine arts. The purpose of the article was to identify a unique scenario for the development of art education in the Chinese metropolis, in the formation of which the creative traditions of not only the Celestial Empire, but also European countries, including Russia, were included. The article pays special attention to art societies, whose activities in the first quarter of the XX century were particularly active and focused both on the development of art education and the organizing of creative expositions. For the objectivity of the results obtained, unique documents were used in the study, including archival sources and retrospective literature, which determines the scientific novelty of the work. Shanghai in the first quarter of the XX century became a "pioneer" in the formation of the modern system of art education in the country. Under the influence of Western culture, the creative education of Shanghai has undergone profound transformations in a very short time, changing the artistic life of the country, bringing genre, thematic, technological into it.

Keywords: art societies, teacher, artist, art exhibition, art education, arts, 20th century, Shanghai, China, art life

Abstract: Based on the ambiguity of the idea of the object of study complexity - videogames, the need to analyze them through the prism of several approaches, the subject of the study was an attempt to create a relatively universal narrative-psychological concept, which we called the "White Room". The universality of this concept lies in its applicability to various game contexts, however, this universality does not entail stereotypes, but implies the need to take into account three components when designing this concept in a game scenario: space, consciousness and simulacra. Space is where the game action takes place, consciousness is the game experience, the perception of the game process, simulacra - everything that fills the game world (objects, players, etc.), depending on the context, determines the interpretation of game events. Scientific novelty lies in the creation of a new narrative-psychological concept, which is based on the ideas of related disciplines and can be used for a wide range of tasks when creating a narrative video game design. The specificity of the concept of the White Room lies in the compositionally correct design of the space and the regulation of the game experience, its imposition on incoherent game scenes, the choice of the right simulacra, which are determined by the game context. The white room can act as the starting setting of the world, the setting, the creation of the world, the place of "psychological relief", self-digging, memories of the past to understand yourself today, the climactic scene, the whole game can also take place in it.

Keywords: game concept, universal narrative model, game scenario, white room, video game perception, virtual world, narrative-psychological model, space, narrative design, videogame

Abstract: The subject of research of this article is the work of German expressionist directors. The relevance of this study is due to the fact that expressionists had a great influence on the entire cinema in the field of light and shadow discovery. In Soviet science, this issue received little attention. Researchers are currently addressing the topic of expressionism, but the issue of light-shadow ratio is not well understood. The purpose of the study is to show the importance of the discovery of German expressionists in the field of light and shadow, their influence on world cinema, as well as the influence of Soviet directors on German expressionists in the field of editing. The novelty of this study is to study the ratio of light and shadow in expressionists, as well as to identify the influence of Soviet directors on German expressionists in the field of editing. These aspects remain poorly understood. This study uses an integrated approach. Comparative, phenomenological, intertextual methods are used in their combination and complementarity. The main conclusions of this study are about the discovery of German expressionists in the field of light and shadow, their influence on world cinema, as well as the influence of Soviet directors on German expressionists. Films performed in the tradition of expressionists often have commercial success.

Keywords: Dziga Vertov, Sergey Eisenstein, Paul Leni, Paul Wegener, Fritz Lang, Friedrich Wilhelm Murnau, cinema, expressionism, Lotte Eisner, Siegfried Krakauer

Abstract: The activity of modern art associations, creative unions and art groups of professional artists of St. Petersburg is currently a little-studied and debatable issue. The specifics of St. Petersburg communities of this kind are closely connected with the traditions of the local art school and at the same time innovative, and sometimes are radical creative searches of their representatives. Such a combination leads to the formation of a diverse, but heterogeneous and mobile cultural space of the city on St. Petersburg. To understand its specifics, it is necessary to analyze the structure, composition and content of the work of the artistic associations of St. Petersburg, relevant for the beginning of the XXI century. In modern St. Petersburg, the process of forming art associations of various formations continues, which contributes to the development of fine art and the approval of its main forms, themes and genres. The main contribution of this research is to identify the main reasons for the creation of "young" creative associations whose activities are not related to the work of the Union of Artists of Russia, as well as to highlight the processes of their involvement in the cultural life of the city. It has been established that the "young" creative associations are characterized by unity of ideological and stylistic views and concepts, as well as a very flexible nature that allows them to be actively involved in the artistic life of St. Petersburg and the whole of Russia, to participate in the most diverse projects.

Keywords: educational activities, exhibition and commercial practice, Saint-Petersburg, artistic life, art group, exhibition, union of artists, art association, creative union, unofficial association

Abstract: The author discusses a small initial experience of using synchronic description in musicology texts. In the beginning, the origin of the synchrony–diachrony dichotomy introduced into linguistics by Ferdinand de Saussure is revealed. These terms and concepts from linguistics turned out to be so generative in methodological terms that they were adapted into other scientific disciplines. Starting with Saussure, the specificity of the relations of the two approaches is most deeply expressed as the relation of the system of the subject – synchrony and its evolution – diachrony. Next, the article discusses collective intelligence (Lotman) as a result of the activity and cooperation of experts of the same specialty. The productivity and relevance of using a synchronic approach for an adequate comparison of musical works, especially in the history and theory of performing arts, is emphasized. The main objective of the article was to test the use of a synchronic approach for the formation of textual information about the formation of the classical style in musical Europe of the XVIII century. The main pathos and function of the synchronic approach is "comparison". When the beginnings of events are aligned, it becomes possible to compare them (events) with each other, and the results of the comparison are attributed to the synchronization time. The synchronic approach demonstrates the continuity and monomericity of historical time. In synchrony, we see that juxtaposition and comparison overcome the natural separateness of historical events. The conclusions of the article summarize the main properties of the synchronic and diachronic approaches: synchrony reflects the system structure of the object and phenomenon, and diachrony, their evolution. For more productive event matching, synchronization of several parameters and types is necessary. This type of historical research can be described as a multifactorial synchronic analysis of historical events. Further prospects for the development of synchronic and diachronic approaches lie in their synthesis, when multiple slices of synchrony are sorted by chronology, and diachrony consists of synchronic slices of time.

Keywords: synchrony, diachrony, juxtaposition, comparison, concurrency, history, text, history of music, event, historical method