Abstract
The article is devoted to a little-studied problem - the formation of one of the important components of the ballet theatre tradition in Russia - spiritual dance. It meets the specificity of the national domestic art. In the context of historical findings in the area of theatre and drama of the turn and beginning of the XX century, the reforms of K. S. Stanislavsky and V. Nemirovich-Danchenko in the field of direction and technology of acting art, stage transformation into the image, the paper considers the innovative findings of the outstanding Russian choreographers. They determined new essential features of domestic ballet theatre related to musical-choreographic dramaturgy, psychological dramatization of scenic images and staging innovations.
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