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Людмила Володимирівна Гладка
Танцювальні студії, Volume 4, pp 66-75; doi:10.31866/2616-7646.4.1.2021.236229

Abstract:
Мета статті – проаналізувати сучасні підходи до ролі концертмейстера в хореографічних класах. Методологія. У статті висвітлено підходи до музичного оформлення уроків з різних хореографічних дисциплін на основі спостереження й творчих експериментів у процесі багаторічного практичного досвіду роботи провідним концертмейстером факультету хореографічного мистецтва Київського національного університету культури і мистецтв, а також Київської державної академії мистецтв, Національного університету фізичного виховання і спорту України. Наукова новизна. Уперше в українській хореології порушено проблему переосмислення ролі концертмейстера задля усвідомлення її значущості в навчанні й вихованні майбутніх хореографів – виконавців, постановників та викладачів, а також важливості творчо орієнтованої співпраці педагога-хореографа і виконавця-концертмейстера в навчальному процесі. Висновки. Необхідною передумовою плідної творчої співпраці викладача хореографічних дисциплін та концертмейстера, утворення в спільній роботі успішного творчого тандему є знання педагогом-хореографом елементарної теорії музики, відомостей з аналізу музичних форм, італійської музичної термінології, одночасно обізнаність концертмейстера у основах хореографії, французькій термінології, що застосовується у класичному танці, а також термінології інших напрямів хореографічного мистецтва. Досвід концертної діяльності піаніста та досвід щоденної концертмейстерської роботи взаємопов’язані. Підвищення загального рівня майстерності концертмейстерів хореографічних дисциплін закладів вищої освіти, їхнє творче ставлення до власної діяльності, активна участь концертмейстерів у процесі музичного виховання майбутніх танцівників, балетмейстерів і педагогів є запорукою плідного розвитку хореографічного мистецтва в цілому.
Nataliia Diadiukh-Bohatko
Demiurge: Ideas, Technologies, Perspectives of Design, Volume 4, pp 36-44; doi:10.31866/2617-7951.4.1.2021.236118

Abstract:
The purpose of the article is to study the educational function of modern design by analyzing the objects of the urban environment in Ukraine and the world. The research methodology involves the use of observation methods and art analysis; the educational function of project activities is traced in historical and modern images gotten by collecting. The scientific novelty of the research lies in the reflection on the modern designer’s role in the formation of humanistic values in society; attention is drawn to the necessity of rethinking the surrounding space, which can be achieved using design. Conclusions. Modern designers combine a variety of functional requests and compositional artistic solutions, trying to surprise the average consumer. But sometimes you just need to create something that meets the humanistic demands – an environment filled with comfort and natural motives. In this way, project activities gain the opportunity to perform an educational function in society through the cultivation of true human values, through the reconciliation of different social groups in cities, different national cultures, aggressive urban environment and a man.
Лариса Юріївна Цвєткова
Танцювальні студії, Volume 4, pp 78-86; doi:10.31866/2616-7646.4.1.2021.236230

Abstract:
Мета дослідження – з’ясувати специфіку впливу науково-технічних досягнень на танцювальне мистецтво кінця ХІХ – початку ХХ ст. на прикладі творчості Лої Фуллер. Методологія. На основі аналізу наукової літератури та джерел, застосування компаративного, хронологічного, порівняльного методів проведено науково обґрунтоване дослідження. Наукова новизна. Уперше в мистецтвознавстві розглянуто творчість представниці танцю модерн кінця ХІХ – початку ХХ ст. Л. Фуллер в аспекті впливу досягнень науково-технічного прогресу на танцювальне мистецтво того часу. Висновки. Творчі експерименти Л. Фуллер свідчать про набуття хореографією науково-технологічного виміру і функціонування танцювального мистецтва кінця ХІХ – початку ХХ ст. у просторі двох «світів» – художнього й науково-технічного. Якщо наука прагне зрозуміти епоху, знайти приховані смисли, а художня творчість створює ці смисли, то інтенція танцювального мистецтва цього періоду полягає в тому, щоб знайти ці приховані смисли й репрезентувати їх у своїй творчості. Відтак видатні митці (художники, режисери, хореографи, композитори та ін.), серед яких Л. Фуллер, не тільки виражали зміст своєї епохи, але й надавали їй смислового наповнення. Л. Фуллер намагалася мислити хореографією в категоріях, близьких до наукових. Творчість танцівниці була своєрідним бунтом проти усталених балетних форм, наслідуванням античної естетики через заперечення класичного танцю. Досвід Л. Фуллер став не лише кроком до створення танцю модерн, а й одним із перших досвідів інтегрування досягнень науково-технічного прогресу епохи в мистецтво танцю (світлові ефекти, кінопроєкції та ін.), що додатково підсилювало новітність і перспективність презентованої танцівницею пластики.
Андрій Васильович Тимчула, Ірина Миколаївна Гутник
Танцювальні студії, Volume 4, pp 30-37; doi:10.31866/2616-7646.4.1.2021.236216

Abstract:
Мета статті – виявити специфіку народного танцю долинян як фольклорного першоджерела народно-сценічних хореографічних постановок. Методологія. Відповідно до специфіки мети та завдань дослідження застосовано типологічний метод, спрямований на виявлення місцевих особливостей традиційної долинної культури, відповідно до їх етнографічного районування; порівняльно-історичний метод (для порівняльного аналізу народної хореографічної культури місцево-територіальних груп долинян у контексті календарних та сімейних обрядів в історичному контексті); жанрово-типологічний метод (для аналізу особливостей відтворення різноманітного фольклорного танцювального матеріалу долинян у постановках народно-сценічних танців. Наукова новизна. Уперше виявлено структурно-стилістичні особливості традиційної народної хореографічної культури долинян відповідно до районування, проаналізовано хореографічні елементи, фігури, кроки й рухи. Висновки. Своєрідність хореографічної лексики долинян внаслідок впливу багатьох об’єктивних та суб’єктивних факторів протягом багатьох століть формувалася в умовах впливу танцювальної культури мадяр, румунів та гуцулів (характерно для локально-територіальної групи марамороські долиняни), угорців та словаків (боржавські й ужанські долиняни), а також специфічних особливостей лемківської та бойківської культури (перечинсько-березанські долиняни). Виявлено яскраві хореографічні виражальні засоби ритуальних та обрядових танців, серед яких «Увиванець» (довжанські долиняни), «Людська сколомийка», «Меньосоньтанц» (боржавські долиняни) та ін. Представлена студія не вичерпує всіх аспектів проблеми й може використовуватись у подальшому дослідженні питань, пов’язаних з розвитком народної хореографічної культури долинян та українців в цілому, а також стати основою для культурологічних та мистецтвознавчих розвідок з історії української хореографії, етнохореології, етнокультуралогії, хореопедагогіки та ін.
Olena Tsymbaliuk
Demiurge: Ideas, Technologies, Perspectives of Design, Volume 4, pp 104-117; doi:10.31866/2617-7951.4.1.2021.236130

Abstract:
The purpose of the work is to investigate the conditions of the designers’ creative work at the Lviv Art and Production Plant in the socially critical period of the late 1980s and the early 1990s, to identify the features of technological processes in design and layout in the absence of basic professional materials, raw materials and tools. The research methodology lies in studying the scientific literature on the socio-cultural environment features of the Soviet period of the second half of the twentieth century and gathering information by interviewing a former design team member. The scientific novelty of the research is the introduction of the design activity experience of the artists and designers’ creative group and the cooperative “Artes” during 1988-1991 into scientific circulation; its coverage from the inside of the work process. Conclusions. The results of the study capture the unique experience of a group of Lviv designers at the art plant, who, in difficult ideological and material constraints, were able to implement a large number of projects, ranging from the development of machine housings for industrial production and ending with small printing products. An important factor is the compliance of their unique design products with world parameters from a technical and aesthetic point of view, and the use of certain methods and technologies indicates the process of comparison with world achievements in the field of design.
Yaroslav Hordiichuk
Demiurge: Ideas, Technologies, Perspectives of Design, Volume 4, pp 21-35; doi:10.31866/2617-7951.4.1.2021.236117

Abstract:
The purpose of the article is to identify the features of successful graphic designers of the 21st-century positioning on the pages of the so­cial network Instagram, highlight the directions of communication strategies and approaches to their visualization. Research methodolo­gy. To carry out this study, we used the empirical method of collecting factual material, analysis, comparison, and generalization methods. The principal source of analytics is designers’ Insta­gram pages as factual material. The scientific novelty of the study consists in a comparative analysis of graphic designers’ communicative images on Instagram pages, based on which, for the first time, an attempt was made to sys­tematize communicative contact strategies with subscribers. There are four possible ap­proaches to creating the communicative image of the designer, which, however, do not exhaust the entire range of options. Conclusions. The communicative image use for communication on social networking pages is a reasonable and effective method of a designer’s professional development, as the number of subscribers on such pages is much bigger and reaches several hundred thousand active subscribers. The design of social communication by de­signers with their audience is contained in the planning of the strategy of the communication process as a whole, the tactics of individual com­munication acts (posts), the allocation of several types of content, and their rhythmic alternation and design. The design of social communication by designers with their audience is contained in planning the communication process strategy as a whole, the individual communication acts (posts) tactics, the allocation of several types of content, and their rhythmic alternation and de­sign. These components combination increases the effectiveness of the designer’s communi­cative image, presented on the social network pages. This, in turn, together with the constant contact with subscribers, ensures the popularity of the designer, increases the range of potential customers and promotes professional growth.
Iryna Gardabkhadze, Anna Antonova
Demiurge: Ideas, Technologies, Perspectives of Design, Volume 4, pp 70-82; doi:10.31866/2617-7951.4.1.2021.236124

Abstract:
The purpose of the article consists in clarifying the features of the archetypal structures functioning (in this case – archetypes of Greek myths) in modern fashion design and also in the analysis of the fashion design methodology peculiarities in the condi­tions of metamodernism. The realization of this purpose is planned by developing the meth­od of designing modern clothing, taking into account the principles and characteristics of metamodernism. Research methodology. The complex problem of analyzing the features of fashion design development in the environ­ment of metamodernism is solved based on interdisciplinary system analysis with a combi­nation of subject, historiographic and morpho­logical analyzes.Scientific novelty. For the first time, it was shown that modern design trends, such as in-personal empathy and situational expressiveness, more careful consideration of aesthetic guidelines, psychological attitudes, and user expectations, are most harmoniously reflected in the principles of metamodernism. It was demonstrated that in the conceptual space of the metamodern, the principle of os­cillation corresponds to a choice between two competing primary sources of an image gen­eration in fashion design. The images of Greek mythology gods were chosen as traditional ele­ments of the design project, and prototypes of modern clothing models were chosen as com­petitive elements. Conclusions. As a result of the research, we conclude that in the practice of fashion design, it is expedient to solve the project approach in a balanced way between the factors of the creative source, the personal qualities of the individual, and the archetypes manifested in it. The methods for elements of Greek myths heroes’ images synthesizing with elements-carriers of fashion trends was pro­posed, taking into account the tendencies of metamodernism. Experimental approbation of the research results was carried out by assess­ing the artistic and aesthetic qualities of mod­ern women’s clothing models collection based on Greek myths motives. Thus, the results of the collection design confirmed the feasibility of turning to archetypal forms to find innovative design solutions.
Назенік Гагіківна Саргсян
Танцювальні студії, Volume 4, pp 40-50; doi:10.31866/2616-7646.4.1.2021.236217

Abstract:
Мета статті – обґрунтувати правомірність уведення в галузь дансологіі поняття «жанр портрета» на прикладі постановок балетмейстера Рудольфа Харатяна. Методологія. Шляхом мистецтвознавчого аналізу балетів хореографа Рудольфа Харатяна «Іпостасі», «Bachpassion» (Пристрасті Баха) і «La Boheme», порівняння хореографічних рішень жанру портрета в назвах балетів виявлено специфіку інтерпретації образів композиторів Моцарта і Баха, а також шансоньє Шарля Азнавура. Наукова новизна. Уперше на основі аналізу трьох балетів Рудольфа Харатяна в дансологію введено поняття «жанр портрета», під яким розуміємо хореографічний спектакль або окремий номер, героєм якого є історична особистість (а не вигаданий персонаж), представник мистецтва. Висновки. Жанр портрета не ідентичний такому в живопису або скульптурі, але ближчий до творів літератури чи кінематографу. У них, як і в хореографічній виставі, на перший план виходить не тільки той, про кого вони оповідають, а головне – як. У балеті «Іпостасі» переданий різноманітний духовний світ Моцарта – його іпостасі як образи дійових осіб створених ним опер. Вони то знаходяться з ним у повній гармонії, то співпереживають йому, то відриваються від свого творця. У «Bachpassion», крім самого Баха, беруть участь ще 13 балерин і танцівників, але немає конкретних персонажів – таке образне рішення музичного світу Баха. У «La Boheme» дію конкретизовано – це шлях Шарля Азнавура до визнання, протее назвати балет сюжетним не можна. Це швидше портрет шансоньє в інтер’єрі Монмартра. У перспективі жанр портрета може бути розглянутий більш широко, як хореографічний спектакль або окремий номер, героєм якого є історична особистість (а не вигаданий персонаж), безвідносно до того, представник він мистецтва, політики, науки, духовенства та ін.
Olena Vlasiuk
Demiurge: Ideas, Technologies, Perspectives of Design, Volume 4, pp 83-92; doi:10.31866/2617-7951.4.1.2021.236126

Abstract:
The aim of the article is to find out the peculiarities of the embodiment of actual conceptual motives in the design of artistic ceramics. Concepts aimed at identifying the impact of scientific and technological progress and information technology on culture and art are studied on the example of the work of Ukrainian modern ceramist Yurii Musatov. Research methods. The following methods were used in the study: analysis, synthesis, comparison; systematic approach to the interpretation of artistic ideas, practical analysis of the design of modern art ceramics. The scientific novelty of the study is the interpretation of the design of Yurii Musatov’s products through the prism of new realities of the information society, its anthropological challenges, the problems of the existence of art in the system of world communication. Conclusions. The results of the study testify to the innovative nature of the work of ceramist Yurii Musatov. Among the creative works of Ukrainian ceramists he is distinguished by noble, intellectual and modern presentation of works, perfect mastery of technological and artistic means, complex constructive forms and conceptual content.
Olha Vladymyr
Demiurge: Ideas, Technologies, Perspectives of Design, Volume 4, pp 45-58; doi:10.31866/2617-7951.4.1.2021.236119

Abstract:
The purpose of the article is to study the preconditions of origin and features of further development of the design of hotel and restaurant business. The research methodology is based on the methods of complex analysis with the use of historical-survey and practical-analytical methods. The essence of scientific novelty is to identify the main approaches in the design of hotel and restaurant business. The essence of scientific novelty is substantiation of transformations in understanding the essence and significance of design in the formation of the development concept of hotel and restaurant complexes as well. Conclusions. The study shows that during the long period of formation and development of hotel and restaurant business there have been significant changes in their design. Each of the stages of development of hotel and restaurant objects is characterized by the understanding transformation of the concept of “design” and the degree of application of its tools both in the decoration of premises and in its use in the formation of the concept and corporate style of the company. The systematic approach in the design of hotel and restaurant business does provide the formation of competitive advantages and is one of the main components of effective organization and conduct of hotel and restaurant activities.
Аліна Миколаївна Підлипська
Танцювальні студії, Volume 4, pp 87-94; doi:10.31866/2616-7646.4.1.2021.236231

Abstract:
Мета статті – виявити сутність аполлонійського в балетній критиці й теорії Акіма Волинського. Методологія. На основі аналізу історіографії проблеми, першоджерел (критичні статті Волинського та його теоретична праця «Книга радінь»), застосування хронологічного й культурологічного підходів, порівняння діонісійсько-аполонійської концепції давніх греків та підходів до її тлумачення Волинського проведено науково об’єктивне дослідження. Наукова новизна. Уперше проаналізовано аполлонійські інтенції балетної критики й теорії Волинського. Висновки. На формування ідейно-естетичних основ балетної критики й теорії Акіма Волинського істотно вплинув Ф. Ніцше з ідеєю дихотомії аполлонійського й діонісійського та ідеєю надлюдини. Народження нової людини на початку ХХ ст. Волинський пов’язував зі шляхом від діонісійського – хаотичне, вакхічне, матеріальне, вседозволене, до аполлонійського – вольове, розумне, самодостатнє, духовне, ідеальне. Підґрунтям філософсько-історичного осмислення ґенези й розвитку класичного танцю Акім Волинський вважав культуру Давньої Греції; хоча світогляд давніх греків визначали два модуси буття – Хаос і Космос, їхнє мислення вирізняла внутрішня суперечливість як поєднання двох начал: ірраціонально-стихійного (діонісійського) і раціонально-гармонійного (аполлонійського). Класичний танець для Волинського – утілення ідеальної краси, продовження античної сакрально-танцювальної традиції. У критичних статтях він спонукає до пошуку сакрального початку в сучасних балетних постановках. Припускаємо, що, розробляючи теорію класичного танцю, Акім Волинський виходив з космогонічної концепції давньогрецького філософа Емпедокла, який надавав особливого значення стихіям вогню і землі. У Волинського дух уособлює вогонь (стрибок), а тіло – землю (партерні рухи).
Олена Миколаївна Шабаліна
Танцювальні студії, Volume 4, pp 51-63; doi:10.31866/2616-7646.4.1.2021.236223

Abstract:
Мета дослідження – виявити роль феноменів «неомаска» та «антимаска» в мистецтві танцю ХХ – початку ХХІ ст. та у формуванні емоційно-тілесного інтелекту сучасного хореографа. Методологія. Застосування історичного, компаративного, мистецтвознавчого методів сприяло проведенню науково об’єктивного дослідження. Наукова новизна. Уведено поняття «неомаска» та «антимаска» у сферу хореографічного мистецтва, проаналізовано процеси трансформації ролі маски та формування передумов становлення поняття «емоційно-тілесний інтелект» у виставах хореографів модерного й постмодерного напрямів. Висновки. Поняття «неомаска» в сучасній хореографії можна застосувати для означення візуального образу, що має відкрите обличчя, але закрите тканиною тіло, або використання тканини для покриття обличчя й тіла разом. Під «антимаскою» розуміємо «оголення» психоемоційних проблем людини, повну свободу емоційних і тілесних проявів у танці з мінімальним використанням костюму, гриму, реквізиту. Зазначено, що адаптація людини до зміни парадигми сприйняття світу зі споглядальної на особистісну призвела до актуалізації емоційно-тілесного інтелекту як складника постановочної творчості хореографів та виконавської діяльності артистів-танцівників. Констатовано необхідність відкриття дискурсу стосовно питань про тривимірний світ людини (дух, душа, тіло), що сьогодні розуміють як «тілесність». Нині в сценічній культурі поширюється філософія сприйняття не «танцюючого тіла», а «тілесності образу». Завданням сучасного хореографічного мистецтва є відкриття людині (і учасникам танцювальних перфоменсів, і глядачам) можливостей усвідомленого проживання свого життя, зняття поверхневої маски, надання усвідомлення особистої відповідальності за життя через створення й демонстрацію сучасних образів. Предмет і концепт «маска» в хореографічному мистецтві пройшли шлях трансформації від використання маски для захисту та заміни образу тіла до свідомого співвідношення «я і тіло» в розвитку емоційного інтелекту хореографа та глядача.
Андрій Ігорович Підлипський
Танцювальні студії, Volume 4, pp 20-29; doi:10.31866/2616-7646.4.1.2021.236215

Abstract:
Мета статті – виявити основні механізми впливу географічних факторів на формування народної хореографічної культури Тернопільщини. Методологія. Для проведення дослідження застосовано комплекс методів: аналіз літератури, порівняння концепцій, з’ясування відповідності терміна означуваному поняттю (термінологічний метод), узагальнення інформації та ін. Наукова новизна. Вперше обґрунтовано та введено в хореологічний дискурс поняття «фронтир» в значенні зони інтенсивної взаємодії різних культур. Висновки. Географічні умови проживання, детермінуючи особливості художньої культури, зокрема й танців, впливають на формування територіальної ідентичності населення. Географічне розташування Тернопільської області на перетині трьох регіонів (Галичина, Поділля, Волинь), що відрізняються багатьма елементами традиційно-побутової культури, спричиняє ситуацію територіального фронтиру («порубіжжя»). Тема фронтиру в хореографії лишається практично не висвітленою, хоча це питання безпосередньо стосується буття танцю українського етносу і його ролі (як і хореографічної культури) у формуванні ментальності, національного характеру й національної ідентичності. Якщо розглядати фронтир як комплексний, багатогранний феномен, що включає не лише природно-географічні, економічні, господарсько-історичні, а й філософсько-культурологічні, духовно-ментальні аспекти, то цілком закономірним постає і включення художньо-мистецького фронтиру, а у нашому випадку – хореографічного (чи танцювального) фронтиру. Крім того, еволюція змістового наповнення поняття «фронтир» у ХХ ст. при здійсненні його операціоналізації, дозволяє ввести це поняття у хореографічний науковий дискурс. При цьому операціоналізація поняття фронтир у статусі категорії мистецтвознавства ставить питання про його трактування як хореографічного конструкту, тобто концептуальної структури хореографічного наукового знання, й тим самим розглянути як один із смислоутворюючих чинників формування народно-сценічної хореографічної культури.
Олександр Іванович Чепалов
Танцювальні студії, Volume 4, pp 10-19; doi:10.31866/2616-7646.4.1.2021.236212

Abstract:
Мета статті – з’ясувати закономірності й засоби практичного створення сценарію балетної вистави з позицій драматичної та музично-хореографічної побудови. Методологія. Суміщення емпіричного методу, заснованого на практиці фахового досвіду створення балетних лібрето із загальнонауковими підходами, зокрема аналогії та моделювання, абстрагування та конкретизації, що випливають з концептуальних основ засад образно- художнього втілення сценічного твору. Наукова новизна. У порівнянні з оперною лібретологією загальна теорія й практика балетного лібрето не розроблена; отже, запропоноване дослідження є одним із перших, що претендує на теоретичні узагальнення та відтворює більш сучасний погляд на одну з нагальних проблем створення балетної вистави у наш час. Висновки. У радянському балеті у зв’язку із завданнями ідейності та змістовності драматургії, роль сценарію підвищилася порівняно з балетами минулого. Однак прагнення наблизити сценарій до драматичної п’єси (особливо типове явище для 1930–50-х рр.) давало результати не лише позитивні (в галузі драматургії видовища), а й негативні (порушення законів балетної специфіки, втрата розвиненої танцювальності). Гармонія поєднання сценарної та музично-хореографічної драматургії можлива лише в спектаклях, у яких сценарії створені з урахуванням специфіки музики й хореографії та їхнього органічного злиття. Завдяки розширенню та збагаченню сучасними елементами виражальних засобів хореографії балетні лібрето ставали не просто розширеним описом сценічних подій, а їхнім більш коротким та ємним викладенням, вони давали широкий простір фантазії глядача та когнітивного сприйняття хореографічного тексту. Українські митці орієнтувалися переважно на класичні балетні зразки, звертаючись до вітчизняної та світової літературної класики, сюжетів-легенд, творів історично-патріотичної тематики. Деякі балети створювались до суспільно значущих подій (напр., «Вогонь Еліди» В. Золотухіна до Олімпіади 1980 р. у Москві). Балет В. Бібіка на 2 дії «Гутаперчевий хлопчик» написаний за однойменною повістю Д. Григоровича (зберігся тільки у клавірі). Створення драматургії балетної вистави вимагає значно більших зусиль, ніж в опері; її відрізняють від сценарної форми, апробованої в оперній виставі, монологи, діалоги та прописаний (переважно в ремарках) підтекст.
Liliana Vezhbovska
Demiurge: Ideas, Technologies, Perspectives of Design, Volume 4, pp 93-103; doi:10.31866/2617-7951.4.1.2021.236128

Abstract:
The purpose of the research is to identify the functioning features of Ornek, a traditional Crimean Tatar ornament in modern culture, art and design. The research methodology is based on the application of art history, comparative and semiotic analysis. The novelty of the research is to identify the functioning of the Crimean Tatar ornament in modern times, to determine special symbolic and graphic structures in the visual system Ornek, which allow not only to develop in modern Crimean culture but also show the high communicative ability to establish a cross-cultural dialogue. Conclusions. The study of Crimean Tatar ornament in modern art and design testifies to its high ability to adapt to new conditions, which allows us to talk about the flexibility of its visual system. In modern art and design projects, it appears as a phenomenon that can abstract from archaic forms and organically combine not only with the latest materials and techniques but also to create unity with the phenomena of other national cultures.
Kateryna Kyselova, Olha Shandrenko
Demiurge: Ideas, Technologies, Perspectives of Design, Volume 4, pp 59-69; doi:10.31866/2617-7951.4.1.2021.236120

Abstract:
The purpose of the article. The article explains the ways to find harmony in modern clothing design projects. The research methodology consists of the analysis application in the field of fashion, as well as methods of source, aesthetic and structural-compositional analysis. The scientific novelty of the work lies in determining and systematizing the main ways of searching for harmony in clothing design 2010-2020. Conclusions. Design forms and expression, its orientation change not only due to a technology change but primarily due to changes in social demands, value systems, mental guidelines, of which the search for harmony is also important – external and internal. Designers solve this aspect in various ways: from formalized proportioning and the color wheel usage to the use of natural motifs and folk art archetypes. Another way is “green”, ecological, “ethical”, “sustainable” fashion – directions that not only demonstrate the possibilities of processing but also generate a particular worldview, draw attention to the artist’s ability to return people to the beauty and diversity of the world.
Andriy Budnyk
Demiurge: Ideas, Technologies, Perspectives of Design, Volume 4, pp 8-20; doi:10.31866/2617-7951.4.1.2021.236115

Abstract:
The purpose of the study is to identify the features of the use of postmodern techniques in poster projects of the period of the COVID-19 pandemic. Research methods. The methodological basis of the study is comparative and art analysis. The scientific novelty of the study is the consideration of the poster activity of the pandemic period 2020-2021 in the context of postmodernism. Conclusions. In the current poster projects of the quarantine period, postmodern features are clearly traced, which are manifested not only in the visual language of the works, but also in the ways of exhibiting and positioning posters in society and the media. The pictorial component is characterized by the use of metaphor as a universal method, as well as a combination of different styles, multiple approaches, the lack of a dominant vector in solving the visual image. The use of double coding, quotes, reminiscences, games, irony, etc. is revealed.
Yurii Harmash, Mykola Honcharenko, Oleksandr Mazurenko
Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production, Volume 4, pp 113-132; doi:10.31866/2617-2674.4.1.2021.235099

Abstract:
The author’s message for this Bachelor’s photo project was to analyse the colour palette by researching and systematising the colour spectrum by creating a photo project. This photo project consists of two parts, which differ in the expressive imaging method; the background idea unites them. The main thing was to show the interaction of colours, texture, and the image’s plane. The use­ of paint and different background compositions gave a sense of depth to space. The scientific novelty lies in the fact that a complete spectral analysis is carried out for the first time, compared with the works of classics, analysis of the place in the history of each event associated with a particular colour.
Оleksandr Priadko, Maksym Sirenko
Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production, Volume 4, pp 52-58; doi:10.31866/2617-2674.4.1.2021.235079

Abstract:
The purpose of the research is to investigate the components of virtual production, identify the structure, basic tools of virtual technologies and their benefits, to define differences between virtual processes and traditional filmmaking. The research methodology is based on general scientific methods of complex analysis of the processes that take place in virtual production, and analysis of basic virtual tools, computer programs; use a comparative method for virtual production and traditional film production technology; generalization of the work of virtual technologies, determination of their advantages and disadvantages, research of their influence on modern cinematography. The scientific novelty of the obtained results lies in the systematic analysis of modern virtual technologies components and tools, determined the features of virtual production and its impact on the film industry, proven the relevance and rationality of the use of virtual technologies, both today and in the future. Conclusions. In the course of the research, numerous advantages and new opportunities offered by virtual production were revealed. The essence of virtual processes in film production is analyzed, it is shown how modern computer tools can be creatively applied at each stage of film production. Virtual production is the next logical step in the constant evolution of the film industry, which is changing the film industry today.
Volodymyr Myslavskyi
Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production, Volume 4, pp 181-182; doi:10.31866/2617-2674.4.1.2021.235107

Svitlana Kotliar, Iryna Zaspa
Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production, Volume 4, pp 84-96; doi:10.31866/2617-2674.4.1.2021.235094

Abstract:
The purpose of the research is to analyze female photo portrait, the concept of female beauty in photography, the history of the origin and formation of female portrait in photography. Moreover, the aim was to trace the common and distinct features of a female portrait from the past to nowadays. It was decided to establish a role of female photo portrait in the art of photography, to prove its peculiarity and importance. The research methodology consists of the following parts: theoretical – analysis of the female beauty concept in the photo portrait, history of female portrait development in photography, empirical – study of relationships between female portraits of different times, comparative – comparison of modern and authentic portraits. In the course of cognitive synthesis and generalization of distinctive and similar features of female photo portraits of different times, special features of the female portrait were determined. Scientific novelty. For the first time, the history and formation of female photo portrait from authenticity to the nowadays were analyzed. The analysis was conducted based on photo portraits researches of different times. A detailed analysis of factors influencing the formation of this genre of photography was carried out. With the help of the theoretical analysis, the factors influencing the development of the female photo portrait were determined, its specifics and features were outlined. Conclusions. In the course of the article, we analyzed female portrait in photography and the concept of female beauty in different periods. With the help of the analysis of the history of development and formation of the female portrait photography genre, its role in the art of photography has been established. Peculiarities of female photo portrait as a genre of the art of photography were determined. Its peculiarity and importance have been proved. The factors influencing the concept of female beauty in photography, the development of female portrait and its features have been generalized.
Khrystyna Pletsan
CULTURE AND ARTS IN THE MODERN WORLD pp 85-102; doi:10.31866/2410-1915.22.2021.235897

Abstract:
The purpose of the article is the theoretical and methodological substantiation of the peculiarities of the digitalisation process in the creative industries of Ukraine through the prism of the cultural aspect. The study highlights and substantiates the conceptual foundations of the evolution of the transfer of cultural and creative space to the digital environment. The historical and cultural aspect of digitalisation implementation in the creative industries of Ukraine is analysed. The study describes the main strategic priorities of digitalisation of creative industries. The research methodology involves the following methods: historical and analytical method is used for primary data collection and analysis; system analysis identifies the theoretical and methodological foundations of the concept of “digitalisation” in the cultural and creative space; logical generalisation is applied for the theoretical justification of the historical and cultural aspect of digitalisation in the creative industries of Ukraine; fundamental knowledge is used to identify digital platforms, digital tools, and technologies as a mechanism for cultural products promotion and communication with consumers; the predictive method is applied to summarise the results and understand the importance of digitalisation in the creative industries of Ukraine in the historical and cultural aspect. The scientific novelty lies in the theoretical and methodological systematisation of the evolution of digitalisation in the creative industries of Ukraine through the prism of the historical and cultural dimension. The study focuses on the three-dimensional aspect of digitalisation of creative industries: as a need, as a requirement, and as a driving force for innovation in the cultural space through the prism of human-centrism. Conclusions. It is proved that in the historical and cultural aspect the concept of the implementation of digitalisation has radically modernised the creative industries of Ukraine and opened new opportunities for the creation of new ideas, innovative projects, collaborations, and readiness of Ukrainian artists to join world tendencies.
Сергалі Кабдрахманович Сураганов, Зубайда Кабіївна Сураганова
CULTURE AND ARTS IN THE MODERN WORLD pp 103-118; doi:10.31866/2410-1915.22.2021.235898

Abstract:
The purpose of the research is to introduce the creative achievements of N. Tsivchinskii into scientific use in the context of the formation of the art school of the Ukrainian avant-garde of Mykhailo Boychuk. The study’s objectives are to determine the origins of the formation of the muralist and arts and crafts master N. Tsivchinskii’s work, his contribution to the shape of the history of the Kazakh professional tapestry. His work reflects the penetration and deep insight into the significance of traditional cultural identity, the Boychuk school’s monumentalism inherent. One of the few surviving Boychukists who were scattered to the four corners of the earth by fate, N. Tsivchinskii developed the versatile skills, artistic language, and tradition of the Boychuk school also became one of the brightest figures in the Kazakh decorative and applied arts. The life path and work of N. Tsivchinskii reflect the most critical and tragic chapters of the country development thoroughly, which is no longer on the map. The research methods used are biographical, source-based, and historical. The methodological innovation of the research is the use of the biographical approach along with the historical one in the framework of the “new comparative history” as an effective tool for studying the artistic heritage of Kazakhstan and Ukraine in the Soviet era. The scientific novelty of the study is determined by the introduction of new information about the artist, whose work was only mentioned in the context of the Boychuk school scholars’ activities, a significant part of whose followers were destroyed during the years of the Red Terror. Conclusions. The work of N. Tsivchinskii is considered in the context of the activity of the art school of M. Boychuk, where he became an arts and crafts master. In the 1930s, in Kazakhstan, N. Tsivchinskii continued the traditions of the Boychukists, became the founder of the first carpet cooperative craft society, which became a truly significant phenomenon in the history of the formation of professional decorative and applied art in the republic.
Nadiia Babii
CULTURE AND ARTS IN THE MODERN WORLD pp 129-144; doi:10.31866/2410-1915.22.2021.235900

Abstract:
The purpose of the article is to investigate the current issue of changes in activities in the urban spaces of Western Ukraine during lockdown (March–June 2020) and adaptive quarantine (2020–2021) and show the importance of popular culture as a constant that reflects the collective notion of space, updates the imaginary topography, affects the performatisation of the cities and formats of artistic practices. Research methodology. R. Barthes’ methods of semiotic analysis are used, combining structuralism with semiotics, according to which urban spaces are considered as a discourse. The method of site research was applied, which allowed collecting relevant texts concentrated in the spaces of cities where a specific cultural image of the coronavirus time has been recorded. The scientific novelty consists in the determination of the role of popular culture as a vital factor of new sociocultural contents in a crunch period. Conclusions. The article emphasises that the rationalism of anthropological space has been transformed fundamentally during the pandemic and changed the vector of interdependence between the subject, space and place, where the “I” is localised in a new space with the content of the last place, having suffered the destruction of connections due to the absence of “presence”. It is proved that the lack of direct communication with the audience contributed to the spread and use of synthetic art practices that combine postmodern practices with global digitalisation, but this does not mean their novelty. Based on the analysed practices, it is proved that the differences lie in sociocultural characteristics, and popular culture was the first to make alternative adjustments to the changing spaces. Art circles and official bodies oriented on the mass audience have used popular symbols of quarantine realities. Therefore, popular culture in the crunch becomes a source of ideas in the promotion of sociocultural meanings.
Yuliia Kliuchko
CULTURE AND ARTS IN THE MODERN WORLD pp 145-155; doi:10.31866/2410-1915.22.2021.235902

Abstract:
The purpose of the article is to explore the communicative space of modern museums in the conditions of the COVID-19 pandemic, to outline the main vectors of its development. The research methodology is based on the general scientific principle of objectivity, structural and functional, analytical methods are used during the analysis of the communicative space of museums in the context of the COVID-19 pandemic. Taking into account the current state of museums in Ukraine, the main theoretical achievements of the issue are systematized and generalized; it is shown that the topic of the research at the present stage has not yet been comprehensively reflected in the domestic scientific literature. The novelty of the article is to determine the main vectors of the development of the communicative space of foreign and domestic museums during the COVID-19 pandemic, to study the most successful projects of Ukrainian museums in the context of the transformation of the communicative space. Conclusions. The study shows that today the establishment of a sustained and constructive dialogue with its audience is an important result of the museum activities as one of the communication centers in the cultural space. This article demonstrates that there is a rather significant transformation of the museum environment and the museum communicative space, which is manifested in a combination of traditional and innovative directions, the development of adaptation strategies following the modern conditions. It is claimed that for museums the time of the pandemic is the time of mastering new communication channels, the time of pooling resources. Information technologies adjust and supplement the content of the main functions of museum’s activities. Without digital technologies and digital communication, the museum is no longer able to achieve its full potential as a sociocultural and educational institution. The article shows that during the COVID-19 pandemic the Internet communication between Ukrainian museums and their audience has actually become the only way to interact. To attract a new audience, Ukrainian museums are implementing inclusion practices, rebranding, interdisciplinary and inter-museum projects, applying creative approaches to adapt educational programmes to the online format, and significantly increasing the amount of content for children and adolescents.
Юлія Василівна Трач
CULTURE AND ARTS IN THE MODERN WORLD pp 164-173; doi:10.31866/2410-1915.22.2021.235907

Abstract:
The purpose of the article is to reveal the specifics of creating new works of art using artificial intelligence technologies. The research methodology is based on the application of the dialectical method with its principles of consistency, development and unity of polarities since artificial intelligence as a complex sociocultural phenomenon provides unambiguous definitions and at the same time forces to interpret its essence and relations dialectically to its application field. The scientific novelty of the obtained results lies in the fact that artificial intelligence is considered a component of artistic creativity, one of which is to introduce technical innovations in human culture. Conclusions. The article focuses on the fact that the artificial intelligence issue is beyond the cultural discourse, and separating the artificial intelligence issue from culture inevitably leads to a simplified understanding. It is noted that the relevance of cultural research of artificial intelligence (AI) is determined by the spread of symbiotic forms of interaction between the user and global software, which requires not so much evaluating and correcting the negative consequences of the spread of technology but rather the development of meta technology to prevent them. For its part, the reflection of culture, when the latter rejects the ideas of the techno apocalypse and the rise of machines, can give an impetus to the emergence of new meanings and perspectives for man and culture. Finally, the article provides examples of the AI technologies use (in particular, Gan and CAN) in contemporary art. However, the more AI technologies are used in creating works of art, the more valuable an idea or a concept becomes. Today, when the performance and physical implementation of a project can be “shifted” to AI, new ideas become the main driving force in the development of art. The ideas generation may become the primary option not of a person but of a “machine”, which, once again, proves the correctness of the assumption that every year such human abilities as creativity, generation of new extraordinary ideas and solutions will become more valuable. And the routine performance, the analysis of big data, etc., are the tasks for machines, and they perform this work better than a human.
Леся Іванівна Турчак
CULTURE AND ARTS IN THE MODERN WORLD pp 174-184; doi:10.31866/2410-1915.22.2021.235908

Abstract:
The purpose of the article is to define Vasyl Yemets’ impact on the development of Ukrainian and world musical culture. The research methodology provides a theoretical method to reveal different aspects of the issue under study; historical method to systematise and synchronise information and investigate the issue essence, cultural method to trace individual stages of the artist’s work and reveal his specifics performing skills. The scientific novelty of the study is to determine Vasyl Yemets’ contribution to the development of Ukrainian bandura art, the features of its Instrumental performance and theoretical results, which has become an essential tool for preserving and spreading Ukrainian culture. Conclusions. It is proved that Vasyl Yemets’ contribution to the world and Ukrainian musical culture consists in developing his own combined way of playing, mixing the traditions of Kharkiv, Chernihiv and Poltava schools. It is proved that he went down in the history of the twentieth-century bandura art as a soloist-performer of a new concert type-virtuosoinstrumentalist, composer and arranger, bandura designer-innovator, author of scientific and journalistic works on the history of Kobzar art, as well as as an artist who brought Ukrainian musical culture to the world level, proposed the standard of the solo concert performance on the instrument and formed the principles laid down in the basis of the work of his followers in the Ukrainian cultural and musical environment of Europe and America.
Andrii Budnyk
CULTURE AND ARTS IN THE MODERN WORLD pp 185-198; doi:10.31866/2410-1915.22.2021.235912

Abstract:
The purpose of the article is to analyse the influence of the system of compositional techniques and graphics of the All-Ukrainian Photo Cinema Administration Film Poster School and Ukrainafilm on domestic graphic design. Research methodology. The author has applied historical, art history, and comparative analysis. Scientific novelty. Through the similarity matching in the world and Ukrainian design and the study of the use of design schemes, techniques and tools that are permanently used in graphic design, we reason the influence of the Ukrainian Poster School of the 1920s and 1930s on contemporary graphic design practice. Conclusions. Despite a long break for ideological grounds in the functioning and study of Ukrainian graphic design in the middle of the twentieth century, we record a noticeable influence of the means and techniques of Ukrainian poster art on modern trends. These are general compositional techniques: placing a formatted face or figure as a dominant on the entire plane of the image, designing a composition on the principle of a “playing card”, deliberately replacing grounds on the inverted perspective. There are local techniques: concentric circles as a compositional dominant, filling the main character’s glasses with visual elements or font content, and rhythmically repeating visual elements or font groups. The identified similarities can be valuable in the young designers training, taking into account the general development of Ukrainian graphics’ history and its single branch graphic design. It is also possible to use these schemes, techniques and tools in contemporary design education as a methodological basis for teaching poster design, designing, composition, layout and modelling.
, Olha Anikina
Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production, Volume 4, pp 43-51; doi:10.31866/2617-2674.4.1.2021.235076

Abstract:
The purpose of the research is to review all types of modern audiovisual art, understand its components and novelty, which it offers. The article also analyzes the interactions of an audiovisual artist with the audience together with the new aspects of the interaction of the consumer with the artistic content. Moreover, it is important to understand the influence of this type of art on human consciousness as well as the changes it brings with it into long known forms such as films and video games. The methodology of the research consists in using the following methods: theoretical (regarding the scientific articles, which conduct the discussion concerning audiovisual art within theoretical plain) and empirical (consideration and analysis of various media materials to receive information on the latest audiovisual art products). Scientific novelty. Considering that audiovisual art appeared fairly recently, there is not a big quantity of researches, which would analyze the components of audiovisual art in-depth as well as the elements of novelty, which the said type of art offers. It has to be noted that the scientific novelty abroad is present to a lesser extent, however, within the space of Ukrainian scientific thought, this type of art is still not being researched thoroughly. Conclusions. Throughout the research, we have established the primary traits of audiovisual art, regarded in detail the relationships and interactions of the audiovisual artist with his audience and the degree of control available to the consumer over the artistic idea. The article also established the possibility of using audiovisual art as a therapeutic method for healing mental traumas.
Olena Levchenko, Olha Pasichnyk
Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production, Volume 4, pp 35-42; doi:10.31866/2617-2674.4.1.2021.235071

Abstract:
The purpose of the research is to reveal the features of the use of a human behaviour manner in the process of preparing a cinema actor preparing for a role. The research methodology is based on the principles of descriptive, comparative, cultural and artistic methods, the method of observation and experiment, in addition, individualizing and social and psychological approaches are applied during the study of the psycho-physiology of acting through the analysis of the behaviour in the process of individual human capabilities disclosing. The scientific novelty of the research is that the workmanship of the acting game is analyzed through the allocation of a visual demonstration of the manner of behaviour from the inner senses of the character for the first time. Conclusions. The research has shown and analyzed the use of human behaviour in the process of film actor preparing for his/her role. It has been found that the accumulated experience of body movements enriches the repertoire of acting, reduces the risk of the hero emotional state over the inner freedom of a professional actor. Accordingly, with the explored information, the main point here is that impersonation for a character is demonstrating by the simplest properties of human behaviour.
Alla Medvedieva, Serhii Chernenko
Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production, Volume 4, pp 11-17; doi:10.31866/2617-2674.4.1.2021.235059

Abstract:
The purpose of the research is to investigate the problems of the genre in modern media discourse. Research methodology. When writing a scientific article, research methods are used: analysis and synthesis (analyzed and systematized the work of the interview genre have been analyzed and systematized), a comparative method (parallels of interviews in the world and Ukraine have been made), generalization and systematization (summarizing has been made due to practical knowledge and work with diverse literature). Scientific novelty. This article is relevant today, despite the huge number of ready-made materials and articles. Scientific work will help to understand the essence of conducting one of the most complex genres of information journalism and will demonstrate the problems of interviews in Ukraine. Conclusions. During the study of the interview genre in the modern media space, the problems of the interview genre were analyzed through scientific works. It has been established that interviews are a special genre in modern media discourse that helps to reveal or create something completely new and show another angle of the interlocutor. Being one of the leading genres on television, the interview makes a significant contribution to the growth of popularity in a modern environment on the leading channels of the country. Psychological factors have been disclosed, which contribute to the success of communication with a guest; potential problems, the main difficulties faced by the interviewer have been outlined. It has been proved that during the conversation, important moments that turn into information are revealed. The fact that in modern information space, especially in Ukrainian media, there is a lack of qualification of leaders during interviews, is accentuated. Based on them, we summarized the main problems and features of the interview genre. As a result, while working with the article, we have made a conclusion about the main problems of the genre on modern television.
Yurii Horban
CULTURE AND ARTS IN THE MODERN WORLD pp 34-44; doi:10.31866/2410-1915.22.2021.235889

Abstract:
The advertising space acts as a global axiological translator at the present stage, forming a new anthropological type. Acting as a mechanism of persuasion, advertising has become a particular cultural consumption factor, forming a certain way of life and worldview of a person. Public service advertising is the most up-to-date, dynamic and accessible system among information and advertising technologies as to creativity. The purpose of the article is to analyse the peculiar workings of public service advertising discourse and determine the dominant sphere of advertising impact. The research methodology is based on the use of analytical, structural methods, and also objectivity and consistency standards for identifying the procedure, features and typology of public service advertising and functional features of forms of social advertising impact. The study’s scientific novelty consists of public service advertising as a cultural phenomenon, demonstrating the importance of a comprehensive study of cultural, anthropological and philosophical aspects of advertising activities. Conclusions. Thus, focused on the mass environment and reality, advertising is ontologically focused on material mediation and is the most profound intuition of social action. The art of advertising is an ability to convey information, prioritise skills and creativity, and attract the creative realities of a person’s identity and the subject of advertising discourse. It is proved that in advertising, virtual reality becomes a broad integrative mechanism in all its connotations, presentation, systems of human functioning and personal identity in the virtus space of contemporary culture. The culture of information and advertising presentations tries to assimilate, on the one hand, a cultural tradition, and on the other — makes it possible to escape from the brutal, primitive reality of complaint, the need to survive, compete for life. The entire advertising system is ontologically immersed in ethics and aesthetics.
Tetiana Humeniuk, Yurii Lehenkyi
CULTURE AND ARTS IN THE MODERN WORLD pp 45-58; doi:10.31866/2410-1915.22.2021.235891

Abstract:
The purpose of the article is to highlight the features of contemporary national culture as a special artistic meaning of the Gesamtkunstwerk, which is formed by a reflection of a predominantly historical pattern. The research methodology consists of a set of scientific methods of general and special nature. Methods of analysis and synthesis, as well as historical, cultural and systemic approaches, were used to reveal the essence of virtual reality of super narratives in the information space, which are the impetus for the formation of ethical, aesthetic and artistic consensus. The relevance of the research is determined by the need to study the postmodern paradigm, which gives the rise to the new discourses that replace the narratives of the communist era in the interpretation of the history of the posttotalitarian space. The scientific novelty of the study is that it shows post-Soviet culture as an inertial phase of post-totalitarianism, which has an image simulative tottalogy of reality. Conclusions. The article demonstrated that the artistic meaning of the Gesamtkunstwerk of the post-Soviet space is a desirable reality, but it has stopped at the level of the fairy-tale narrative, which is formed by a reflection of a predominantly historical pattern. The time and space of culture in the dimension of the simulacrum world appear as another kind of aesthetics virtus. It has been noted that the cultural reality of post-totalitarianism is at a stage when it is necessary to realise that the invented reality of the fairy-tale type is not art. So, the hybridity of creative efforts, post-coloniality, hypercriticism as a way of being, vital energy represent a set of motives that adds little to the understanding of the situation of postmodern creativity in Ukraine. Conversely, national slogans indicate the need for a national identity, because time is waiting for the manifestation of creative initiatives of artistic synthesis.
Kateryna Matvieieva
CULTURE AND ARTS IN THE MODERN WORLD pp 71-84; doi:10.31866/2410-1915.22.2021.235896

Abstract:
The purpose of the article is to find out the repertoire traditions of Ukrainian theatre from the first professional theatre to the present day. The research methodology applies an interdisciplinary approach. In particular, the principle of historicism is an opportunity to trace the change in the repertoire policy of theatres under the influence of sociopolitical circumstances. Structural-functional and macrodynamic methods to study the theatre at different stages of development are methods of analysis and synthesis used to identify the main artistic phenomena and trends in theatrical activities. Scientific novelty. Based on the analysis of the repertoire plays of five Ukrainian theatres: the Theatre of Coryphaei, Taras Shevchenko Kharkiv Academic Ukrainian Drama Theatre, Taras Shevchenko Dnipro National Academic Ukrainian Music and Drama Theatre, Ivan Franko National Academic Drama Theatre, Maria Zankovetska Theatre — trends in the development of the repertoire policy of the Ukrainian theatre are identified, the influence of traditions and society on the work of leading Ukrainian theatre figures is justified; the boundaries of the concept of “repertoire traditions” are expanded. Conclusions. The article examines the peculiarities of the development of Ukrainian theatre from the creation of the first professional theatre in Ukraine to the present day, highlights the impact of repertoire censorship. Five stages of the formation of the repertoire traditions of Ukrainian drama theatres are described: the period of the birth of Ukrainian drama (I. Kotliarevsky); further repertoire traditions in Tsarist Russia era; the formation of modern Ukrainian theatre (Les Kurbas); the period of World War II and post-war times, when there were attempts to transform the Ukrainian theatre into a Soviet one. It was found out that a unique feature of modern Ukrainian theatre is performances on second stages, one-person production, and the use of advanced technology.
Oksana Koshelieva
CULTURE AND ARTS IN THE MODERN WORLD pp 59-70; doi:10.31866/2410-1915.22.2021.235894

Abstract:
The purpose of the article is to determine the sociocultural determinants of the transformation of Ukraine foreign image under the influence of domestic and foreign political events and the state of its coverage in the information space; to ascertain the evolution of the cultural model of the image of Ukraine in the international information space. The research methodology consists in the use of interdisciplinary methods and approaches to identify information and communication technologies aimed at the formation of the international image of Ukraine; the principle of historicism allowed determining the stages of changes in the information space and the transformation of the geopolitical situation around Ukraine; the structural and comparative methods were used to determine the international media positions on Ukraine, their influence on the formation of its image. The scientific novelty of the research is in the presentation of the Ukraine image as an expression of the mentality of a particular cultural and historical community, an indicator of cultural meanings, unique design, mechanism of realisation of a national culture through a set of sign objectivations formed within a particular cultural and historical space and consolidated in the mental representations of individuals. Conclusions. It is proved that the negative image of Ukraine created by Western media affected the development of its tourism sector, the promotion of national cultural heritage and the investment climate significantly. The modern image of Ukraine is undergoing reformatting; there are significant cultural, political, and economic changes. The cultural model of the positive image of Ukraine in the international information space is determined by a properly structured state cultural policy and the effective use of modern image-making tools that can set it on the path of cultural, political and economic stabilisation.
Lesia Ustymenko
CULTURE AND ARTS IN THE MODERN WORLD pp 119-128; doi:10.31866/2410-1915.22.2021.235899

Abstract:
The purpose of the article is to analyse the impact of current tourism trends on the formation of leisure culture. The research methodology consists of the analysis of the primary statistical and scientific sources on the impact of tourism trends on the shape of leisure culture, interdisciplinary synthesis of the main forms of actualisation of tourism trends on the localisation of tourist flows, methods of deduction and induction, as well as content analysis. Scientific novelty. The article identifies current tourism trends of our time, which will significantly shape leisure overculture. The author grounds and introduces into scientific use of the theory of cultural studies and tourism studies the concepts of “tourism trend” and “leisure culture”. Conclusions. Based on the analysis of statistical materials of the World Tourism Organization (UNWTO), data from United Nations experts, the history of tourism development vectors in the context of a pandemic is summarised. The article describes and analyses current tourism trends that will impact the formation of leisure culture in the years to come. In particular, the development of domestic tourism under the condition of improving its service; the use of social networks for marketing and marketing of a tourism product; the development of internet technology, 24-7 blogging support; the development of virtual tourism, which is provided by virtual (VR) and augmented (AR) reality; 24-7 customer support chatbots (chatbots); robot staff in the system of essential tourism services (transport, accommodation and leisure services). Thus, if there is an improvement of domestic service, the current tourism trends will create an environment where we can expect Ukrainian tourism to be a significant segment of leisure culture.
Tetiana Sovhyra
CULTURE AND ARTS IN THE MODERN WORLD pp 156-163; doi:10.31866/2410-1915.22.2021.235903

Abstract:
The purpose of the article is to explore the specifics and uniqueness of visual works created using AI technology. The research methodology is based on applying analytical, theoretical, and conceptual research methods of technological art and the interrelation between digital technologies and art in general. The scientific novelty lies in the fact that the art forms that created using digital technologies were analysed for the first time. In the article, we have considered the phenomenon of technological art due to integrating art and technology. Conclusions. It is revealed that due to the mathematical analysis of the artists’ artworks, certain algorithms of the author’s work can be found, the main components of the work of art can be analysed, and the sign system of art can be transformed into a system of a different order which is numerical one. Thus, the colour, shape, positioning of the objects on the canvas (composition) — everything turns into numerical formulas and combinations. The graphic drawing is transformed into digital, algorithmic. A certain number system is being built, which allows to group works (one artist, era, art movement) into single collection systems, analyse and identify similar algorithmic chains, and create new art products based on these algorithms using the obtained numerical combinations. It means that with algorithmic analysis, it is possible to compare and even combine different types of art within one plane, one form, and one art product.
Oleksandra Kolisnyk, Solomiia Ohanesian
CULTURE AND ARTS IN THE MODERN WORLD pp 212-222; doi:10.31866/2410-1915.22.2021.235916

Abstract:
The purpose of the study is to identify the possibilities of visual symbolism in the creation of a company image using a logo in the late 19th and early 20th centuries. Research Methodology. The historical, historical-comparative, analytical methods were used to conduct the research; art history methods — formal, figurative-stylistic, semantic analysis — were used to identify the figurative and symbolic language of the company’s logos late 19th – early 20th centuries. Conclusions. Based on the analysis of the works of foreign and national scientists of the 20th century, the symbol and mark are characterised as means of expressing the phenomenon essence, and the existing classifications of symbols are considered. The logos used in the late 19th – early 20th centuries in the world practice and on the Ukraine territory are analysed. The example of the Prudential Financial insurance company (the USA) shows that the use of a symbolic element remained unchanged in the process of its changes during 1860–1996. On the example of the trademarks of Ukrainian enterprises — the Ernst Mehlhose Agricultural Machinery Plant (1874–1923), the F. V. Alsop in Kharkiv enterprise, Luhansk Textile Mill (1904–2001), Kyiv Contract Fair (1797–1930) — the methods of visual identification are considered, the artistic means are determined; the comparative analysis is carried out. It is established that the image of the rock in the structure of the American company logo is a symbol of strength and security and appeals to its main characteristics. It is determined that in the means of visual identification of Ukrainian enterprises of the late 19th – early 20th centuries, there is a tendency to express clearly the company specialisation through realistic images of architectural buildings that belonged to them or produced products, as well as ordinary names with moderate artistic design.
Roman Odrekhivskyi
CULTURE AND ARTS IN THE MODERN WORLD pp 223-232; doi:10.31866/2410-1915.22.2021.235918

Abstract:
The purpose of the article is to analyse the typology, design features and carved decor of the wooden lamps in the interiors of the religious buildings in Galicia. The research methodology is based on the general principles of scientific work: consistency, authenticity, historicism, logic. The author of the article applies a comparative and typological method to analyse the design features of the lamps. And the methods of hermeneutics and semiotics were used to analyse ornamental and compositional systems of decoration. The scientific novelty of the work is the introduction of the unknown artefacts of church art into the scientific circulation. The author collected these data himself during his scientific expeditions to museums or directly in churches — both in Ukraine and abroad. Conclusions. The study of the design features and decor of the analysed lamps has shown that table lamps, as a rule, are smaller than candelabras (stavnyk), although sometimes according to the principle of composition, they are the same as candelabras, as, for example, the candelabra from the Kryvorivnia Church of the Nativity of the Blessed Virgin Mary. The study has confirmed that the lamps harmoniously fit into the design of the church interior, complementing the ensemble. For example, in the church in the village of Duliby or Pozdiach. In fact, the design ensembles of these religious sites are made in the same style. The author of the article provides an analysis of the image design solution and the nature of the decor of specific samples of the lamps, and argues that the development of the lamp art (as well as other elements of church equipment) occurs in two directions: imitation of historical styles in line with eclectic versions and the use of ornamental and compositional structures of traditional folk art. The features of a successful combination of these trends in the image solution of the spider chandelier from Galicia, which is kept in the collection-exposition of the National Museum in Lviv, have been demonstrated. The study has shown the original use of Hutsul folk carving traditions in the decoration of the spider chandelier from the Church of St. George in the village of Duliby, made by the famous master Vasyl Turchyniak: he used traditional geometric ornaments with ancient symbols. The significance of the © Roman Odrekhivskyi, 2021 The article was received by the editorial office: 11.08.2020 study lies in the possibility of using the processed material in the restoration of the old and construction of the new churches.
Iryna Gavran, Olena Levchenko, Olha Pasichnyk
Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production, Volume 4, pp 28-34; doi:10.31866/2617-2674.4.1.2021.235066

Abstract:
The purpose of the research is to analyze terror through screen images as a power discourse and to establish the role of an impact in the field of television art. Research methodology. The following methods were used: analysis and synthesis (the interdependence of the screen images, which are a kind of amplifier of intellectual potential on the screen, was analyzed); generalization (summary was made based on the analyzed links); systematization (all information collected during the research is systematized). The scientific novelty lies in the detailed consideration of the terror’s components in the screen arts. An attempt to influence the modern viewer with “terrorist” images. Conclusions. During the research, the scientific achievements of domestic researchers on the topic of coverage of power discourse in the media and cinema were analyzed. The role of the power discourse’s impact in the field of television art has been established. The peculiarities of screen images, their role and their influence on society have been revealed. The peculiarities of terror by screen images in the modern media space have been generalized. The impact of social networks and TV channels on the consciousness of people through manipulations has been determined.
Iryna Gavran, Svitlana Kotliar, Iryna Zaspa
Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production, Volume 4, pp 133-151; doi:10.31866/2617-2674.4.1.2021.235102

Abstract:
The author’s message for this Master’s photo art project consisted of creating a photographic work inspired by the Renaissance and Ukrainian traditions, folklore. A harmonious combination of the Renaissance heritage with the Ukrainian historical and cultural heritage, the disclosure of the concept of “renaissance” in two contexts. The Renaissance heritage is studied as world history and art era. The Ukrainian historical and cultural heritage analysis aims at reviving Ukrainian authenticity and its learning and implementation in a modern interpretation. Since the project’s author is fond of modelling and has participated in the organisation of different shootings for more than five years, and is also the Bachelor of Fine Arts in Art and Visual Culture, it was decided to create a photo art project, where she would be a model and ideological organiser and draw parallels with the help of Fine Art. In this project, the Renaissance features are reflected through associative connections with famous paintings of artists in a new Ukrainian interpretation. The second concept of “renaissance” has the meaning of reviving Ukrainian values, customs, traditions through the symbolic image of a Ukrainian girl who appears in the photos of a photo art project in various roles. The series of works consists of portrait images of a girl following the theme of the project. In total, there are five series in the project.
Yurii Harmash, Alina Pasynok, Dmytro Ivashkov
Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production, Volume 4, pp 97-112; doi:10.31866/2617-2674.4.1.2021.235096

Abstract:
The author’s message for this Bachelor’s photo project was to study the leading artistic and stylistic solutions of genre photography and reproduce them in a Street Football — photography series. The research covers all aspects of this topic and can be a staging ground for further topic study and consideration.
Serhii Bordeniuk, Viktoriia Byshovets
Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production, Volume 4, pp 78-83; doi:10.31866/2617-2674.4.1.2021.235089

Abstract:
The purpose of the research is to analyze the main features of social photography in the psychological aspect of the photographer. The research methodology is based on the application of a system-integrated approach to the review of this problem, within the framework of which a whole range of cultural, philosophical, psychological and professional qualities that affect viewers when viewing photographs is considered. The scientific novelty lies in the analysis of modern typological features and characteristics of social photography. The opinions of scientists from different times on issues of the psychological aspects of social photography were also systematized and generalized. Conclusions. We have analyzed the components of the psychological aspect of social photography. With the help of the analysis, the value of psychology in the work of the photographer specializing in the field of social photography has been established. Structural components that form a psychological aspect in the photo have been developed in detail. The factors that influence the rating of social photography have been summarized. The importance of the psychological aspects of social photography has been determined, since during the work at the same time the process of becoming the author himself, and his main task is to not just capture the environment but through his work to express feelings, emotions and thoughts.
, Аnna Bielikova
Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production, Volume 4, pp 59-66; doi:10.31866/2617-2674.4.1.2021.235082

Abstract:
The purpose of the research is to analyze the activities and principles of the producer’s work in modern Ukrainian realities (conditions) and to propose ways of improving them with the help of processing indicators (criteria) for improving the quality of results. The methodology of the research is based on the application of the principles of analysis of the audio-visual production’s current state, revealing the essence of the producer professional activity in modern Ukrainian society. The scientific novelty is that, based on the analysis of previous scientific research on the production activity, a system of indicators (criteria) has been proposed to improve the professional performance of the producer. Conclusions. In the process of carrying out the research, the producer’s activity of audiovisual production in the modern Ukrainian conditions, which are changing in accordance with the European integration interests of the society, was analysed. The current producer’s activation indicators have been processed and generalized. It has been established that in order to improve the results of the final product of the producer’s activity, it is proposed to introduce a system of indicators (criteria) for improving the quality of the producer’s work in modern Ukrainian conditions, in particular marketing and management, which are disclosed in the mastery of marketing Internet research; development of naming; organization of publicity campaigns; holding press conferences; receiving and considering feedback and recommendations; identification and creation of projects and additional sponsors; creative and production control over project preparation; post-production, production estimates and production schedules.
Mykhailo Barnych, Nataliіa Horbachuk
Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production, Volume 4, pp 18-27; doi:10.31866/2617-2674.4.1.2021.235062

Abstract:
The purpose of the research is to analyze the actor’s work on himself before going on stage or set and reveal the main ways to prepare the actor for a stage role or movie role in the imagination. Working on a role in the imagination is one of the most important points in preparing for playing on stage or the set. The research methodology is based on the theoretical and analytical method of defining the main creative methods of preparing an actor for the playing and their application while playing to get used to the role. The scientific novelty consists in a holistic study of the work of a theatre and film actor in the imagination and at the preparatory rehearsal stage of creating a role. Conclusions. Based on the work analysis of the actor of theatre and cinema, the features of working on the role in the imagination, at rehearsals and the use of this creative method during the performance or on the set of the film have been determined. It has been revealed that one of the important ways to prepare an actor for the playing is role improvisation. It has been found that the creative atmosphere on the set has a beneficial effect on the result of the acting. A necessary point in the work of an actor on himself is the study and development of natural instruments, in particular, the mastery of voice, facial expressions, gestures, breathing. An important part is to study the mechanism of arousal of the actor's experience in the role.
Olesia Beniuk, Kateryna Kyrylenko, Victoriia Stratiuk
CULTURE AND ARTS IN THE MODERN WORLD pp 11-21; doi:10.31866/2410-1915.22.2021.235885

Abstract:
The purpose of the article is to substantiate the emergence of online culture as a new phenomenon of our time, the development of which was stimulated by the comprehensive approval of the online space as a space of existence of culture in the broad sense of this concept in the context of the COVID-19 pandemic with the reference to the cultural and philosophical ideas of the 20th-century thinkers (on the example of K. Jaspers, J. Ortega y Gasset and W. Benjamin’s ideas) and the 21st-century thinkers (on the example of E. Schmidt, J. Cohen and U. Eco’s ideas). The article outlines the main prerequisites for its rise and argues favouring the concept of “online culture” in its own right. Today, a new cultural phenomenon is being actively formed, which we mean as “online culture”. The impetus for its rapid development was the challenges common to all humanity caused by the COVID-19 pandemic, which stimulated the active search for new forms and opportunities for selfrealisation and communication by the world community. Online culture is a voluminous and multi-component phenomenon, and it has every reason to become a characteristic of contemporary culture and a new cultural form. The study uses elements of methods of hermeneutical reading of texts, comparative historical and cultural analysis of texts, as well as the method of participant observation. Conclusions. The study results show that a new stage of cultural development is currently being formed, which the authors of the study called “online culture”. The emergence of such a new cultural reality is closely linked to the online environment and digital forms of representation of cultural products. It is demonstrated that predictive reasoning about its occurrence took place in cultural and philosophical studios of the 20th and the 21st centuries, overcoming pandemic challenges by humanity; its entry becomes the realities of the present. The concept of “online culture” correlates with other cultural phenomena close to it in content and forms of representation, such as “information culture”, “digital culture”, “virtual culture”, etc. Still, it exists independently and denotes a fundamentally different cultural cross-section of the present. Now online culture is in its infancy, but the pace of its formation, inspired by the exponential development of the online space, is swift.
Oksana Biletska
CULTURE AND ARTS IN THE MODERN WORLD pp 22-33; doi:10.31866/2410-1915.22.2021.235887

Abstract:
The purpose of the study is to clarify the role of culture as a tool for nation branding development, as well as national brand’s building and promoting within the global context of the national discourse. To reach the aim of the research, there was carried out the systematisation of the “nation branding” and “nation brand” concepts, as well as the analysis of theoretical and practical aspects of both nation and cultural brand and image of the country in the context of international cooperation. The research methodology consists in using general methods of empirical and theoretical research based on analysis, synthesis and concretisation. It is to analyse and summarise the results to reveal the “culture” factor’s importance in the nation branding development as an externally oriented phenomenon, in the context of international interaction providing information about what the country is. The scientific novelty of the study is to clarify the cultural constituent’s role in the process of the nation branding development in the context of the “State policy in the field of nation branding”; with the carrying out the analysis of the “culture and heritage” component as a criterion influencing the “Nation Brands” world reputation indexing; looked into the strategies for the Ukrainian culture development as an axis of building a nation brand and international image of Ukraine in the context of cultural diplomacy and intercultural dialogue; with paying attention to the content of the “Study of Ukraine’s perception abroad” results as an indicator of the world awareness of Ukrainian culture in the nation branding context. The conclusions point out that today in the system of international cooperation, culture: cultural heritage, cultural diversity and cultural potential of the country — is gaining importance as a tool for building a national brand and is the most effective means of creating a country/state’s positive international image in the long run. A successful nation branding allows increasing the level of the state’s political influence in the international arena and strengthening international ties, etc.
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