Musical and theatrical reflection of the creative practice of N.N. Sinelnikov: a cultural dimension

The purpose of the article is to carry out a culturological dimension and define as a synthetic phenomenon the musical-theatrical aspect of the artistic activity of the outstanding actor, director, theater teacher, and entrepreneur Mykola Mykolayovych Sinelnikov (late 19th – early 20th century). The methodology of research is based on the use of a complex of general scientific and specific scientific methods in accordance with the cultural discourse. In order to study the problem in a historical sequence, the historical method was applied. Setting the goal of illumination and analytical measurement of the constituent components of the problem under study, the system-analytical method is applied. The system-structural method is used to study a cultural phenomenon as a system of interrelated and interacting elements. The hermeneutic method is used to study and interpret the theoretical provisions of the problem under study. In order to study the life path of a creative person, illuminate her inner world, and understand the motives of her activity, the biographical method is used. The generalization method was applied to determine the general conclusions of the study. The scientific novelty lies in the musical and theatrical reflection of the creative phenomenon of the outstanding artist-reformer of the late 19th – early 20th centuries Mykola Sinelnikov. Conclusions. Consideration of the issue raised in the article made it possible to state the importance of the presentation of the creative practice of N.N. Sinelnikov as a representative of musical and theatrical syncretism. Research of the phenomenon of N.N. Sinelnikov made it possible to illuminate the system of artistic principles of the creator, which fully corresponded to the nature and content of the modern era. It was determined that the musical and theatrical segments of N.N. Sinelnikov’s works are harmonious integrity, that is, they represent musical and theatrical syncretism. Keywords: musical and theatrical syncretism, a creative phenomenon, syncretism, cultural studies, theater, music, musical and theatrical reflection, socio-cultural space.

Betawi arts and culture center with the application of modern tropical architecture

Jakarta is a city with a wide variety of ethnicities, languages and customs. Likewise with the Betawi culture that grew in the city of Jakarta. Jakarta culture must be distinguished from Betawi culture, Betawi people create Betawi culture, while Betawi culture is an element and supporter of Jakarta culture, conveyed by various other cultural elements found in Jakarta. Some other cultures are the cultures of various ethnic groups residing in Jakarta or national and foreign cultures or international cultures. Traditional Betawi art elements that have been known since ancient times and still live among Betawi people to this day, especially in the outskirts of Jakarta include dance, theater, music, literature and puppetry. Seeing Betawi culture in DKI Jakarta that is increasingly fading, Betawi leaders and elders under an organization called the Betawi Consultative Body (Bamus), urged the DKI Jakarta city government to create a container for the preservation and development of Betawi culture on an ongoing basis. With the application of Modern Tropical Architecture which is expected to make the tourist attractions become more modern but does not eliminate the characteristics of the Betawi culture itself.

Specialized News Television: Structural, Substantive and Stylistic Features (Based on Cultural News)

Specialized news broadcasting is of particular interest and it needs to be studied. The subject of the article is the content-thematic and stylistic features of news and information-analytical programs on the Kultura (Сulture) TV channel. The research is based on the method of content analysis, linguistic methods of analysis. As a result, the content and thematic features of information broadcasting in the field of culture have been revealed. The topics of the TV channel programs are diverse; they include such types of art as theater, music, literature, visual arts, cinema, etc. By topic and modality, news stories are divided into news itself, news announcements, and news retrospectives. «News of Culture with Vladislav Flyarkovsky», as constants of information and analytical television, retaines emphasis on the presenter’s strong authorial position, depth of topic coverage, a desire to comment on a phenomenon or event, to assess it, and reveal it from all sides. The communicative and stylistic design of the final program is conditioned, on the one hand, by the format of news broadcasting, on the other hand, by the theme (in the speech of journalists the vocabulary of art history, culturolog- ical and philosophical discourses prevail; restraint, intimacy, emphasizing the importance of cultural facts is combined with analyticism, emotional and evaluative nature of information presentation). The revealed features make it possible to talk about a special television format such as symbiosis of cultural and educational journalism, and information journalism.

Performance in Sports and Art. The Beginnings

Performance or show is one of the phenomena that characterizes our society since antiquity to nowadays and we make reference to: theater, music, sports, politics and more. We will approach performance also in sports and art, because this word has its origin in this area. According to the explanatory dictionary, performance represents a set of elements, things, facts which recall our attention, make an impression and provoke reactions. A show can surprise, intrigue, monopolizes and creates a kind of beneficial addiction. And this can only be in favor of a society in a constant search for “strong” sensations. A show in the field of sports or art is a good attempt to direct the spectators towards a better perception of reality. The involvement of society as for creation and continuous development of the phenomenon called “show” reveals people’s need for palpable human and beautiful sensations.

RELATIONSHIPS WITH PARENTS AS A PSYCHOLOGICAL RESOURCE IN OBTAINING HIGHER EDUCATION IN THE ARTS FOR STUDENTS WITH DISABILITIES

The article presents the results of a questionnaire survey of RGSAI students with and without disabilities, devoted to the peculiarities of their relationships with their parents. In the microsocial environment of students, the questions about significant others ("role models"), the characteristics of the relationships and the meaningful features of students' communication with their parents are analyzed. The opinions of students with preserved health and students with different types of disabilities are compared; both age dynamics of responses and opinions of students of various faculties (theater, music, fine arts) are considered. The study involved 167 students of The RGSAI, 98 of them with preserved health and 69 with disabilities. The results were processed using the methods of mathematical statistics. It is shown that psychological support from parents of students with disabilities is an important socio-psychological resource that affects the success of their higher professional education. It was found that the nature of relationships with parents is markedly different for students with disabilities and students with preserved health. The content features of changes in parental position at different stages of students' education are reviewed: from parents' encouragement of life success to their performance of compensatory supporting function. There are four generalized objections that characterize the specifics of parental attitude, which allowe to determine the uniqueness of parental position depending on the state of health and the direction of students' professional training. Analysis of the thematic features of interpersonal communication between students and their parents indicates the high involvement of parents of students with disabilities in educational activities, as well as in socio-psychological relations of students with teachers and fellow students. Such parental involvement is regarded as a kind of "social capital" of a student with disabilities.

Environmental Metaphors in Randai Traditional Performance in Minangkabau: Ethnographic Study

Minangkabau Randai is one of the traditional arts from West Sumatera, Indonesia that combines four different aspects: silat, theater, music and dancing. The purpose of Randai is to spread moral values of Minangkabau tradition by using a story called kaba. This research discusses the communication patterns used in Randai. Descriptive qualiative method is used in the research and the data collection is done by doing library research. Because of the COVID-19 pandemic, Randai could not be performed and thus the data are taken from video recording. The title of the Randai performance discussed is Rambun Pamenan and ethnography of communication approach is used to analyze the data by using Hymes’ theory of unit of analysis. The result of the research shows that the communicative event takes place on an open field and there are five communicative events done by the speakers: the opening of Randai, the opening for kaba, dendang, the play for kaba and closing. The communicative acts in the play for kaba are in the form of dialogue, which contain verses and environmental metaphors. The position of women in Minangkabau culture is represented through the environmental metaphors in the dialogue.

THEORETICAL JUSTIFICATION PROBLEMS OF ORBITAL MASS MEDIA

Modern media not only (such as radio, newspapers, television or online journalism), but also the full range of media (e.g. theater, music, exhibitions, cinema, drama, opera, visual arts etc.) promote narrative – interpretive both the journalist and the audience the contexts of the realities referred to in the journalistic presentation. But with the introduction of holistic systems of ideologically united mass media, the narrative is no longer characterized by the temporality or length of interpretations. Contexts and narratives of mass media content no longer mask under assumptions or hypotheses a specific ideological, party, worldview position, which is far from thinking about the cognition of life, journalism, the work of a journalist. The once dualistic use of the context of the interpretive environment has turned into a non-constructivist model of pressure on the audience not through plots, but from fundamental ideological and ideological, and often direct, party proposals. It is proposed to consider the context as a basis for interaction and different media, which are not only united by common ideological narratives, but which have a certain center around which all the content is not loaded on the target audience. We have the effect of orbital mass media – within their content proposals there is an interaction of authors and audiences in order to distribute such content, which in the framework of informing about something or someone not so much improves media and audience interaction as an element of severe content pressure on the audience. Those journalistic broadcasts that are broadcast by these groups of media.

Features of Relations with Teachers in Students with Disabilities in higher Education

The article deals with the peculiarities of relations with teachers among students with preserved health and students with disabilities. It is assumed that students with disabilities and students with preserved health have specific features in their relationships with teachers. Sample: 167 students, 98 of them – with good health and 67-with disabilities (hearing, vision, etc.). The study was conducted on the basis of the RSSAI with students of all faculties (theater, music, fine arts). Methodology: the author's questionnaire on the study of various aspects of the attitude to education (professional plans, socio-psychological well-being, motivation of training, attitude to the content of education, socio-psychological relations within the university with teachers and other students, value orientations in the field of art culture, etc.). It is shown that when there are conflicts with teachers, students with preserved health do not transfer them to the attitude to the academic subject, while students with disabilities conflict with the teacher provokes a negative attitude to the course. It was revealed that among students with disabilities, almost one in ten believes that problems in understanding the educational material are due to the peculiarities of their health, with age the share of such responses increases. It was found that among students with disabilities a higher proportion of those who seek informal communication with teachers, which confirms the importance of higher education as an institution of socialization and a source of experience of social interaction.

Artistic Vanguards in Brazil, 1952 to 1990

Vanguard movements in the arts and literature from mid-20th century Brazil are termed neo-vanguard to distinguish them from the historical vanguard movements of the century’s early decades, even though the neo-vanguards share common features with them. These include an open spirit of internationalism, experimentation with form and language, and the use of fragmentation, simultaneity, minimalism, and graphic display. When they first appeared in the 1950s and 1960s, the neo-vanguards were differentiated by a rationalist, materialist, and functional approach to language, letters and art, visible in geometrical abstraction and based on research. The São Paulo poets Haroldo de Campos, Augusto de Campos, and Décio Pignatari formed the most prominent and influential literary group, known as “Poesia concreta” [Concrete Poetry]. Poesia concreta continues to shape and influence vanguard art, literature, and design in São Paulo. Their 1958 manifesto, “Plano-piloto para poesia concreta” [Pilot-Plan for Concrete Poetry], reshaped national poetics while adding an international aesthetic dimension. In Rio de Janeiro, the “Grupo Frente” led by artists Hélio Oiticica, Lygia Clark, and Lygia Pape supported the 1959 Neoconcrete movement and manifesto, defending the position that concrete poetry and art should be less mechanical and more expressive of human realities. Bossa nova introduced a syncopated, polished style that gained international fame through João Gilberto and Antônio Carlos Jobim, and it turned attention toward Brazilian arts. In the 1950s and 1960s, individual authors worked within their own neo-vanguard styles outside of any movement, the most important being João Guimarães Rosa, whose reworkings of language and orality produced the major novel of the century, Grande sertão: veredas (1956), and Clarice Lispector, creator of dense existential consciousness in prose, mainly involving women in crisis. The 1964 military coup changed the disposition of vanguard art into one of resistance, reflected in Cinema Novo, Tropicália, theater, music, popular periodicals, mass culture, and marginal literature. Popular vanguard movements effectively ended, went underground, or adopted more unconventional formats in the 1970s because of political tension. The end of an effusive period of creativity in the 1950s and 1960s was marked by the publication of the collected works of the concrete poets, their inclusion in international anthologies, and a national atmosphere of increased political repression and violence.