Abstract: In this article, an attempt is made to comprehend the features of the choreographic embodiment of the images of the main characters (Zephyr and Flora) by choreographer A.S. Belyakov in the play "Zephyr and Flora, or Metamorphoses" (2021). This ballet is a modern appeal to the theme of the pre–romantic ballet Sh. Didlo (early XIX century). Such a plan cannot but be relevant, as well as the study of its creative results, first carried out in this article. Based on the methods of ballet studies analysis approved by Russian historians and ballet theorists (Dobrovolskaya, Krasovskaya, Slonimsky, Surits), the author applied comparative historical, ideological, artistic and analytical methods, as well as the method of included observation (based on personal experience working on the part of Flora). The main research tools were analytical description and semantic analysis of the variation of Zephyr and the duet of Zephyr and Flora. With their help, we managed to draw the following conclusions. The choreographic vocabulary of the fragments is distinguished by an organic combination of classical positions and pas with the author's movements (pictorial, ornamental poses; somewhat broken positions of the arms and body; originally modified technical elements). The dramaturgy of the modern reading of the plot of the pre-romantic ballet is developed by the choreographer by plastic (not pantomime) means in key dance fragments. Thus, the choreographic embodiment of the images of Zephyr and Flora demonstrates an organic synthesis of the ideological idea and the general aesthetics of pre-romantic ballet with the unconventionality and innovation of the modern author's plastic solution.

Keywords: Variation, Charles Didelot, Duet, Pre - Romanticism, Frederick Venua, Choreographic embodiment, Artemy Belyakov, Ballet, Flora, Zephyr

References:
Arkina, N.E. (1987). Ballet and literature. Moscow, Russia: Knowledge.
Bazarova, N.P., Mej V.P. (2022). The alphabet of classical ballet. Saint-Petersburg, Russia: Music planet.
Bakhrushin Yu.A. (2009). The history of Russian ballet. Saint-Petersburg, Russia: Music planet.
Block L.D. (1987). Classical dance. History and modernity. Moscow, Russia: Art.
Gordeeva A.A. (2021). On point shoes and with no shoes on. Moscow, Russia: Agraph.
Grutsynova, A.P. (2009) Romantic ballet. Moscow, Russia: Moscow Conservatory Publishing House.
Grutsynova, A.P. (2022). West European romantic ballet. Libretto. Music. Staging. Critics. Saint-Petersburg, Russia: Music planet.
Grutsynova, A.P. (2017). Romantic ballet and the literature// Universum: philology and art history, 1 (35). URL: https://7universum.com/ru/philology/archive/item/4194
Dobrovolskaya, G.N. (1975). Dance. Pantomime. Ballet. Leningrad, USSR: Art.
Zakharov, R.V. (1976). The notes of choreographer. Moscow, USSR: Art.
Krasovsk

Abstract: The subject of the proposed research is a historical analysis of the works of the masters of the Palekh craft of the 1930s - 1970s in the field of design of theatrical productions – a little-studied phenomenon of Russian folk culture of the twentieth century. The author of the article draws the most illustrative examples, referring to the sketches created by Palekh artists for productions of the Soviet theater. Special attention in the study is paid to the largest figures of the craft who worked in the field of theatrical design: I. I. Golikov, P. D. Bazhenov, N. M. Parilov, A. A. Kotukhina. The purpose of the article is to show the importance of the creative contribution of the Palekh masters to the development of theatrical and decorative art of the Soviet era on the extensive material of numerous productions of major theaters in Moscow, Leningrad and other cities.   Using the method of comparative analysis, as well as historical-systemic and iconographic research methods, the author emphasizes the importance of knowledge about the works of Palekh artists in the field of theatrical productions for a correct understanding of the general history of Palekh craft in the twentieth century. The scientific novelty of the research consists in an attempt to analyze the topic under consideration as a single complex phenomenon. The main conclusion of the article is the thesis about the inseparable connection of Paleshan's "theatrical" works with lacquer miniature: the theatrical design works of Palekh masters appear at the same time with their experiments with lacquer miniature; the largest Palekh miniaturists worked with theaters; during the entire Soviet period, Paleshan's experience in theatrical and decorative art was in demand as much as and their lacquer miniature.

Keywords: Palekh, lacquer miniatures, Russian lacquer miniatures, Russian theatre, Russian folk crafts, Soviet lacquer miniatures, folk art, Russian folk culture, applied arts, arts and crafts

References:
Bogdanov K. A. Vox populi. Fol'klornye zhanry sovetskoy kul'tury. M.: Novoe literaturnoe obozrenie, 2009. 368 s.
Vakurov I. P. «Chelovek – eto zvuchit gordo». V kn.: Paleshane. Zapiski palekhskikh khudozhnikov o ikh zhizni i tvorchestve, napisannye letom 1932 g. i illyustrirovannye imi samimi. M., Moskovskoe tovarishchestvo pisateley, 1934. S. 103-106.
Valentin Khodov. Al'bom-katalog / Sost. E. K. Bratchikova. – M., Molodaya gvardiya, 1992. 80 s.
Vikhrev E. F. «Ugl' prevrashchaetsya v almaz» // Nashi dostizheniya. 1935. №5-6. S.16-47.
Voronin V., Tret'yakov S., Khrenov A. Nezabyvaemyy den'. Ot nashikh spetsial'nykh korrespondentov. Rabochiy kray. 15.03.1935.
Vystavochnaya deyatel'nost' Gosudarstvennogo muzeya palekhskogo iskusstva // Al'manakh. Palekh. Selo-akademiya. 2017. №1. S. 68-71.
Zakhvatkin M. Na podstupakh k obrazu. Rabochiy kray. 18.01.1937.
Zinov'ev N. M. Vozrozhdenie. V kn.: Paleshane. Zapiski palekhskikh khudozhnikov o ikh zhizni i tvorchestve, napisannye letom 1932 g. i illyustrirovannye imi samimi. M., Moskovskoe tovarishchestvo p

Abstract: The subject of this research is Jean-Christophe Maillot’s interpretation of the images of Katherine and Petruchio in the context of ideological-imagery parallels with the original text – W. Shakespeare’s comedy "The Taming of the Shrew". The article determines the expressive means and choreographic elements used by the choreographer to stage the lead roles, as well as their contextual comparison with the original literary text. The theoretical framework leans on the principles of ballet analysis developed by the ballet theoretician and historians Dobrovolskaya, Krasovskaya, Slonimsky, and Surits. The works by Lopukhov serve as the methodological basis for analysis of the shape and choreography. Other sources include video materials from the archives of Monte Carlo Ballet and Bolshoi Theater, recordings of staged rehearsals that took place from April to June 2014 (author's archive). The research employs the methods of ideological-artistic analysis, semantic analysis of construction and choreographic solution of the roles of Katherine and Petruchio, as well as method of included observation (personal participation in the performance). The novelty lies in revealing the innovative and modernized classical elements of choreography and staging developed by Maillot (leitmotif plasticity combinations, transforming symbolic moves). The detailed semantic analysis of the composition and choreography f the images of Katherine and Petruchio became the main instrument of research and allowed making the following conclusions. Interpretation of the images of the protagonists in the first act is conceptually similar to Shakespeare's text and slightly adapted in accordance with the expressive potential of ballet art and authorial artistic tasks. In the second act, the choreographer shifts the compositional and plotline focus, highlighting not the final scenes, but the full-scale duet of the protagonists, where the plasticity solution is transformed depending on the changes in their emotional states. Namely abstract and visual plasticity ideation individualizes the choreographic style of Maillot and underlies his interpretation of the profound plotline of Shakespeare's comedy.

Keywords: Bolshoi Theatre, Les Ballets de Monte-Carlo, comedy, Dmitry Shostakovich, William Shakespeare, Jean-Christophe Maillot, The Taming of the Shrew, Katherina, Petruchio, choreographic interpretation

References:
Abdokov, Yu. B. (2009). Muzykal'naya poetika horeografii [Musical poetry of choreography]. Moscow, Russia: GITIS.
Abdokov, Yu. B. (2009). Muzykal'naya poetika horeografii (Plasticheskaya interpretaciya muzyki v horeograficheskom iskusstve) [Musical poetry of choreography (Plastic interpretation of music in choreography)]: dissertation for the degree of candidate of art history, specialty 17.00.01. Moscow, Russia: GITIS.
Anikst, A. A. (1965). Teatr epohi Shekspira [The theatre of Shakespeare’s era]. Moscow, Russia: Art.
Anikst, A. A. (1963). Tvorchestvo Shekspira [Shakespeare’s creative work]. Moscow, Russia: Hudozhestvennaya literatura.
Anikst, A. A. (1974). Shekspir. Remeslo dramaturga [Shakespeare. Profession of playwright]. Moscow, Russia: Soviet writer.
Boyadzhiev, G. N. (1973). Vechno prekrasnyj teatr epohi Vozrozhdeniya: Italiya, Ispaniya, Angliya [The ever-beautiful Renaissance theatre: Italy, Spain, England]. Leningrad, USSR: Art.
Bartoshevich, A. V. (1994). Shekspir. Angliya.

Abstract: The object of this research is the plot of D. D. Shostakovich’s ballet “The Limpid Stream”. The subject is the interpretation of this plot in the versions of F. G Lopukhov (1935) and A. O. Ratmansky (2003), as well as peer review on these spectacles. The goal of this work consists in determination of the crucial for the concepts of ballet masters differences of libretto (as a literary foundation of the plot) in the three versions of the ballet, and comparison of perception of the plot in the year of its first staging and at the present. The considered problematic required application of historical approach – attraction of the materials and articles for the period of 1935-1936. The historiographical analysis allowed translating and examining one of the most recent peer reviews on the spectacle – the English-language reviews on the “Limpid Stream” of Ratmansky, presented on the London tour of Bolshoi Theatre in August 2019. The article also utilizes practical experience of author’s work with Ratmansky and participation in the aforementioned tours (performing the role of Zina).The main tool for solution of the set problem became the comparative analysis of the varieties of libretto (authors – Lopukhov and Piotrovsky) of the three versions of ballet “The Limpid Stream”. It is concluded that the first versions of ballet were popular among the public, but aroused negative or ambiguous feedback, which led to the removal of spectacle from the repertoire. The last version is regularly performed in the repertoire of Bolshoi Theatre, including on the tour, being well regarded by the public and sophisticated British critics.

Keywords: Bolshoi theatre, Soviet ballet, libretto, Alexei Ratmansky, Dmitry Shostakovich, Fedor Lopukhov, The Bright Stream, MALEGOT, review, ballet subject

References:
Dobrovol'skaya G.N. Svetlyy ruchey // Russkiy balet: entsiklopediya / red. kol. E. P. Belova, G. N. Dobrovol'skaya, V. M. Krasovskaya, E. Ya. Surits, N. Yu. Chernova. M.: Bol'shaya Rossiyskaya entsiklopediya, Soglasie, 1997. S. 415.
Baletnaya fal'sh' // Pravda.1936. 6 fevralya (№ 36). S. 3.
Dobrovol'skaya G.N. Fedor Lopukhov. M.: Iskusstvo, 1976. 320 s.
Messerer A.M. Tanets. Mysl'. Vremya. M.: Iskusstvo, 1979, 240 s.
Slonimskiy Yu.I. Sovetskiy balet. Materialy k istorii sovetskogo baletnogo teatra. M.; L: Iskusstvo, 1950. 368 s.
Sollertinskiy I.I. «Svetlyy ruchey» v Malom opernom teatre // Sollertinskiy I.I. Stat'i o balete. L.: Muzyka, 1973. S. 112 – 119.
Lopukhov F.V. Shest'desyat let v balete. M.: Iskusstvo, 1966, 368 s.
Svetlyy ruchey: sbornik statey k postanovke baleta v gosudarstvennom akademicheskom Malom opernom teatre. L.: MALEGOT, 1935. 35 s.
Svetlyy ruchey: prem'ernyy buklet Bol'shogo teatra, M.: GABT, 1935. S. 25-30.
Potapov V. Vozvrashchenie k tantsu. «Svetlyy ruchey» v Bol'shom teatre // Vechernya

Abstract: This article describes the form of successful cooperation of the BRICS countries in the sphere of humanities. The subject of this research is the International Festival of Theater Schools of the BRICS countries, which is viewed as a festivity of creative youth that represents different cultures and performing arts of their country. The goal consists in characterization of the festival, which opens a unique opportunity for communication of youth from the BRICS countries, exchange theatrical traditions and experience, acquire new friends, and demonstrate their acting skills. The scientific novelty lies in the systematized material pertaining to the specificity of organization and hosting the International Festival of Theater Schools of the BRICS countries. It is proven that the international educational program in performing arts within the framework of the festival is the realization of artistic investments into the cultural life of the Russian Federation. The author’s special contribution consists in clarification of the fact that for the past ten years the BRICS countries have achieved great results in the area of culture and art. Among all types of cooperation, the exchange in education and culture play the key role as the bridge in the sphere of humanities between the countries. The International Festival of Theater Schools of the BRICS became the source of development of the worldview of youth from different countries; broadened the horizon of the contemporary forms of culture and art; as well as emphasized the defining role of the techniques of teaching acting through the prism of Stanislavsky’s method that transforms through the culture of ethnoses represented on the festival.

Keywords: stage producer, culture, stage play, technological effectiveness, technology, innovative decisions, concept, BRICS, theatrical performance, theatre school

References:
Ryabkov S. Pis'mo «Uchastnikam Mezhdunarodnogo festivalya teatral'nykh shkol stran BRIKS» [Elektronnyy resurs]. – Rezhim dostupa: https://xn--80afcdbalict6afooklqi5o.xn--p1ai/public/application/item?id=C78E3B63-CC03-4982-AD7F-CE07FF8B3B05 (data obrashcheniya – 09 yanvarya 2020 goda).
III Mezhdunarodnyy Festival' teatral'nykh shkol stran BRICS (BRIKS) kak startovaya ploshchadka dlya raskrytiya potentsiala mezhdunarodnoy obrazovatel'noy programm [Elektronnyy resurs]. – Rezhim dostupa: https://xn--80afcdbalict6afooklqi5o.xn--p1ai/public/application/item?id=1B20E5D0-EA02-4074-BF10-D8D60273D16D (data obrashcheniya – 09 yanvarya 2020 goda)
Ob uchastii Rossii v mezhgosudarstvennom ob'edinenii BRIKS [Elektronnyy resurs]. – Rezhim dostupa: https://www.mid.ru/deatel-nost-briks-v-kontekste-zaversivsegosa-predsedatel-stva-rossii-v-etom-ob-edinenii (data obrashcheniya-08 yanvarya 2020 goda)
Modernizatsiya i demokratizatsiya v stranakh BRIKS: Sravnitel'nyy analiz / pod red. I. M. Busyginoy, I. Yu. Okuneva.-M.: Aspekt Press, 2015.-352 s. – S. 57.
Kul'pina V

Abstract: The subject of this art study is the modern stage circus production viewed as a mechanism of the development of synthesis of spectator entertainment. The scientific interest is also aimed at the characteristics of work of the stage director, which is based on rearrangement of the creative experience, its recombination in relation with the principles of the successiveness of forms. The author analyzes the specificity of circus production, which is in integration of the newest approaches of performance organization on the arena with the classical types of circus art. Methodological foundation contains the general principles of scientific knowledge that correspond with the art and culturological discourses. The scientific novelty consists in the comprehensive theoretical conceptualization of the establishment and pattern of the development of stage circus production in art that reflects the centuries-old ethnocultural and artistic experience, which makes it unique. The author also suggests a new outlook upon the stylistics of circus art and examples of circus production.

Keywords: techniques of directing, circus staging, entertainment-mass art, creativity, staged circus direction, circus art, public, attraction, artist, synthesis of genres

References:
Lisakovskiy I. Khudozhestvennaya kul'tura, terminologicheskiy slovar' / I. Lisakovskiy.-M., 2002.-S. 161.
Kozlova, E.V. Tekhnologiya sozdaniya stsenariya / E.V. Kozlova // nsportal.ru: sotsial'naya set' rabotnikov obrazovaniya.-[Elektronnyy resurs]. http://nsportal.ru/shkola/vneklassnaya-rabota/library/2014/02/13 (data obrashcheniya-09.11.2017)
Kagan, M. S. Morfologiya iskusstv / M. S. Kagan.-L., 1972. – 440 s.
Zis', A. Teoreticheskie predposylki sinteza iskusstv / A.Ya. Zis' // Vzaimodeystvie i sintez iskusstv.-L.: Nauka,-1978.-S. 5-20.
Zhanmyrzaeva, Kh.B. Avtorskiy kontekst tsirkovogo predstavleniya posredstvom simbioza tsirkovogo i khoreograficheskogo iskusstva / Kh.B. Zhanmyrzaeva // Molodezhnyy nauchnyy forum: Gumanitarnye nauki: elektr. sb. st. po mat. XLI mezhdunar. stud. nauch.-prakt. konf. № 1(40).-[Elektronnyy resurs]. – Rezhim dostupa: https://nauchforum.ru/studconf/gum/xli/17720 (data obrashcheniya – 11 dekabrya 2018)
Vzaimodeystvie i sintez iskusstv.-L., 1978. – 270 s.
Vlasov, V. Stili v iskusstve, slovar' / V.G. Vl

Abstract: The subject of this research is the poetic style of V. S. Petrov’s spectacles created over the period of 1985-1989 in A. V. Lunacharsky Sevastopol Academic Russian Drama Theater, among which are M. Bulgakov’s “Heart of a Dog”, M. Frayn’s “Theatre”, I. Friedberg’s “Arena”, and others. The author analyzes the main peculiarities of artistic manner of the director: creation of playful atmosphere and romantic world duality, multilayerdness, irony, etc. The article examines the role of scenography, plasticity, music, and other components of the dramatic action. The work is based on the use of comparative-historical method, author’s personal spectator experience, and analysis of the print media dedicated to the spectacle. The author is first to study the creative work of V. S. Petrov; his directorial manner can be illustrative for determination of the regularities common to the regional theatrical life, as well as restore the pages in the history of Russian theatre that fell out of the context of research activity. Over the brief period of his professional work, Petrov was able to help the theatre overcome the protracted crises and achieve wide popularity.

Keywords: Accommodation, Drama theatre, Multilayerdness, Cause-and-effect relations , Irony, Heart of a Dog, Production drama, Theatrical experiment, Galina Bubnova, Vladimir Petrov

References:
Mirkes A. Igra v igru // Teatral'naya zhizn'. 1995. № 11-12. S. 32-33.
Yurzditskaya E. Teatr — istoriya, sud'ba, budushchee... // Slava Sevastopolya. 1993. 28 sent. № 190 (19147). S. 3.
Lebedina L. Igra sud'by, igra svobody // Teatral'naya zhizn'. 1993. № 6. S. 7-11.
Antonov A. Metastazy stalinshchiny // Slava Sevastopolya. 1989. 8 avg. № 151 (18112). S. 3.
Mikhaylov B. Leto, prem'ery, zritel' // Slava Sevastopolya. 1988. 12 iyunya. № 114 (17825). S. 3.
D'yachenko A. Model' mira, ili Fantaziya na temu // Krymskaya pravda. 1987. 20 maya. № 116 (19131). S. 4.
Lebedina L. Zachem my zhivem? // Sovetskaya kul'tura. 1988. 22 okt. № 127. S. 10.
Troitskaya N. Zal igraet geroya // Slava Sevastopolya. 1988. 28 fevr. № 42 (17753). S. 4.
Matveeva V. Interv'yu s rezhisserom spektaklya «Shum za stsenoy» L'vom Stukalovym // Time Out Peterburg. 2011. 5-18 iyulya. № 14 (226). S. 87.
Teatral'nyy eksperiment // Slava Sevastopolya. 1986. 12 okt. № 196 (17407). S. 4.
Pal'chikovskiy S. Kto verit — za mnoy! // Slava Sevastopolya. 1987. 29 iyul

Abstract: The subject of this research is the spectacle of Gennady Abramov (1939-2015) – the creator of experimental troupe “Class of Expressive Flexibility” in the theatre run by Anatoly Vasiliev “School of Dramatic Art”, which was formed together with the students of the faculty of contemporary dance of the Humanitarian University as a synthesis of the traditional archaic elements with the theme and language of contemporary dance. The object of this research is the compositions of contemporary art in interaction with the archaic forms of dance folklore. The work examines the so-called “Rusalii” due to the ability of attaining new images, as well as new vital powers in the art of dance. The spectacle at hand is analyzed from the perspective of correlation with the works of choreographers-modernists of the XX century. At the same time, the author notes the substantial differences between the oeuvres created in various cultural artistic periods. Scientific novelty consists in referring the spectacle of Gennady Abramov to the circle of yet insignificantly studied phenomena in contemporary dance that are suggested to mark as the “post-folk dance”. The specificity of the latter, on one hand, lies in the affiliation of (post)modern culture (post-culture) and associated with it ironic rethinking of the already existing themes, images, and meanings; and on the other – it is aimed at identification of the new meanings and values due to inclusion of the folklore elements into the fabrics of (post)modern composition. In Abramov’s works, the archaic folklore elements are subject to reframing and reflection, nevertheless endowing the composition with the energy and vitality.

Keywords: Post-folk dance, Postmodern reflection, Synthesis, Folklore elements, Repetitive technique, Language of dance, Post-culture, Vitality, Energy, Rusalii

References:
Sakharov, I. P. Skazaniya russkogo naroda. / I.P. Sakharov. – M. : Institut russkoy tsivilizatsii, 2013. – T.I. – 800 s.; T.II. – 928 s.
Linn Garafola, Russkiy balet Dyagileva. — Perm' : Knizhnyy mir, 2009. — 480 s.
Goleyzovskiy, K.Ya. Obrazy russkoy narodnoy khoreografii. /K.Ya. Goleyzovskiy. — M. : Iskusstvo, 1964. – 364 s.
Remizov, A.M. Krashennye ryla. Teatr i kniga. / A.M. Remizov. — Berlin : Grani, 1922.
Rybakov, B. A. Yazychestvo drevnikh slavyan. / B.A. Rybakov. — M. : Nauka, 1994. — 608 s.
Novye golosa v nauke: idei i proekty – 2016 : cbornik materialov XI Mezhvuzovskogo konkursa nauchno-prakticheskikh rabot studentov, magistrantov, aspirantov / otv. red. M. N. Shumikhina. — Ekaterinburg : Gumanitarnyy universitet, 2016. – 336 s.
Sirotkina, I. E. Svobodnoe dvizhenie i plasticheskiy tanets v Rossii / 2-e izd., ispr. i dop.-M. : Novoe literaturnoe obozrenie, 2012. – 328 s. : il.
Shtayner, Rudol'f. Evritmiya kak vidimaya rech' : [Elektronnyy resurs] : Internet-portal, posvyashchennyy literaturnomu naslediyu R. Shtay

Abstract: The subject of this research is the key notions of the method of active analysis of the “event” and the “conflict fact” as instruments of director’s active analysis of a play or the opera score. At the same time, special attention is given to the development of accurate definitions for each notion for the purpose of their accurate distinction. The author points out that the “event” and the “conflict fact” belong to the different stages of staging a spectacle. “Event” is necessary on the stage of conception and “table period” as instrument of dividing the plot on pieces (for the purpose s determination of motivational goals of the actions of characters), while “conflict fact” is needed on the stage of realization, in the process of working on a scene (etude) for determining an action (direct “irritators” for the emotional reactions of the actor that manifest in the physical action) within the “piece”, defined by “event”. It is demonstrated that the shift of these notions produces confusion in terminology, as well as deprives this method from its practical application by making it too massive. The author conducts a thorough examination of literature of the classicists of director’s active analysis in the drama and opera theatres, as well as the theory of drama and opera direction with the detailed quoting and note-taking. The essence of the late XX century discussion of the “event” and the “conflict fact” is being explored.

Keywords: Theatre, Direction, Theory of direction, Action, Active analysis, Event, Conflict fact, Plot, Opera, Opera direction

References:
Shibutani T. Sotsial'naya psikhologiya. M.: Feniks, 2002. 544 s.
Sulimov M.V. Rezhisser naedine s p'esoy: Uch. posobie dlya stud. LGITMIKa. 1994. www.theatre.spb.ru/newdrama/bibl/bibl.htm
Toporkov V. K.S. Stanislavskiy na repetitsii. M.-L.: Iskusstvo, 1949. 192 s.
Stanislavskiy K.S. Rabota aktera nad rol'yu. Sobr. soch. v 8 t. T. 3. M.: Iskusstvo, 1955. 502 s.
Prokof'ev V.N. V sporakh o Stanislavskom. 2 izd. M.: Iskusstvo, 1976. 368 s.
Stanislavskiy K.S. Rabota aktera nad soboy. Sobr. soch. V 8 t. T. 2. M.: Iskusstvo, 1954. 424 s.
Popov P.G. O metode. M.: VTsKhT, 2005. 157 s.
Polamishev A.M. Masterstvo rezhissera. Deystvennyy analiz p'esy. M.: Prosveshchenie, 1982. 224 s.
Kryzhitskiy G. Velikiy reformator stseny. M.: Sovetskaya Rossiya, 1962. 110 s.
Kristi G. Rabota Stanislavskogo v opernom teatre. M., 1952. 282 s.
Knebel' M. O deystvennom analize p'esy i roli. M.: Iskusstvo, 1982. 119 s.
Knebel' M.O. Poeziya pedagogiki. M.: VTO, 1976. 156 s.
Kratkiy psikhologicheskiy slovar'. M.: Politizdat, 1984. 43