Abstract: Paratheatrical experiences of the 1970s by Jerzy Grotowski boosted the development of anthropological theatre in modern Polish art. Based on the theory and methodological principles of cultural anthropology, in modern theatre studies, there are two equal terms: E. Barba's theoretical theatrical anthropology, which is based on the study of the body of an actor at the time of performance in European and Eastern theatrical forms, and J. Grotowski's practical anthropology, creating ritual actions in order to recreate the pre-theatrical forms of interaction between the actor and the viewer. The research methodology is based on the basic terminology of cultural and theatrical anthropology, a historical approach and comparative analysis are used. The brightest followers of a paratheatrical period of Grotowski work are searching for the new philosophy of space. In paratheatre, Grotowski himself relies on the concept of "memory of the place", creates a process of unity of an actor and a viewer-participant with the help of historical context of the place of action. In The Gardzienice Centre for Theatre Practices V. Staniewski attempts to create a unified place and time of action for the actor and the viewer with the help of reconstruction of the syncretic model of the performer's existence. In Chorea Theatre T. Rodowicz immerses the viewer-participant in the polemic space of discussion after the performance. "Wegajty" Theatre is as close as possible to the syncretic model of the complicity of the performer and viewer-participant through work with the fabric of the religious ritual in the space of the church. The modern Polish anthropological theater tries to prove and implement in practice a new way of participation of the performer and the viewer in the space of a single theatrical and ritual action by recreating the syncretical awareness. 

Keywords: syncretical awareness, viewer-participant, cultural anthropology, “memory of the place”, performer, actor’s skills, ritual space, paratheatrical experiences, anthropological theatre, theatrical anthropology

Abstract: The subject of the study is contemporary art practices, examined by the author in the context of neo-mythologism and tendencies of posthumanism. In the article, the contemporary approach to the creation of pieces of art using the latest digital technology on the example of works of Russian and foreign artists E. Ostrova, K. Khudyakova, B. Viola, AES-F group, is analyzed. The spread of VR technology becomes a new method of conducting a dialogue with art images of the past, reconsidering a cultural tradition, and defining an own place in it. Contemporary art criticism and aesthetic discourse, as well as the concept of postmodernism, are actively used as a methodological basis. The main conclusions: avant-garde denial of tradition led to the exclusion, archiving of culture, and the destruction of the connection between the past and the future. Individual neo-myth, created by a modern artist - is a kind of compensatory mechanism, an attempt to put "shadows" of artistic images of the past in the context of the growing trends of posthumanism. The author's special contribution consists in the development of the concept of neo-mythologism in relation to the visual arts of the XX-XXI centuries. The novelty of the study is due to the detection of specific features of neo-mythologism in visual art, customary for the modern period. 

Keywords: video-art, video installations, digital art, VR technology, neo-mythologism, contemporary, art, myth, modernism, postmodernism

Abstract: In the present work, the analysis of old belief and its place in the Altai ethnic groups' structure is conducted. This research is a logical continuation of a series of works devoted to sociolinguocultural aspects of formation, development, and current state of ethnic groups of South Siberia: Shor, Khakas, Tuvans, and Altaians.In the period from the 60s to 80s of XVIII century, Russian settlements appeared in Altai, and a great number of Old Believers were exiled, mainly to the Uimon Valley in order to find a Belovode, and by the end of the XVIII century the process of consolidation of local population groups (Siberians) ends. It is necessary to note that in this process a significant role was given to the Old Believers both in terms of labor achievements and in the development of a spiritual culture of the region. They managed to preserve their own identity, beliefs, and culture and did not lose the distinctive features of the dialect.Old belief should be considered as a spiritual and religious trend that protects the foundations, rituals and ritual practice of ancestors, both in matters of religion and in the life of the community and family life. It is necessary to note the significant role of Old Believers in the improvement of artistic culture. Owing to them, many architectural monuments, icons, ancient books, manuscripts, songs, and many other things were preserved. 

Keywords: Altaians, Tuvans, Khakas, Shor, ethnic groups, Altai, culture, Old Believers, Uimon Valley, Siberia

Abstract: The formation of the image of Japan nature in visual culture and transmission of this image in intercultural communication in Russia. The issue will be observed on the example of an outstanding phenomenon of modern Japanese culture - animated cartoons. It has become one of the main sources of transmission of cultural images in the "other" culture. Transmitted images of nature are significant for Japanese culture and have historical significance, especially Sakura and Mount Fudji. The problem of the research will be considered based on these examples. The study used research methods such as collection and analysis of information on the Internet, as well as abstraction. The study found that:-images of nature that are important for "their" culture are transmitted on a first-priority basis;-visual examples of art are of great importance in the dissemination of images of nature due to the "mass";-images of nature in Japan have great recognition and are related to similar ones in Russian culture.

Keywords: culture, anime, Russia, history, nature, image, Fudji, sakura, communication, Japanese culture

Abstract: The features of the city and rural subcultures in the Russian-Soviet culture of the 1950s-1980s and their everyday manifestations in direct communications are analyzed. Soviet - city and rural - everyday life is observed through its reflection in works of art of this time. Through the artistic images of city and rural everyday life, analyzed in the historical and sociocultural context, their subcultural and national specific is determined. Sources: cult texts of Soviet fiction and cinema of the 1950s-1980s, where the city subculture is represented in direct communication with the rural subculture. Method of historical and spatial typologies, ethno-psychological method, hermeneutic method, the artistic method of understanding culture is used. Theories of L. Wirth, G. Zimmel, R. Redfield, R. Frankenberg and L. N. Kogan on urban and rural subculture and the corresponding lifestyle. City subculture is more "industrial" and "complicated", but rural one is more "traditional" and "simple". In the middle type of Russian-Soviet culture "overcoming the differences between city and village" in the process of accelerated modernization at the daily level – often assimilation, as well as the marginalization of both city and rural society. Under immediate mass communications, this led to the antagonism of city and rural subcultures.

Keywords: industrial type, traditional type, rural, city, subculture, everyday life, Soviet culture, intercultural communication, marginality, antagonism

Abstract: In this article, the subject of the study is a generalization of existing ideas about the fate of art crafts in the socio-economic realities of the late XIX-XX centuries. In the study, a number of crafts that existed before, but had undergone significant changes in the new conditions, received the status of "new". Art crafts represent the cultural core of ethnic communities, allow a deeper understanding of the culture of these peoples, and contain the possibility of reviving their cultural identity. All this in the context of rapidly spreading trends towards cultural unification gains a particular relevance. The methodological basis of the study is the cultural approach, which allows conducting a study of art crafts in an interdisciplinary manner. Besides, comparative-historical and analytical-synthetic methods seem to be promising. The scientific novelty of the research is that the development of artistic crafts at the present stage is understood as a contradictory process, which includes both a destructive (unifying) trend and an opposite (consolidating) trend. In the new socio-economic conditions, art crafts have almost completely lost the utilitarian component, having moved into the category of elements of visual culture. 

Keywords: cultural approach, modernization, systems approach, tradition, cultural heritage, art crafts, ethnos, cultural identity, comparative historical method, analytical-synthetic method

Abstract: The research focuses on the analysis of symbolist painting to identify its aesthetic features that can be expressed by the metaphorical concept of "the spirit of symbolism". The task is set based on the analysis of the most characteristic for the symbolism of specific works of art to approach the verbal description of this concept, its introduction into the scientific tools of aesthetic analysis of art. By studying the artistic and aesthetic means of expression in the works of Rossetti, Burne-Jones, Puvis de Chavannes, Borisov-Musatov, Segantini revealed a set of characteristics that can describe the spirit of symbolism in a certain approximation. The comparative method based on art criticism, philosophical and aesthetic approaches to specific paintings is used as a methodological setting. In this study, mainly the theme of expression in painting the symbolist understanding of the myths of the Eternal Feminine is taken out of the main thematic lines of the art of symbolism. This analysis is innovative, first used in domestic and foreign science. The plasticity of images, the refined linear rhythms, a lighter color, the statuesque quality of the figures, self-absorption and supernaturality of images, melancholic sadness, emphatically perfect and as if detached from the earthly world the beauty of female characters, far from the sensual materiality, etc. refer to the specific characteristics of the symbolist expression of this thematic line. In painting, all this leads symbolists and artists of their circle to the here and now phenomenon of the quantum of metaphysical reality, which can be defined as the "spirit of symbolism".

Keywords: Rossetti, colour, composition, form, aesthetics, image, symbol, painting, Segantini, Burne-Jones

Abstract: The article raises the question - on the basis of what criteria to carry out the reconstruction and typology of appearance and structure in the architecture of buildings and features of the urban environment. The author suggests such criterion as "architectural process". The main characteristics of the architectural process are observed: design, economic, and social ones. On their basis, three types of architectural solutions, corresponding to three types of design, are outlined ‒ typical, individual and mixed one. Also, these solutions make it possible to determine three types of architectural appearance of buildings and the environment. The following research methodology was implemented: problem statement, historical reconstruction, comparative and situational analysis, socio-cultural analysis. As a result of the study it was possible to show the need for the reconstruction of the types and features of the appearance of modern architectural buildings and the environment, to address the analysis of, on the one hand, the features of architectural design, and on the other ‒ of the socio-cultural conditions and requirements. A variant of such reconstruction is also proposed.

Keywords: reconstruction, solutions, appearance, environment, buildings, design, architecture, concepts, process, project

Abstract: The object of the present study is the musical culture of Kazakhstan. The subject of the study is the art of composers of Kazakhstan of the post-Soviet period as an artistic phenomenon and as a specific form of manifestation of modern composer's thinking.The author focuses on the analysis of the historical and cultural situation in Kazakhstan in the 1990s, as well as on the specific features of the art of Kazakh composers of the post-Soviet period as a reflection of philosophical and aesthetic and musical-style intentions. Special attention is paid to the implementation of folklore in academic music, issues of genre synthesis, based on the interpenetration of Kazakh traditional and academic genres of West European music. In line with the identified problems, the author refers to a comprehensive methodology, including cultural, comparative, style, holistic and functional methods of analysis. The main conclusion of the study is the identification of the main style trends, the leading place among which is occupied by ethnographic and neo-folklore ones, dictating the evolution of the genre system and content. The author's contribution to the study lies in consideration of the composer's work of the post-Soviet period as an artistic phenomenon of the national culture of Kazakhstan in the aggregate of its historical, cultural and creative processes. Besides, a number of works created in the considered period and not previously covered in the musicological literature are introduced and analyzed in the research field.

Keywords: post-Soviet period, national culture, composers creativity, genre, folklore, style tendencies, synthesis, academic music, modern culture, kazakh music

Abstract: The article deals with the historical and artistic significance of the musical "Hair" by G. McDermott in the context of the development of the genre. The musical texture of the musical, synthesis of styles: jazz, blues, country and soul, Indian music, syncopated rhythms of funk, folk-rock melodies are analyzed. But special attention is paid to the introduction of a "fatal" component in the style of the musical of the 1960s, which led to the innovative nature of this work, which is first analyzed in the context of genre-style synthesis. The key differences between theatrical performances and the film-musical by M. Forman are determined. In the conducted research, the following methods were used: cultural-historical, comparative-analytical and method of musical-style analysis. The musical "Hair" was previously studied mainly from historical, cultural and theatrical positions. The article "Hair" in London" by V. Ryapolova is devoted to the analysis of the London staging [10]; there are references in the works of E. Andrushchenko "The Musical and Rock Opera in Russian musicology of the 1980s: back to the roots of the research tradition" [1], V. Sulina "Russian musical in the context of the development of the genre" [15], the monographs by L. Danko [4], E. Campus [5], Kudinova [7], Hanish M., Krasnov G. V. [14], foreign publications [17, 18, 19, 20, 21]. In the context of genre-style synthesis and analysis of musical language, this musical is considered for the first time. The article concludes that G. McDermott's musical "Hair" became a starting point in the development of a new kind of genre – rock musical, influenced the formation of rock opera, as well as the development of modern musical and theatrical art in general.

Keywords: Galt McDermot, style, genre, Stas Namin Theater, Hair, rock opera, rock musical, Milos Forman, musical, Rado James