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C O N T E N T
volume 12 year 2018
Chapter 1 Pages
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Enska Olena
“Opera from the very beginning tended towards entertainment” or Choreographic scenes in “big” operas by F. Halevy
 7-22
Serdiuk Oleksandr
Features of forming the views of K. Szymanowski on the theatrical aesthetics
 23-43
Movchan Vira
The libretto of the opera “Sapho” by G. Massenet and the literary source of it
 44-57
Panasiuk Valeriy
“Wait, do not drive horses...”: peculiarities of animals’ functioning in opera performances
 58-74
Chapter 2
Yanko Yuriy
Music for symphonic orchestra: way to the future
75-89
Savchenko Hanna
Features of D. L. Klebanov’s orchestral style
 90-100
Zuiev Serhiy
Ñinematographic image of a naive painter
 101-115
Shchukina Yuliya
“A true creator as a retranslator of higher energies remains lonely among ordinary people...” (Specific features of the embodiment of Luchytska’s character by the actress Valentyna Chistiakova, as it reflected in critical reviews of the 20th and 21st c
 116-128
Grinik Tetiana
Spiritual values of the native language. Actors and directors (teachers and students) as the native-speakers of exemplary language style in all types of speech, in life and on a stage
 129-142
Starykova Olena
Creation of a vocal and stage image in opera (based on Violetta’s vocal part from Verdi’s opera “La Traviata”)
 143-157
Liu Ning
Ðerformer’s reflection as à dialogue between à singer and à composer (based on the vocal poem “Rus’ that sailed away” by G. Sviridov)
 158-174
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