Abstract: Interpreting the axioms of Holy Scripture, the spiritual ideas of the era of high Scholasticism and the texts of St. Francis of Assisi, Messiaen chose the choir as the instrument necessary for interpreting the spiritual meaning of the work. In the finale of the opera, the non-verbal and verbal parts of the invisible and visible chorus interact, acting as a commentator, participant in the action / "collective character" and, finally, the protagonist. Drawing on the achievements of modern theological thought and developing the tradition of Claudel's theatrical liturgy, Messiaen embodied in the opera's finale a set of spiritual ideas relevant to the modern era. These are the ideas of death as the liberation of the soul "from prison," the transformation of the soul of a saint under the influence of grace, spiritual light, praise of God in creation, spiritual joy, and the connection between man, the world, and God. The vectors of the hermeneutic reconstruction of the artistic idea of Messiaen's opera were translations into Russian of religious, philosophical and theological studies contemporary to the composer, revealing the meaning of the main spiritual ideas of the era of high scholasticism, as well as translations of texts by St. Francis of Assisi. The research tool is a musicological analysis of the musical text de visuale and other paintings of Messiaen's opera. This article highlights for the first time the interpretation of the spiritual ideas and poetic texts of St. Francis of Assisi in the finale of Messiaen's opera through the prism of the metamorphosis of the choir and its functions, as well as the connections of the "Franciscan Scenes" with the tradition of Catholicism by P. Claudel. The finale of Messiaen's opera, which includes a spiritual super-idea unified with Claudel's mystery, contains a complex of ideas of Franciscan spirituality. In the finale of the opera "St. Francis of Assisi. Franciscan scenes" Messiaen interpreted the following spiritual ideas: death as the liberation of the soul "from prison", inner spirituality, the transformation of the soul of St. Francis of Assisi under the influence of grace, truth, immortality of the soul, spiritual light, praise of God in creation and spiritual joy. Revealing the composer's interpretation of the verses of Holy Scripture, the spiritual ideas of the era of high Scholasticism and the texts of St. Francis of Assisi, the choir acts as a commentator, participant in the action, a "collective character" and, finally, a protagonist. The stage functions of the choir are variable.

Keywords: protagonist, transformation, choir, interpretation, psalm, lauds, prayer, Claudel, Messiaen, Saint Francis

Abstract: The author considers the translation of drama as a kind of literary translation. The author proceeds from the premise that dramatic translation is a type of literary translation that is dialogical in nature: it contains both literary and theatrical elements, in other words, in addition to the requirements imposed on the literary text, it must comply with the laws of the stage and the direction of the word. In the article, the author distinguishes the text as literary and theatrical material. Special attention is paid to the description of Tatiana Shchepkina-Kupernik's translation work in the field of drama. Using the example of individual scenes from Romeo and Juliet, the author examines the purposeful use of dialectal forms and jargon as an integral part of the author's idiosyncrasy, attention to rhyme and preservation of rhythm, and adaptation of the text for its subsequent pronunciation in a theatrical setting. The article uses the method of analytical study of sources. Based on archival materials, which are being introduced into scientific circulation for the first time, the relationship between Shchepkina-Kupernik and theater directors in the process of working on dramatic translations and their further stage implementation is considered; the translator's initial attitude to the person's perception of the translated of the literary text is revealed. The author concludes that in her work on dramatic translations of Shakespeare, T. L. Shchepkina-Kupernik considered the main thing not only to maximize the preservation of the author's style, balance, clarity in the transmission of meanings and images, but also to preserve the possibility of the scenic embodiment of the author's idea and its nature. Also, the translator paid special attention to the interpretation of words. Of particular research interest are the comments of Maria Knebel, an outstanding Soviet director, on the translation of Shakespeare's comedy "As You Like It". Based on individual memoir sources, the Shchepkina-Kupernik translation principles are revealed, thanks to which the director and actors get the opportunity to work with ready-made dramatic material that does not require literary refinement for convincing presentation in stage conditions.

Keywords: stage dialogue, sonnet, Knebel, T. Shchepkina-Kupernik, Shakespeare, theatrical performance, drama translation, Literary translation, idiostyle, memoirs

Abstract: The article considers the meaningful and conceptual boundaries of self-portrait in the modern Russian art history. A study of self-portrait is being carried out both on the example of intellectual positions of thinkers of the last century and of the scientific works of contemporaries. The text of the article reveals the ideological perspective of the semantic meanings of the self-portrait according to the ideological and constructive views of the present era. The object of research is the portrait genre in the fine art. The subject of research is the theoretical definition of self-portrait in the Russian art history. The purpose of this work is to establish the ideological and substantive values of a self-portrait in the modern art science. According to the set goal, the following tasks are solved: - to provide scientific and theoretical views on the artistic image of a self-portrait of modern researchers of the 21st century; - define terminological lexical units in these judgments, which can subsequently take the role of conceptual values. The novelty of the study is determined by the disclosure of the conceptual and theoretical aspects of the artistic form of a self-portrait, which has strong interpretative significance in the field of contemporary art. The author formulates the following conclusion: the ideological and theoretical expression of a self-portrait in the space of modern art history is revealed through interdisciplinary methods of scientific research, which assert their own terminological units in the meaningful disclosure of the artistic image of the portrait genre. Each of the terms established in the article is related to the conceptual representation of the socio-psychological sphere.

Keywords: aesthetics, artistic image, portrait genre, psychology of the image, compositional expression, historical stage, visual art, ideological content, painting, self-portrait