Specific Features of Implementing a Director’s Vision in the Adaptation of Literary Works, Operas, and Theatrical Performances

Currently, the rapid emergence of the digital economy has spawned the arrival of the era of big data.With the rapid development of science and technology, Chinese has also entered the era of big data for contemporary art.The engagement of big data in every aspect of our life has begun to influence the development process of Chinese contemporary art, which has also begun to shape a new form of Chinese contemporary art, with many creation modes emerging at home and abroad. The influence of the era of big data is first reflected in many aspects, such as digital art media, art collection and trading market, art management education, etc. In some colleges and universities, design disciplines, such as art and technology, digital media art and interactive design, have emerged to meet the needs of the development of contemporary science and technology and art. They are new forms of art expression at the historic moment with great development prospects and possibilities. This paper mainly studies the influence and change of the development of big data on the contemporary art world, how they change, integrate and develop, and evaluates the value of statistical thinking under the background of big data and the new form of contemporary art.

Art therapy is the successor of “psychological Modernism”, which during the late 19th and early 20th centuries included medical psychology as well as theories and practices related to more speculative practices of hypnosis, somnambulism, interpretation of dreams, automatic writing and spiritualism. Art therapy emerged in the second half of the 20th century as a new psychological genre and, the author argues, a new kind of art that offered the opportunity for psychological “salvation” in a “psychological society”. This article explores an experimental project called “Ectoplastic Art Therapy” begun in 2002 by the author as a form of therapy and as a form of contemporary art. This therapy has been performed in various institutional settings, such as therapeutic centers, museums and galleries, as well as educational seminars and courses. Focusing on the usual marginalization that accompanies conventional art therapy within the established framework of the contemporary art system, this article examines the situations in which an art therapist could present his practice as a contemporary artist. The author prompts questions concerning the possible kinds of self-presentation that can be found in art therapy as a form of contemporary art.

Art-photography is a form of contemporary art that marked itself in the early 1960s. Its historical evolution has not been sufficiently studied. At the same time, it provides an opportunity to identify and understand the logic of the internal development of art-photography and its relationship with the external cultural context. The cultural and aesthetic dynamics of art-photography is associated with three historical stages: early, mature and late postmodernism (meta modernism) and the corresponding forms of contemporary art. The first stage (1960—1970) saw the realization by contemporary artists of the conceptual possibilities of photography. It was mainly the photographic documentation of process-action forms of contemporary art. The same period saw the birth and formation of the main artistic strategies and creative methodologies of art-photography: adherence to documentaries, the use of staging (directing), the introduction of seriality (typology), the combination of word and image. The second stage (1980s — 1990s) of art-photography functioning is characterized by further development and enrichment of established artistic tendencies and the emergence of new practices in which photographic material expands its subject matter and claims the role of a text that problematizes (thematizes) the represented reality. The development of art-photography at the third stage (2000s to the present) is determined by two main factors: the processes of digitalization and oscillation of contemporary culture and art, which leads to the transformation of the “mode of truth” of the photographic image and the strengthening of the importance of the aesthetics of the individual photographic frame. At the level of practice, this is expressed in the creation of photographic pictures where reality and fantasy images merge into a single whole and become indistinguishable. This effect was reinforced by printing photographs of enormous size and exhibiting them in museum spaces and galleries. Nowadays, art-photography, while remaining a form of contemporary art, seeks to go beyond it and acquire signs of aesthetic self-sufficiency.

As a new form of contemporary art, data art has changed the audience’s artistic experience. This paper first introduces the characteristics of data art which are different from other contemporary art. Secondly, in the context of public participation in art, it explores how data art enables audiences to participate in various stages of artistic creation, so that audiences can become one of the creators rather than mere art connoisseurs. Finally, it summarizes participatory issues in different stages of data art.

The paper raises a number of issues regarding the synthesis of art, its implementation in cinematography, and the role of music in these processes. The importance of combining music with other forms of art was substantiated by Richard Wagner in his theoretical works. He also used these ideas in his composing practice, in particular for creating music dramas that later changed the perception of the possible influence of the synthesis of arts on the audience. The synthesis of music with the other forms of art developed, and, at present, it often becomes the foundation of composers’ creativity: it enables increasing the level of intercultural communication, promotes the emergence of new genres, styles, and trends in art, creates conditions for updating compositional techniques, contributes to increasing the audience of mass art events. The role of music is also crucial in cinematography, which as a synthetic form of art incorporates many ideas about the interaction of arts articulated by the German composer. It is not a coincidence that R. Wagner’s music is actively used in cinematography as a powerful structuring component for the realization of the director’sidea. As a result of the study, the ideas of the interaction of different forms of art were outlined, as well as their impact on the audience and the role of music in this process, previously publicized by R. Wagner and implemented in his works, and later on in the practice of cinematography. The music by the German composer features prominently in the practice of interaction between the visuals and the musical component in filmmaking because by its nature it corresponds with many functions of music in cinema, has a high level of emotional and sensual expressiveness, and emotionally reinforces the visuals of the screen work. Cinematography as a synthetic form of art goes in line with R. Wagner’sideas about the unity of art forms and, at the same time, with the needs of 19th–20th-century society that are still relevant today. Characteristic features of cinema—spectacularity, scale, prolongation in time-space coordinates, ability to express the idea of myth-making and its embodiment in perfect visual forms—enable using the unity of music and visuals in the overall dramaturgy of the film.

The central goal of this chapter is to track the emergence of new genres of contemporary music and art enabled by the monophonic and polyphonic ringtone. It highlights the medley composition, the Nokia Tune piece in contemporary art music, and ringtone sound/music performance in new media art, to chart their decline as the fad became less novel and it was replaced by digital files as the dominant ringtone format. The chapter explores why the ringtone no longer seems to be on the agenda of “high art” cultural production.

The purpose of the research is to analyse the genesis and development of the documentary style in fiction film; to investigate the prerequisites for its emergence, its main characteristics and their evolution, and the reasons and peculiarities of its use by various filmmakers in different historical periods; to examine the influence of the significant trends of documentary, television and amateur video content on its formation and application in fiction films; to identify essential trends in modern fiction filmmaking related to the use of the documentary form and its influence on the emergence of new genres and subgenres of this type of cinema. The research methodology is based on a comprehensive approach, which includes the analysis of literary sources to form a theoretical basis and define key concepts, historical and cultural analysis to study historical, technical, social and cultural prerequisites, the chronological method to establish the causality of the phenomena under study, the case study method, involving stylistic and critical analysis of selected films as the most expressive examples, as well as comparative analysis to compare different films and cinematic trends. Scientific novelty. For the first time, all the most critical aspects related to the formation and evolution of the documentary style in fiction films have been summarised, from the experiments of Soviet avant-garde filmmakers to its use in modern cinema. Based on the study of the most characteristic examples, the standard techniques on which this style is based have been identified and the main reasons and peculiarities of their use. Special attention is given to some prerequisites for the emergence of new genre forms that arose from the exploitation of “documentary” in fiction films. Conclusions. The article identifies the role of the main trends in documentary, television content, and, to some extent, amateur videos in establishing and developing the documentary style in fiction film. The direct and indirect influence of the ideas of Soviet director Dziga Vertov on cinema, where it was applied, has been proven. This style's role in forming the hybrid genre mockumentary has been analysed.

The article considers public art as an artistic direction that contributes to the restoration and development of the architectural and urban environment. The analysis of artistic forms of art of the end of the 20th century revealed the trends of multidisciplinarity and going beyond the artistic infrastructure into the public architectural and urban environment. Moreover, public art objects are actively introduced into the environment of super-large cities of Ukraine and only partially into the environment of other cities. The existence and rapid development of these objects is a sign of a modern super-large city with a developed architectural and urban environment and integration into the world cultural process. Public art is a form of contemporary art that interacts interactively with the viewer, raising questions about contemporary art and the space in which it is placed. Modern forms of public art were analyzed and four principles of public art were identified as a result of the systematization of existing information. These are the principles of interactivity, conceptuality, digitalization, creativity. Their harmonious combination helps to develop a friendly space in accordance with the individual needs of a person and to form an emotional interactive architectural and urban environment with a unique atmosphere and social messages. Such modern artistic mediums as installations, happenings and performances permeate the four formulated principles of public art, mainly focusing not on the result, but on the process of creation and the emotional component of the environment. They are mixed genres of visual art that use objects of public art or the artist's body to interact and change people's perception of public space. It should be noted that the development of media technologies has led to the creation of public art objects not only in physical, but also in virtual space, covering, in addition to land art and environment, also digital, conceptual and light art. This allows considering and developing the artificial space and public environment as a multi-level interactive open system with a developed cultural context that interacts with people in space and time.

The purpose of this research is to analyze the development trend of ethnic culture from the perspective of contemporary art, focusing on the art form of the expression of contemporary ethnic fiber art on ethnic culture. Through the research methods of questionnaire survey and case analysis of works, it is found that ethnic culture can show its artistic charm through diversified fiber art forms. Contemporary ethnic fiber art will be the innovative carrier of the integration of contemporary art and ethnic culture. In the case analysis of works, it is found that contemporary art and ethnic culture can be integrated into contemporary art creation through traditional handicraft innovation, pattern recombination and deconstruction, color reference, national spirit and other aspects. Therefore, this research proves that the integration of ethnic culture and fiber art is full of contemporary artistic interest, which not only enhances the social influence of ethnic culture, but also helps to enrich the form and content of contemporary fiber art, which is of great significance to promote the development of traditional ethnic craft.

The research paper describes and presents an overview of the contemporary art forms and performance practices from the various regions in Assam. Visiting recent art exhibitions and talking about living artists is an important aspect of appraising the culture of the Assam arts with awareness and appreciation. This study used a descriptive method to gather information about existing conditions in which the library method and literature review were utilized in gathering and synthesizing the papers and scientific papers related to contemporary art of Assam. The data were analyzed through synthesis information known as explanatory synthesis through the use of eight criteria in analyzing the reviews such as painting and other visual arts, architecture, sculpture and installation, literature, music, dance, cinema, and theatre and performance. In conclusion of the results and discussions, contemporary art of Assam encompasses a wide range of art forms and constantly redefines and dismantles traditional categories of art. Assam conventional art has always been an integral part of daily life, as well as the dominant and alternative art forms. Its importance endures not only in its aesthetic representation but also in its functionality and its significance to the society that created it. As the dominant, alternative, and traditional art forms may be used in everyday private circumstances, it is encountered more closely and possesses many senses concurrently.

At the end of the 20 and the beginning of the 21 century as a result of the changes that took place in art, there was a need for a theoretical re- thinking of artistic practices. This task was assumed by artists, art critics, art critics and other agents of the artistic world, trying to clarify the possibility of a new vision of art, give it an objective assessment. Obviously, understanding the specifics of contemporary art is not so much in the assessment itself, but in clarifying the fundamentals of a different understanding of such concepts as "classical art", "contemporary art," "virtual art." If classical art received a thorough understanding of the history of art, art history and aesthetics for centuries, virtual art, as a specific form of contemporary art, needs to be thoroughly investigated. Contemporary art is experiencing significant transformations in the context of post-industrial culture. Increasingly important are computational methods for the production of virtual artefacts. The report notes that contemporary virtual art is a new space dynamically captured by the postmodernist practices of contemporary art. In modern practices of postmodernism in the field of virtual art with the rapid development of computer technology sharply decreases the fate of human presence in the process of creativity. Machine modelling as a product of collective creativity allows you to create a new virtual image, regardless of its existence in the real world. In modern practices in the field of virtual art, the idea of artificial ("synthetic imagination") is used, which is a machine imagination with the use of artificial modelling of man's imagination. Artificial imagination with the help of interactive search allows you to synthesize images from the data- base and create a new virtual image, regardless of its existence in the real world. Thus, the rapid development of computer technology is increasingly reducing the fate of human presence in the field of virtual art. Postmodern experiments stimulate the erosion of the boundaries between traditional forms and genres of art. The perfection and availability of technical means of production, the development of computer technology practically led to the disappearance of original creativity as an act of individual creation.

The purpose of the article is to summarise the main contexts and connotations of the use of myths, symbols and images in contemporary audiovisual products; to systematise the references to elements of the Ukrainian cultural code in the current national cultural and artistic environment; to analyse the correspondence between the interpretations of the symbols used in the video sequences of music videos and films and their original meanings. The research methodology is based on the use of the following methods: theoretical (acquaintance with the scientific and journalistic base of research on the use of images of Ukrainian folklore in contemporary art), empirical (collection of materials to determine the main categories of borrowing images in contemporary art) and analytical (determination of the feasibility and veracity of the interpretation of the primary meaning of the folklore image in the modern context). Scientific novelty. For the first time, the author describes the likely consequences of the indifferent attitude of the creators of the national audiovisual product to the primary meaning of the symbols of the traditional cultural stratum; and outlines the consequences of previous political attempts to destroy the specifically Ukrainian cultural code; identifies potential threats in the event of inaction and lack of progress in the field of audiovisual production (films, clips) for the development of future generations of conscious Ukrainians as citizens of an independent country with a clear understanding of belonging to a certain historical background. Conclusions. Quantitative and qualitative indicators allow us to confidently speak about the harmfulness of the paradigm of levelling the primary meanings of established images. The article summarises the main contexts and connotations of myths (from the positive in contemporary audiovisual art to the simplistic and negative in films of the 2010s). Having summarised the spheres of use and borrowing of vivid images in contemporary cinema, the author analyses the correspondence of modern interpretations of the symbols of Ukrainian mythology to their original meaning.

The purpose of the article is to study the innovative processes currently taking place in contemporary Ukrainian ballet. The research methodology. The study used theoretical analysis of scientific literature data, comparative analysis, systematisation, art historical analysis, video analysis of ballet performances, choreographic master classes, performances of choreographic groups, ballet studios. The information method and the method of terminological analysis were also used. Scientific novelty lies in a comprehensive analysis of the main trends in the introduction of innovations in contemporary Ukrainian ballet art. Conclusions. Ballet is important for the Ukrainian national culture, as it synthesises different types of art, reflects national traditions and serves as a means of cultural diplomacy, emphasising the uniqueness and richness of Ukrainian culture. Ukrainian ballet is distinguished by its unique style and preserves national identity, making it a source of national pride. The names of contemporary Ukrainian ballet dancers are known all over the world: I. Hvozdieva, K. Kukhar, V. Pysariev, R. Poklitaru, V. Stoianov, V. Troitskyi, A. Shekera, and others. Contemporary Ukrainian ballet art is at the intersection of tradition and innovation. In the face of cultural challenges, it demonstrates the ability to rethink forms, techniques, and meanings while maintaining a deep national identity. Contemporary ballet choreography is constantly transforming as a living fabric of art, responding to the challenges of time, the latest technologies, social changes, cultural crises. Research on Ukrainian ballet contributes to a better understanding of national traditions and the peculiarities of their functioning in various art forms.

The work aims to explore the significance of the concept of "fusion" in the development of modern rock music in Ukraine. The research methodology consists of the application of several approaches: historical - in the accumulation of data obtained from primary sources, musicological and art literature on the selected topic; analytical - in the use of art and cultural literature; system, which allowed to summarize the artistic and aesthetic features of the genre of rock music, theoretical and prognostic method - allowed to summarize the study and substantiate proposals for solving complex issues facing Ukrainian rock music. Scientific novelty: for the first time in national art history, the concept of "fusion" is represented in Ukrainian rock music, which synthesizes ancient Ukrainian song traditions with the latest achievements of Western European musical culture. Conclusions. The concept of "fusion", as a multi-valued term, by its nature, has a unique creative meaning and contains an innovative idea. The concept of "fusion" in Ukrainian rock music has a certain nature of conflict, because, on the one hand, Western European influences, which began in the early twentieth century, embraced the cultural life of young people, and stimulated the emergence of new genres in contemporary Ukrainian music. On the other hand, the rethinking of Ukrainian folklore, ie the transformation of traditional Ukrainian folk songs (renditions of ancient family songs, calendars, and rituals, etc., containing ethno-trends identified and outlined the further development of rock music in Ukraine. Keywords: fusion, rock-music, concept, folklore, ethno-rock, autentic rock, music culture.

The importance of determining the systemic determinants of cultural genesis of performing art in the context of the ecosystem approach to the interpretation of musical art is emphasized. The purpose of the article is to determine the system-making directions of the transformation of performing activity in music, in particular, in Kyiv vocal school as a phenomenon of sociocultural explanations of the leading determinants of musical synthesis — anthropological, semiological and visual turns. The methodology is determined by comparative and systemic approaches, which make it possible to conduct a comparative analysis of musical systems of performing arts; phenomenological and dialectical methods that help to determine the figurative transformations of musical culture as the integrity of performing strategies — skills, abilities, creativity. The scientific novelty. The theory of systemogenesis and the ecosystem approach to the analysis of large sociocultural systems of reflection provide an opportunity to understand the musical space as a unity of systemogenesis and culturegenesis. Mimetic, logistic and reflexive approaches to the formation of a musician’s performance skill are characterized using the example of vocal and instrumental components of a modern art work. Modern performance skills are technological and specified within the framework of anthropic, media-textual and visual patterns that make an impact on performance. The dichotomy of performance as a division into verbal and instrumental is to a certain extent overcome when all the latest theses, which include information transformation mechanisms on the screen, give a synthetic image. All this, in one way or another, determines the latest genre configurations that often change the trajectory of the development of the systemogenesis of music. Performance in art could not develop without those experiments when vocals enter the symphony, in particular, by A. Schoenberg in “Moon Piero” and others. It could not have developed without those broad creative intentions, which appeared with development of music. The results. More creative, broader and more global systems are emerging that apply the achievements of the virtual, iconic, visual turn, include screen communications, the modern theater scene, which is becoming more radicalized, different than it was before. The ecological instruction as an appeal to metaphysical origins to a certain extent emphasizes the diversity of systemogenesis in performing culture. On the one hand, it is a metaphysical way of shifting all boundaries, on the other hand, it is a local fragmentation and an appeal to the origins of one’s own performing experience in art. All syntheses, which are carried out on the basis of a musical element, musical text, metatext of musical discourse, require adequate performance skills, abilities and creativity. The more different types of arts are involved here, the more they are needed in order to show a musical image integrally and perfectly, to convey an idea. An idea is already a matter of taste, direction, arrangement and a problem of the interaction of various actors of the complex modern process of medialization, dialogue of cultures, artistic tools of various types of arts and performer. After all, the dialogism of performing technologies in music is transformed into a certain miracle. A miracle and a complete artistic image emerge. The image of the completed XX century, which is already understood as a work of art. The practical significance. The practical significance of the study lies in the fact that the categorical apparatus of the ecosystem approach is introduced into the cycle of musicological and cultural reflection, which makes it possible to expand the horizon of the sociocultural functioning of a musical work to its understanding of a certain ecosystem, focused on preserving the cultural and historical potential of musical performance.