The article substantiates the need to develop new methodological approaches to the study of creative industries, the development of which in the conditions of digitalization in higher education institutions of culture and art occupies a significant place. The authors outline the range of problems in order to bring them out of the category of secondary problems, focusing the attention of the scientific community on innovations in universities of culture that change the perception of their role in the socio-economic development of territories. The focus on innovative processes and active implementation of new digital technologies forms the basis for the creation of a modern educational ecosystem. The emergence of such systems involves critical reflection on the effectiveness of scientific and technological changes and unintended consequences for society, as well as the analysis of successful practices and positive experience. Using Kazan State Institute of Culture as an example, the authors describe the specifics of creating and operating an Engineering Center, a Prototyping Centre, the emergence of business start-ups, and research in creative higher education in general. The prospects of participation of educational ecosystems in the modernization of the region are assessed as positive, receiving socio-economic support that meets the strategic objectives of territorial development. According to the authors, under the conditions of digitalization, only in combination with the traditional practices of cultural, leisure, performing, and library activities, which are carefully protected and reproduced in the process of education in universities, is it possible to implement the strategy of the state cultural policy of Russia as a condition for the preservation of the diversity of its original culture and civilizational identity. The conclusion is made about a fundamentally new qualification passport for a graduate of a university of culture and art, who is ready to meet the challenges of the digital age, which increases his/her competitiveness in the labour market.

Vyacheslav Vladimirovich Samodurov is the embodiment of Russian modern ballet. The period when he worked with the companies of the Dutch National Ballet and the Royal British Ballet was a key one not only for Samodurov as a dancer, but also had a significant influence on his future activities as a director and choreographer. Samodurov’s productions have original and recognizable stylistic features and are of interest to audiences and critics, and are studied by theater and art historians. Samodurov’s productions have original and recognizable stylistic features and are of interest to audiences and critics, and are studied by theater and art historians. At the same time, the path of Samodurov-dancer has not received a comprehensive comprehension from the perspective of the evolution of his style and image. This fact determines the relevance of the topic of the article. The purpose of the research is to identify the role and influence of the foreign period of the master on the formation of his individual style as a choreographer. The novelty of the article lies in the fact that for the first time a study of a scientific nature raises the question of combining the art of Samodurov’s national ballet school and the experience he gained in the European ballet. On the basis of analysis of the available facts of Samodurov’s biography, memoirs of his colleagues from the European companies, and information obtained in conversations with the choreographer, generalizations were made which testify to preservation of V.V. Samodurov’s creative experience. A generalization has been made to show that the artistic experience of Samodurov, gained during his period of collaboration with foreign companies, has been preserved in his contemporary work as Artistic Director and Director of the Ekaterinburg State Academic Opera and Ballet Theatre (also known as the “Ural Opera Ballet”).

The article examines the specifics of the production of the Chinese Theatre of Working Youth “Growl, China!”. The analysis of this performance is undertaken for the first time and is relevant, as the interaction between Russia and China is reaching a new level, and with the existing historical experience of cultural cooperation it is possible to create a quality base for the effective development of Russian-Chinese relations at the present stage.

The aim of the research was to study and analyze the features of a unique performance staged in 1935 on the stage of the Chinese Theatre of Working Youth in Vladivostok — “Growl, China!” based on the play of the same name by S.M. Tretyakov. In order to achieve the aim the author reveals the content of this revolutionary by its meaning play, writes about its first staging on the stage of the V. Meyerhold Theatre, which attracted attention of directors of other theatre companies to this play, analyses the specificity of the rehearsal period of the Chinese Theatre of Working Youth (CTWY) and reveals the characteristics of the performance itself.

The work applies the complex method, which combined the source study analysis of articles from periodicals and the complex analysis of the performance by outlining the positive and negative moments of the premiere production, which were reported in their articles by journalists of the “Krasnoe Znamya” newspaper.

The scientific novelty of the study lies in the fact that the article for the first time indicated the names of actors who played on the stage of the Chinese Theatre of Working Youth. The conclusion is made about the undoubtedly important role played by the play “Growl, China!” in the creative work of the theatre and the emerging in the 1930s socio-cultural situation in the Far Eastern region. The author notes that despite the closure of the Chinese theatre in 1938, the arrest of its director and some of the actors, the execution of the play’s author S.M. Tretyakov and V. Meyerhold, the interest in this play in the form in which it was shown in the 1930s can still appear today.

The article is devoted to an album of drawings by an unknown Russian artist-pensioner of the mid-1850s from the circle of A.P. Bogolyubov. The young draughtsman, who had an excellent academic education, traveled around Italy, drawing typical views and genre scenes, while to a greater extent trying on the role of S. Shchedrin and K. Bryullov in his search for creative identity. The album is set within the broad context of the work in Italy of young Russian artists. Similar stylistic and iconographic analogies are drawn from similar sources — the travel sketches of A.P.Bogolubov and F.A. Bronnikov, as well as the album of F.A. Klages. A careful comparison of the works by the novice masters allows us to draw conclusions about the common problems experienced by the young graduates of the Imperial Academy of Arts who had excellent technical skills and, at the same time, a poor readiness for individual artistic exploration. The drawings examined in the article significantly expand the circle of visual sources on the Russian artistic community in Italy. In some cases there are portraits and caricature, as well as the development of the iconography of typical scenes (for example, “Interrupted rendezvous” by Karl Bryullov or “Temptation” by N. Shilder). The album contains many inscriptions, which are also published alongside to facilitate the identification of the author by subsequent researchers.

Contemporary art practitioners use a rich arsenal of techniques and materials, including those previously considered by artists to be applied and therefore of secondary importance. Threads and fabrics have long been confined to the field of fine and decorative arts and have not been considered full participants in the art scene. Until now the boundaries between textile art and high art remain blurred. However, at the end of the twentieth century, we saw a new strategy for the perception of textiles and domestic handicraft practices as independent art forms. The change in the traditional hierarchy and language of art in the 1960s and 1980s was influenced by many developments, including the emergence of a new wave of artists who began to incorporate applied materials into the space of art. The legalisation of textile production as an artistic practice owed much to Louise Bourgeois, who turned to needlework techniques and demonstrated their limitless potential. The material for this article is the textile works of Louise Bourgeois, her memoirs, as well as video materials and the documentary film “The Spider, the Mistress and the Mandarin”. This article analyses textile works of the artist, as well as the themes of damage and restoration that run through many of her works. The term “mending” is discussed, which seems broader and more relevant to describe Bourgeois’ works. The image of the spider, a symbol of mother and weaver, which is important for the artist, is also analysed. In the orbit of the author’s attention is the theme of duality of needle as a simultaneous image of traumatisation and reparation. The conclusion is made that L. Bourgeois’ work has influenced artists from the 1970s to the present day. Her creative language, the variety of materials and techniques used have enriched the arsenal of contemporary art and have certainly influenced the place of textile in the hierarchy of arts.

This article is devoted to the problem of the attribution of architectural graphics, the identification and analysis of the individual graphic style of Domenico (Dementi Ivanovich) Gilardi, a master of Swiss origin, the chief architect of post-fire Moscow. In spite of the formal, stylistic and iconographic knowledge of the Moscow Empire style, the issue of attribution of architectural graphics to the period remains open. The work of Gilardi is no exception in this respect.

The objective of this research is to use stylistic and iconographic analysis of his most outstanding works to form an idea of the nature of his graphic style and its peculiarities. The relevance of the topic is dictated by the need to distinguish the graphic works of Gilardi himself from the sheets created by his pupil — the architect A. Grigoriev (and in the longer term — to identify the “hand” of A. Grigoriev).

The method of formal and stylistic analysis and iconographic comparison was chosen. Artistic sources are the most striking architectural and graphic works by Gilardi, which have not yet been studied in detail: several signed drawings, as well as a draft design of a park pavilion from the collection of the Shchusev State Museum of Architecture (the latter was introduced into academic circles by the author and is central in terms of representation). The style of the unrealised design of the park pavilion reflects the historical perspective of birth, development and decline of the Moscow Empire style in one of its variants. The style distinctly refers to the antique, Renaissance and classic monuments.

The following complex of problems is being solved within the framework of the research: the genesis of the post-fire Moscow style is presented, the specific features of the architectural graphics of the first quarter of the 19th century are evaluated; the sketch of the park pavilion and the series of several drawings (so called master’s exemplary graphics) are described and analyzed as the basis for the attribution; the work of Gilardi is examined in the context of the global neoclassicism style development.

The conducted study, in which the relationship between architectural and graphic style plays a key role, allows us to form an idea of Gilardi’s individual style and approach a more complex issue of attribution, chronology and style in his constructions. The unity of harmony, beauty and technicality of Gilardi’s works is expressed in the juxtaposition of his manner with the ideal of timeless classicism.

The article analyzes the role of the art collection of the Moscow Old Believer merchant, publisher and textile manufacturer Kozma Terentyevich Soldatenkov (1818-1901) in the formation of the Moscow Public and Rumyantsev Museums. One of the earliest Moscow collections was assembled by Soldatenkov for nearly 50 years, and was exhibited in his mansion on Myasnitskaya Street. It included works of Russian and Western European art of the mid- and second half of the 19th century. After the collector died in 1901, in accordance with his will, the collection was transferred to the Moscow Public and Rumyantsev Museums. However, the collector’s desire to exhibit his collection in the same room was not achieved due to a lack of space in the museum: the collection was divided into two parts. This continued despite the construction of a separate building for the Museum’s art gallery on Starovagankovsky Pereulok. Although the Soldatenkov Collection was a significant part of Moscow’s art culture during the period in question, its owner was well known in the second half of the 19th century thanks to his publishing activity and patronage of art, and took part in the foundation of the Rumyantsev Museum. Archive materials, including the collection’s catalogues, and documents from the manuscript department of the Pushkin State Museum of Fine Arts, allow us to conclude that the staff of the Rumyantsev Museum was interested in the scientific grouping and classification of works according to aesthetic and chronological categories. Thus, the museumization of the collection was a new stage in its history and contributed to the formation of the attitude towards Soldatenkov’s collection in subsequent years as a significant phenomenon in Moscow’s art culture, including the scientific community.

The article examines the development of contemporary performative practices in the regions and the influence of cultural industries on them. The concepts of “performance art”, “art activism”, and “happening” are discussed. The dichotomy of exclusive/ mass is revealed: performative art is an exclusive personified creative act, and mass art is presented in the form of typical standardised works that are available for the general public. The question of cultural institutions is highlighted and their influence on the development of actual art in regions and the formation of cultural identity of the city is analysed. The author considers the problem of institutional critique as a tool for the development of cultural industries, confirming a hierarchical vertical hierarchy and levelling the work of artists in a situation of insecurity. There are given examples of how performative art forms cultural environment and becomes a trigger for development of regional cultural industries, creating around itself a field of scientific and philosophical discourse and involving the fields of mass-marketing, advertising, media and related financial components. The author analyses the process of globalisation and demonstrates the most effective way for regional contemporary art to integrate into the general cultural process - to offer innovative forms. Examples of successful implementation of this method are given.

The article deals with the dialogue between literature and cinema, namely the phenomenon of mutual reflection of the holistic artistic worlds of Chaplin and Dickens. Significant similarity of the facts of biography, artistic method, problems, the general direction of the evolution, certain images and techniques, the nature of the representation of the author’s origin allow us to view the work of film director as a kind of reincarnation of the writer. The aim of the article — to demonstrate the proximity of the artistic worlds of Dickens and Chaplin in their main qualitative characteristics — in the transformation of Dickensian literary images in Chaplin’s cinematic. This transformation is explored through the example of the pairs of analogues: Oliver Twist (1838) — The Kid (1921), Hard Times (1854) — New Times (1936), Cold House (1852) — Monsieur Verdoux (1947).

Both writer and director, who received worldwide fame during his lifetime, in his later works are deeply immersed in the awareness of the causes of world evil, hence the new and in the strategy of communication with the reader, and in the nature of the narrative.

In the later novels of Dickens (“Bleak House”, “Hard Times”, “Little Dorrit”, “Great Expectations”) the image of the hero loses its single identity, opening the way to the duplicity as an expression of the deformation of the human personality. The detective element strengthens as a quest to understand the mystery and origins of social evil. Chaplin’s films from the 1940s onwards are marked by an increasingly grim social diagnosis of modernity as the usual contours of good and evil become blurred. The image of the little vagabond is gone from Chaplin’s sound films: The Great Dictator (1940), Monsieur Verdoux (1947), Limelight (1952), The King in New York (1957). While clowning did not disappear, it was relegated to the periphery and ceased to be the principal means of grasping reality.

A comparative analysis of the work of the two geniuses leads to the conclusion that their art, humanistic in its orientation, contains an enormous charge of love for people all over the world, beyond national, religious and other boundaries.

The article analyses J.-P. Sartre’s philosophical plays, their main ideas and the moral conflicts of the characters. Sartre largely expressed the features of the crisis of European culture in the first half of the twentieth century. The problems of freedom, responsibility, loneliness and existential choice that were on the agenda then are relevant again today. On the threshold of a change of cultural paradigms we are also experiencing a crisis of spiritual values, turning to the basic categories of ethics, and dealing with complex moral and political issues. In this context, many of the problems touched upon by Sartre take on new meanings. Particularly important today are the issues of responsibility for personal choice, in particular the understanding of the inevitability of choice, the involvement of everyone in the events taking place, the need to express and defend one’s position. Refusal to make a choice is in itself a choice, we are in any case engaged. The problem of the choice between the personal and the social, between the observance of the fundamental precepts and the commitment to the common cause, also acquires new meanings. Sartre’s ethics is anarchic and socially significant at the same time. The philosopher rejects God as the guarantor of justification and some supreme, governing force, but asserts an ethics of personal responsibility. The article analyses the understanding of love, which the French existentialist interprets as sacrifice in his plays. From Sartre’s point of view, a person is a project of the self, a person can level bad deeds with good deeds and vice versa. Thus, the philosopher in his plays demonstrates the possibility of everyone’s struggle with his passions, personal perfection without higher intervention. The conclusion is that Sartre places the ethical above the aesthetic, affirms the involvement of everyone in the social situation, and demonstrates the application of philosophy in real life. His main ideas are not only of academic interest today, but also of practical interest.

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