Poetyka wideoklipu muzycznego

Music video as a specific genre of audiovisual arts, deriving directly from tradition of film, television and music programs, became massive promotion and visual communication tool for artists at the turn of 70’s/80’s. Mentioned many times in articles about music videos, its dependence on other art fields, such as film, musical, theater arts, plastic arts etc., only strengthens us in belief that music video is an enormous hybrid form, being heir to aforementioned forms. At this intertextual base, music video has developed its own language. Cognizance and description of its components, understanding of connection rules and the essence of its individual elements is the main aim of this article. By pointing to coexistence and correlations of components such as rhythm, tempo, tone, editing etc., the text also emphasizes similarity of the music video language to the language of literature and other arts which use the same tools.

THE PROBLEM OF TRAINING THEATER PERSONNEL FOR CHUVASHIA IN THE 20–30s OF THE XX CENTURY

In the 1920s Chuvashia was developing rapidly, and the growth in the number of cultural institutions was observed. The cadres of the creative intelligentsia were in demand, but there were no field-oriented specialized educational institutions in the republic. The issue of training specialists began to be dealt with at the level of state and party bodies. One of the first to open was the theater studio, which gave the opportunity to strengthen the staff of two republican theaters. Moderate funding allocated to support the theater arts, and the entire culture as a whole, of course affected its quality. But the enthusiasm of I.S. Maksimov-Koshkinsky, I.A. Slobodsky and other people of art allowed to continue the work of personnel training. In the 1920s and 1930s, training of creative intelligentsia cadres reached a new qualitative level. Financing of cultural institutions, provision with qualified teaching staff, regulation of admission, training, and graduation in educational institutions yielded positive results. In 1935, a theater vocational school was opened in Cheboksary. In 1934, a special collective farm-state farm department was opened at the extramural department of the State Institute of Theater Arts, and a little later, in 1940, a specialized Chuvash theater studio was opened. The activity of the theater school was curtailed, but specialists training was successfully conducted by the studio under GITIS (the Russian University of Theatre Arts). In the pre-war years, 6 new theaters were opened in the republic. The national creative intelligentsia was formed.

"Atlantis of soviet art": paradigma post non-classikal

The fundamental work of Professor G. G. Dadamyan "Atlantis of Soviet Art" is an interdisciplinary university course. The scientist taught it for many years at the Russian Institute of Theater Arts (GITIS – the largest theater university in Europe, founded in 1878). This course was also a great success in other higher educational institutions. The materials of this unique research are regularly reproduced both at universities and at scientific conferences in memory of Professor Dadamyan, in Moscow. The author of this article has been cooperating with these institutions for many years, as well as with colleagues and students of the outstanding scientist. The article deals with the methodological approaches of the book by G.G. Dadamyan, which are fruitful and relevant for the interdisciplinary analysis of artistic culture. G. G. Dadamyan examines the period between 1917 and 1932 in the book "Atlantis of Soviet Art". He divides it into several paradigms. According to G. G. Dadamyan, each paradigm is based on the unity and interpenetration of political, genre, and space-time matrices. Proposed by G. G. The Dadamian methodology allows you to synchronize different aspects of culture. One of the goals of the proposed article is also to draw attention to the original methodology of G. G. Dadamyan. It allows us to compare the Russian avant-garde and socio-political processes in a multi-layered social time. In this article, the hypothesis is put forward that the paradigms, according to Dadamyan, are comparable with the natural-scientific approaches of post-non-classical studies. The unique concept of Professor G. G. Dadamyan deserves to be promoted on the world scientific podiums.

CONTEMPORARY THEATER ARTS IN THE EDUCATIONAL ACTIVITY OF THE TEACHER

Contemporary theatrical art is considered in the article in two aspects: as a way to solve the problems of educating students (education by means of theatrical art) and as a means of preparing future teachers to solve educational problems (theatrical pedagogy). At the same time, educational activity is understood from the standpoint of a culturological approach as a purposeful activity of a teacher acting as an intermediary between a child and culture, to include students in modern culture context. The ideas about the peculiarities of contemporary theatrical art that influence the educational tasks solution are concretized: brightness and originality, which create motivation for moral problems discussion; minimalism, allowing you to focus on moral conflict; a large selection of genres, taking into account the students individual capabilities; interactive nature, allowing students to formulate, substantiate and defend their own moral position; combination of artistic and creative activity and computer technology, adequate to modern schoolchildren worldview. Theatrical art, removing the contradictions between the emotional-figurative and the emotional-logical, contributes to the personal holistic development, individuality and subjectivity of the child, allows him to experience the various situations of modern world. The scientific knowledge about the possibilities of theatrical pedagogy in the process of preparing future teachers for educational activities has been clarified: the use of theatrical pedagogy elements contributes to the students' communicative abilities development, the rejection of the stereotypical solution of professional tasks, the ability for improvisation, emotional self-regulation, flexible and productive conflict resolution. The preparation of future teachers for educational activities by means of theatrical pedagogy is considered as one of the conditions for the effectiveness of their professional activities in solving education problems. The study was carried out with the financial support of the Russian Foundation for Basic Research within the framework of scientific project No. 20-013-00809.

FEATURES OF TEACHING HUMANITIES IN A CREATIVE UNIVERSITY

Introduction. This paper seeks to address specific features of teaching humanities in a creative university. The novelty of the research lies in the analysis of features of the educational process, students enrolled and the conditions for conducting classes in creative universities. The presented results can be used in teaching a cycle of humanities in universities that train specialists in creative disciplines. Materials and methods. The study identifies the features of methods and forms of control that need to be adapted to improve their effectiveness. Examples of intermediate and final control forms and ways to maintain and enhance motivation in students of different forms of education are given. The material relies on the author’s teaching experience in the Federal State Budgetary Educational Institution of Higher Education “Russian Institute of Theater Arts.” Research results. The rationale behind the choice of teaching methods is supplemented with examples of practical tasks and ways to increase and maintain a high level of student motivation. The need to use imitation games and non-game teaching methods and to individualize the forms of control is emphasized. Conclusions. The paper reflects the features of teaching humanities in creative universities, which are conditioned by the educational environment, students enrolled, specific features of the educational process, and curricula. Keywords: humanities, creative university, students, educational process, motivation, methods, forms of control.