No 6 (2025)

The subject of the research is one of the most advanced products of the modern film industry – VR cinema, created using virtual reality technologies. The article analyzes a new, special cinema language Virtual Reality Films, which has its own unique features. The relevance of the topic is due to the fact that VR cinema is an ultramodern phenomenon that has been developing rapidly in recent years and is arousing increasing interest among a wide audience of users. Films containing virtual reality are a related art form to classical cinema and animation. However, VR cinema and animation have a number of differences that manifest themselves at different levels. This article provides a structural analysis of VR cinema (both as a phenomenon in general and specific examples from the industry) in order to understand the specifics of creating a new cinema language of films with the inclusion of virtual reality. The paper examines the specific features of the new VR cinema language, analyzes cinema for virtual reality at several levels that are in close interaction with each other: technological, artistic, and user perception. Several films from the 2010s and 2020s are considered as examples of illustrating the principles of virtual cinema, and the evolution of their artistic language is analyzed. In the process of preparing this article, two key research methods were used. A theoretical method that includes conducting a structural analysis of the VR cinema genre, as well as key concepts, principles, technological and artistic techniques and effects related to this genre. The purpose of this analysis is to identify the unique specifics and characteristic features of the new cinema language inherent in VR films. A practical method that involves analyzing specific examples of films created in the Virtual Reality Films genre. The scientific novelty of the research consists in the generalization and systematization of fragmentary existing concepts about VR films, demonstrated in the considered works, and in the analysis of the evolution of the artistic language of virtual cinema, which it went through from 2010 to the 2020s. In the course of the research, the author became convinced that VR cinema has reached great heights in technical and technological aspects, in the field of maximum immersion of the viewer in virtual reality, in the field of managing the viewer's attention and perception. At the same time, in the age of accelerated scientific and technological progress, VR cinema is waiting for new discoveries in the field of technology. Thus, the article outlines the prospects for the further development of the VR cinema genre.

The subject of this study is the exploration of certain genre formulas highlighting baroque semantics in Arnold Schoenberg's piano suite, op. 25. In this context, the compositional techniques employed by the composer to signify the genres of baroque dances within the twelve-tone writing technique are examined. The object of the research is the piano suite, op. 25, which is based on several baroque dances that constitute the traditional foundation of the suite genre. Being subject to stylistic preparation and genre deformation by the author, the dances have lost their capacity to be directly recognized by ear. Only a special study of the genre formulas of baroque dances, an understanding of their structure, and the ability to recognize elements of the intonational complex of a particular dance will reveal their barely noticeable genre trace within the polyphonic fabric of this suite. Through textological methods of examining the musical score, a comprehensive analysis of the genre features of the suite, and its compositional canons, the semantic aspects of baroque intonational models in Schoenberg's suite have been identified from the perspective of twelve-tone composition: characteristic rhythmic combinations of the menuet, gavotte, and stroke markers. Palindromic figures, genre invariants of baroque dances, and their reflected replicas in the suite were investigated. As a result of the study, it became evident that the composer relies on those genre quotations and allusions that influence the formation of the dance structure and align with the intellectual nature of seriality, while not being distinctly expressed intonational characteristics of a specific baroque dance. Such quotations mainly include meter-rhythmic formulas of dances, through which the author not only emphasizes the semantics of their archaisms but also hints at the peculiarities of the evolution of some of them. The main result of this research can be seen as the identification of genre traces of baroque dances hidden in the polyphonic text. The practical value of the research lies in the application of its results in the performance and musicological analysis of 20th-century music, the depth of which can facilitate understanding of the characteristics of semantics and the structure of the musical language of this composition, helping the interpreter to overcome the intellectual nature of serial technique in order to create a meaningful and charismatic concept of the work.

The subject of this study is the process of integrating the aesthetic principles of traditional Chinese ink painting and the functionality of modern digital technologies (VR, AR, MR). The purpose of the work is to systematically analyze the effects of this merger, manifested in the diversification of artistic forms, deepening interactive interaction with the viewer, as well as in the formation of new approaches to the preservation and transmission of cultural heritage. The methodological basis of this study was built on an interdisciplinary approach, which allowed us to obtain a comprehensive and multifaceted understanding of the problem under study. The author deliberately combined a theoretical analysis of specialized literature with a practical study of specific cases of implemented projects. In addition, for the empirical validation of the findings, an analysis of viewer perception was conducted using surveys and structured interviews. As a result, it was found that the integration of digital technologies contributes to a fundamental change in the perception of ink painting: from passive observation to dynamic, interactive participation. In particular, motion capture technologies give the audience the opportunity to act as co-creators of digital art. A study of practical cases, including the immersive exhibition "A Thousand Li Rivers and Mountains". The scientific novelty of the study lies in the comprehensive analysis of the methods of digital transformation of the fundamental aesthetic and philosophical principles of ink painting. The prospects of the concept of the "metaverse of ink painting" as a platform for intercultural communication are substantiated. The study shows that the combination of traditional ink painting with digital technologies really opens up new possibilities. Thus, further research in this area should be aimed at developing methodological approaches that minimize technological risks.

The subject of the research is innovative practices in contemporary Chinese industrial ceramic design, considered through the prism of portability, biodesign and material innovation. The object of the research is the process of transformation of traditional Chinese ceramic culture. The author examines in detail the evolution of portable tea sets as a representative objects demonstrating the mechanisms of adaptation of traditional ceramic utensils to the conditions of the mobile lifestyle of the 21st century. Particular attention is paid to the analysis of material innovations, including experiments with combined materials and the introduction of digital design tools that expand the constructive and expressive possibilities of ceramic products. The research methodology is based on the historical and cultural analysis of the evolution of ceramic technologies from the 8th century to the present day, an interdisciplinary approach to the study of material culture and a comparative analysis of specific design solutions in the field of industrial design. The main conclusions of the study are that portable tea sets provide adaptation of traditional tea utensils to the requirements of a mobile lifestyle while maintaining the ritual and aesthetic component of the tea ceremony, biodesign strategies implement the actualization of traditional cultural archetypes through the use of natural forms, textures and symbolic images in a modern visual environment. The novelty of the study lies in the comprehensive analysis of modern innovative practices in Chinese ceramic design through the identification of three interrelated areas of development - portability, biodesign and material experiments, which have not previously been considered in the scientific literature as a holistic system for transforming traditional ceramic culture. For the first time, mechanisms for integrating traditional cultural meanings with modern design approaches in the field of portable ceramic products have been established, patterns of technological transfer from historical ceramic practices of the 8th century to current design solutions using parametric solid modeling and VR technologies have been revealed. The obtained results allow us to formulate conceptual foundations for the further development of the theory of industrial design of ceramic products and the practical application of the identified principles in design activities, which opens up prospects for the creation of functional ceramics adapted to the modern lifestyle.

The subject of the research is the examination of the artistic and expressive qualities of the Triumphal Arch of Astrakhan and the identification of the features of its sculptural reliefs. The object of the study is the exploration of issues related to the preservation of historical memory through monumental art. The aim of the research is to analyze the Triumphal Arch of Astrakhan from the perspective of its artistic features and representative possibilities in the context of preserving historical memory. The theoretical foundation of the study is based on the works of L. P. Repina, L. N. Mazur on the formation of historical memory; E. O. Romanova on historical memory in contemporary monumental art; G. I. Panksenov on the methods and techniques of monumental-decorative art; V. S. Poplavsky, E. A. Tyukhmenova on the representative potentials of triumphal arches; O. P. Voronova on sculpture and sculptural relief; V. M. Viktorina, A. S. Markova, who are leading historians of the Astrakhan region. The article employs research methods such as the general scientific method (historical and logical analysis), a historical-architectural approach in studies, and art criticism methodologies related to iconographic approaches and visual inspection methods. Historical references and other documents were also utilized. The scientific novelty of the study lies in the fact that the artistic and expressive qualities of the Triumphal Arch of Astrakhan and the features of its sculptural reliefs are considered for the first time. As a result, the Triumphal Arch of Astrakhan, being a worthy example of the synthesis of architecture and sculpture, while serving as a holistic artistic structure, possesses rich representative potential in the preservation of historical memory and cultural heritage of the Astrakhan region. The practical significance of the research consists of a specific contribution to the preservation of historical memory and cultural heritage, as well as in creating a comprehensive picture of the development of Astrakhan's architecture. The content and conclusions of this work will be used in educational activities to enhance the educational process. The materials of the article will be presented at public discussions and scientific debates.

Today, design in Russia is at the stage of active development and the search for its modern image. Many turn to the stylistic trends of the past, such as the avant-garde, but this cannot completely solve the problem of regional identity, and its solution is necessary to integrate Russian design into an international context. At the same time, a lot of research has already accumulated on various aspects of Soviet and post-Soviet culture, summarizing which, one can better understand the specifics of Russian design. The purpose of the article is to identify some characteristic features of modern Russian design culture based not only on the research of late Soviet (1960s–1980s) and modern Russian design, but also on related activities, art and architecture, which will allow us to find deeper culturally determined features. In the course of the study, the authors compare trends in late Soviet design and art, fixing the division into "official" and "unofficial" directions. In art, the official is something that was permeated with ideology, in design – first of all, utilitarian, mass. Everything that "went its own way" was unofficial in art, in design it was just experimental or absorbed Western postmodernism. Two lines were clearly manifested in late Soviet design: the "avant-garde line" (constructivism), which connected technology and aesthetics and became the main one, and the "artistic line" represented by artists in design. The "avant–garde line" was developed at VNIITE, the "artistic" one at the Senezh Studio, as well as individual authors – poster artists, animators, etc.The authors of the study conclude that the identity of late Soviet design was closely related to artistry, it was characterized by depth of reflection, humanistic pathos and lyricism. Modern Russian design relies more on the avant-garde, since it was the avant-garde that laid the foundations of Russian design, however, the development of the traditions of the artistic direction in design is also of interest from the point of view of regional identity, since it was in it that the most important features of the original Russian culture manifested themselves.

The study of the historical fate of different genres, including vaudeville, allows for an analysis of the movements of theatrical thought. Even a general look at the Russian theater bill of recent decades indicates that classic vaudeville remains quite in demand, including in the major theaters of the country. The main problem of the old vaudeville on the modern stage is its relevance, not in the sense of the relevance of a particular play, but of the genre as a whole. When staging vaudeville, the director must answer the question: what is vaudeville today? Thus, the search for the modern within the principles of the vaudeville genre seems relevant now, along with attention to the issue of excessive and often unwarranted modernization of the classical repertoire. Formal and comparative-historical methods were used. The analysis is based on a comparative genre approach, including the study of stage interpretations of vaudeville in their historical context and contemporary directorial interpretations. The article offers an original perspective on vaudeville as a "meta-genre" with universal characteristics of theatricality, capable of transformation and integration into new theatrical forms. The author examines vaudeville not only as a relic of the past but as an active element of contemporary theatrical practice, sought after and developed by directors from different schools and generations. The novelty of the work lies in the multi-faceted analysis of vaudeville (classic plays by Lensky, Koni, Sollogub) in current stage productions of the 21st century. It is concluded that vaudeville retains its relevance due to its plasticity, ability for self-irony, and deep connection with the actor's nature of theater. The study also raises the problem of modernizing the classical repertoire, criticizing the formal approach to contemporizing and emphasizing the need for a substantive actualization of the genre. Vaudeville is viewed as an important component of the domestic theatrical tradition, organically integrated into cultural memory and stage practice.

The subject of the research is the development of Chinese opera in the 20th and 21st centuries in the context of its plot and genre evolution. Special attention is given to the construction of a classification model based on the typology of plots and genre forms, which allows overcoming the limitations of traditional approaches focused solely on themes or styles. The author examines operatic works from various stages, as well as artistic and historical sources, tracing the transformation of the paradigm—from the predominance of historical themes to the formation of a literature-oriented approach focused on individual experience, psychological expressiveness, and poetics. The research reveals the influence of social, political, and cultural factors on artistic processes and demonstrates how Chinese opera addresses new forms of dramaturgy. The work aims to create analytical tools useful for foreign researchers seeking a deep understanding of the specifics of the Chinese operatic tradition in the contemporary cultural environment. The study employs a method of comparative-typological analysis, which includes the identification of genre features of operas, analysis of their plot structure, and comparison with historical context. The main findings of the conducted research include the identification of patterns in the development of Chinese opera in the 20th and 21st centuries, particularly the transition from historical themes to literature-oriented plots, reflecting changes in the socio-political and cultural context. The author's special contribution to the investigation of the topic is the development of a new classification model based on genre types and plot structures, allowing for a deeper understanding of the internal mechanisms of the evolution of works. The novelty of the research lies in the comprehensive analysis of the interrelationships among musical, dramaturgical, and sociocultural factors influencing the transformation of genres and plots, as well as the creation of analytical tools for foreign researchers, facilitating a systematic and interdisciplinary study of Chinese opera. The obtained results open new perspectives for further research in the field of musical and theatrical culture in China.