Artistic Director Research Articles

An interview with John Doyle1

Director John Doyle is one of the foremost re-interpreters of Sondheim’s musicals. His productions of Sweeney Todd and Company introduced the practice of actor–musicianship to UK and US audiences and transformed assumptions about how those shows could be produced. As artistic director of Classic Stage Company (CSC), Doyle directed groundbreaking productions of Assassins and Pacific Overtures; before taking on the leadership of CSC, he directed a re-imagined version of Passion. Doyle also worked with librettist John Weidman and Sondheim to revise what had been Wise Guys and Bounce into Road Show. In this candid and illuminating interview, Doyle discusses his relationship with Sondheim and his approach to Sondheim’s musicals.

CONTEMPORARY ART AND ART MANAGEMENT INITIATIVES IN THE CONTEXT OF LOCAL SOCIAL TRANSFORMATIONS IN UKRAINE: THE CASE OF THE TEPLE MISTO PLATFORM

Most of the art projects related to modern art take place in the capital. Other Ukrainian cities mostly have few powerful centers for the promotion of modern art and few active representatives of art management. However, such initiatives outside the capital can have a significant impact on social transformations. The purpose of this article is to analyze the activity of art management of the public platform of Ivano-Frankivsk Teple Misto in the field of contemporary art. In the last nine years, this platform has implemented numerous projects that are aimed at social transformations in the urban community. One of the areas of its activity is the engagement of the city’s public with modern art through exhibitions, murals, performances, educational projects, etc. These projects were implemented through a number of grants from Teple Misto. Art managers of the platform work on the Warm Art program. After 2018, this program was transformed into other projects. Contemporary visual art has been chosen as the focus of artistic initiatives for the purpose of promoting artistic processes in the city. Since 2015, the projects Residence for Artists, Open Art Lecture Hall, grants for exhibitions, etc. have served this goal. In addition, the project promotes famous art figures of the 20th century from Ivano-Frankivsk and the region through the support of exhibitions of the art by Paraska Plytka-Horytsvit, Osyp Sorokhtei, Stepan Nazarenko and others

National tradition as an innovation factor in Guo Wenjing’s chamber opera “Wolf Cub Village”

Statement of the problem. The modern stage of development of Chinese musical theater is associated with a significant role in creative experiment, the search for new artistic means. These processes have gone down in history as an artistic direction under the name “new wave”. It emerged in 1976 as a confrontation with the aftermath of the cultural revolution. It combines trends in the revival of national Chinese traditions and the introduction of modern compositional writing methods. In the works of representatives of this direction, a deep understanding of the uniqueness of the aesthetics of ancient Chinese music, the originality of its rhythm and timbre richness is restored. These features are vividly embodied in the Opera “Wolf Cub Village” by Guo Wenjing (郭文景, born in 1956). The theme of the transformation of traditional Chinese musical art in modern times under the conditions of Western influences and the formation of new Chinese music raises by Chinese researchers in one way or another. But the issue of national tradition as a factor of innovation is considered tangentially. Thus, the subject of the article, which reveals the features of the implementation of the traditional chamber opera “Wolf Cub Village” by Guo Wenjing, is looking up-to-date. Recent research and publications. An Luxin in the dissertation “Research of Guo Wenjing’s musical creativity” (2012) traces the stylistic features of Guo Wenjing’s work and analyzes many of his works, but the reason of significant amount of material studied, the composer’s opera heritage is highlighted in generalized way. Guo Wenjing’s own article (2016) as well as materials published in his book “Noise” (2009), are a valuable source of information about the composer’s idea of the opera. Objectives, methods, and novelty of the research. The purpose of the article is to identify the mechanisms of innovations in the implementation of the national Chinese tradition in Guo Wenjing’s chamber opera “Wolf Cub Village”. The study used methods developed in modern musicology, in particular, theoretical, historical and cultural analysis, as well as the method of theoretical generalization. For the first time, the embodiment of the national tradition in the opera work by the contemporary Chinese composer is considered as a factor of artistic innovations. Research results and conclusion. Guo Wenjing’s appeal to the national traditions of Chinese music is associated with the two way orientation of the “new wave” flow that emerged in Chinese professional composing music. We are talking about transforming deep Chinese national traditions along with the use of modern compositional techniques. It is proved that in European opera this approach becomes an artistically effective means of updating the modern musical language. As a result of the study, Guo Wenjing’s opera “Wolf Cub Village” revealed a number of innovations, the source of which was the Chinese verbal language and traditional music. These include: a) the invention of new methods of vocal and declamatory articulation of the Chinese language, the expansion of the range of vocal and performing techniques, the creation of a special style of singing that combines European bel canto and intense high declamatory singing of the Chinese traditional opera; b) the use of features of the sound and semantics of instrumental accompaniment of traditional Chinese opera and the formation of a new poly-national composition of the orchestra; c) the introduction of characters into the opera that saturate the plot with figurative intonations of Chinese folklore; d) the use of metro-tempo models (banshi) of Chinese traditional opera. By introducing the elements of Chinese traditional music into the opera, the composer expanded the instrumental and vocal timbre palettes, enriched the work with a bright national flavor and significantly diversified the techniques of musical expressiveness of Western-style opera.

Choral conducting as a way of realizing the creative potential of a student choirmaster

Statement of the problem. The modern information society using cutting-edge digital tools and resources, requires innovative approaches in education aimed at shaping the personality of students in all the diversity of their activities. In today’s globalized space, where innovation and creativity are key success factors, it is important to cultivate students’ skills in creative thinking and self-expression. The turbulent Ukrainian present became a challenge for the development and establishment of a new educational system oriented on the personal type of teaching. An urgent need to improve pedagogical technologies encourages the search for a new educational paradigm, allowing Ukraine to stay abreast of global innovative processes. The course “Choral Arrangement” is aimed at developing the creative potential of choirmaster students, which is undoubtedly a relevant task in the modern educational space. Objectives, methods, and novelty of the research. The personal oriented approach in higher education is an actively researched topic, by domestic (Podmazin, 2006; Bekh, 2003) and foreign (Heikkila, Niemivirta, Nieminen, & Lonka, 2010) authors. A number of studies are devoted to pedagogical innovations (Dychkivska, 2004; Ihnatovich, 2019; Danilenko, 2006) and the psychological and pedagogical aspect of personal development (Moliako, 2003; Turynina, 2007; Mishchykha, 2010), the musical pedagogy (Smyrnova, 2021; Zhernovnykova, & Van Tsin I, 2017; Plotnytska, 2021) and the contemporary trends in choral conducting education too (Dolchuk, 2008; Smyrnova, 2008; Karpenko, 2021; Semenchuk, 2022). However, the questions of the impact of choral arrangement on the development of music creative skills of choirmaster students, as well as the search for innovative teaching methods and organizational forms that contribute to the formation of unique musical personalities, requires further analytical refinement. The purpose of the article is to determine the role of choral arrangement in developing the creative potential of choirmasters’ students, their musical thinking, performance and interpretive skills. The study is also focused on finding innovative approaches to teaching the “Choral Arrangement” discipline that contribute to more effective development of unique artistic individuals, which capable to self-improvement and professional growth as choral conductors. The interaction of personal, competence and contextual approaches to the professional training of a specialist, necessary in the process of developing his creative abilities, led to the involvement of such research methods as theoretical and comparative analysis of pedagogical conceptions. Also, “case study” method was considered as one of the way for creation of choral arrangement. Results and conclusion. The discipline "Choral arrangement" is an extremely important component of the formation of the artistic personality of the future choirmaster, as it develops his musical thinking and creative abilities, most actively contributes to the disclosure of his creative potential, helps him learn a whole series of practical skills necessary for a choirmaster – the leader and artistic director of a singing group, that is, it directly affects his demand and “competitiveness” in the profession of choral master. Arranging, which allows you to transform and enrich musical works, deepen or vary their sound characteristics and emotional expressiveness, provides an opportunity for their original interpretation, is a powerful tool for the rapid progress of a musician’s creative abilities. Modern educational conditions require new methods and forms of teaching in the field of choral pedagogy, including choral arrangement. Use of the “case study” method (teaching on the example of specific situations), various experiments, online communication and an arsenal of computer technologies (variation of the composition of choral voices, creation of new timbre sounds, improvisation, multi-style arrangements, collective creativity, electronic sound processing by computer programs, etc.) will contribute to the fullest disclosure of the creative potential of choirmaster students.

The Crimean Puppet Theatre in the Time of Borys Azarov

The creative activity of the Crimean Puppet Theater at the end of the 20th and the beginning of the 21st century during the artistic leadership of Honoured Art Worker of Ukraine Borys Azarov is analyzed. The article represents the figure of the artistic director of the theater as well as the brightest members of the theater team. The role of outstanding composers (A. Karamanov, L. Etinger, L. Khytryak and E. Pshemetskyi), scenographers (L. Restenko, I. Uvarova, A. Chechyk, etc.), ballet masters (L. Kotlyarenko, V. Dontsov) in the productions of iconic plays of the theater is emphasized. The article contains creative portraits of leading actors and an analysis of their acting roles in the best performances of the Crimean Academic Puppet Theater. The article outlines iconic stagings of the creative team, their innovative significance in the context of theater art on the border of the late Soviet period and the period of independence of Ukraine, the unique repertoire policy of the theater, the involvement of outstanding Ukrainian and foreign directors in cooperation with the theater (S. Yefremov, S. Bryzhan, Yu. Sikalo , T. Zhukov, etc.) the emergence of new forms, the creation of the first performances in the Ukrainian language in the Autonomous Republic of Crimea as well as performances based on Crimean-Tatar national folklore. Emphasis is placed on the creative achievements of the theater team as such which require in-depth further research.

The role of art director in film artistic style before, now & then (Nana) fourcolors film production

The role of art director in film artistic style before, now & then (Nana) fourcolors film production

Performance evaluation of dance programmes subsidized by China national arts fund (2014– 2019)

ABSTRACT State funding in support of art development is a crucial area of research in arts management. After the 1980s, China began to reform its cultural system. Drawing on the historical experience of Western countries in subsidizing art, the Chinese government made constant adjustments to its system. In 2013, the China National Arts Fund (CNAF) was established, indicating the Chinese government’s efforts to enhance the modernization level of arts management and explore funding methods with Chinese characteristics. Based on quantitative data and case studies and through the analysis of the quantity, types, institutional ownership, and regional trends of dance programmes funded by CNAF (2014–2019), this paper concludes that the current funding trend is presented with three characteristics: differentiation classification, imbalance, localization of content and theme. The study found that CNAF is facing three challenges and dilemmas: (1) the effectiveness and diversity of its guiding function; (2) the level of its fine-grained and flat management; (3) the performance evaluation mechanism of funded programmes. Based on the findings and discussion of the research, this paper proposes policy suggestions and future research directions.

Liquid architecture, West space and bus projects are disorganising

“Liquid Architecture, West Space and Bus Projects are disorganising.” So began a public statement, firstcirculated in November 2020, co-signed by the three organisations in question. It went on: “Thismethodology is not a pathway to merger, but an experimental exercise in cooperative practice beyondprevious models of partnership, grounded in principles of solidarity and interdependence.” In thispolyvocal essay, Channon Goodwin, Joel Stern, and Amelia Wallin — former Artistic Directors of BusProjects, Liquid Architecture, and West Space — offer accounts of disorganising, which was stagedthroughout 2020 and 2021 at the organisations’ shared base of Collingwood Yards inNaarm/Melbourne. By contextualising, sharing and reflecting on disorganising, we explore how artist-led forms of encounter and exchange can engage publics by challenging hegemonies, critiquing power,and engaging publics in civil dialogue. While making these claims, the essay also acknowledges thelimits to achieving change under conditions governed by funding bodies, the demands of‘professionalisation’ in the sector, and other infrastructures that curtail the radicality of our programs.

For I Do Not Know How to Act: Tadeusz Kantor and the Reality of Theatre

This paper presents a discussion, in honour of the late Ari Hirvonen, of the reality of theatre, the space of the tragic and the ethical condition. It engages critically with Hirvonen’s work, as he would demand it, and in doing so it considers the distinctive thinking about theatrical reality in the work of the great Polish artist and theatre director Tadeusz Kantor.

Application of Technology and Digital Innovation in European Arts and Cultural Management

The application of technology and digital innovation in European arts and cultural management has had a profound impact on various aspects of the cultural sector. The application of technology and digital innovation in arts and cultural management reflects the region’s commitment to preserving its rich cultural heritage while also embracing modern methods to engage with a contemporary audience. It has opened up new avenues for cultural expression, audience participation, and the sustainable management of cultural resources.

Curation-as-branding and the problem with cultural diplomacy: The case of Q Art Group

Founded in 2018 by Hong Kong heiress Queenie Rosita Law of the Law family apparel brand Bossini fame, Q Art Group is a private art initiative between Hungary and China that, in the words of its Hungarian artistic director, promotes Central and Eastern European art ‘within the dynamics of the Belt and Road Initiative’ (BRI). Hungary was the first European country to sign onto BRI cooperation, and it leads the 14 + 1 initiative promoting investment between China and Central and Eastern Europe. The country’s national-conservative Prime Minister Viktor Orbán uses Hungary’s position as a BRI gateway to bolster an ‘illiberal’ agenda within the European Union. Meanwhile, Hong Kong’s Q Art Group – comprising the Budapest private museum, Q Contemporary, the Hong Kong gallery Double Q and Q Studio, an art studio that works with luxury properties – is rebranding both Central and Eastern Europe and China in a mix of cultural diplomacy and art market strategy between Hong Kong and Budapest. The article considers the co-constituting images of the Greater China and Central and Eastern Europe that Q Art Group presents in Hungary and Hong Kong by positioning itself as a discourse maker in Central and Eastern European art. What is the ‘post-communist landscape’ – as Q Art Group calls Central and Eastern Europe – mobilized in this endeavour and how does it serve China’s cultural diplomacy and nation-branding? Mapping the social, economic, juridical and political conditions that Q Art Group negotiates, this article asserts there is no ‘good’ way of curating art for cultural diplomacy, but that the exchange of what is called ‘culture’ and ‘identity’ under cultural diplomacy is but an operation of mutual branding among privileged forms of state capital that use art to circulate the violent philosophical logic behind cultural difference.

In Conversation in Apocalyptic Times

Undoubtedly one of the most prominent and most important Russian directors of the past two decades, Yury Butusov here refers to several landmarks of his artistic trajectory, gradually revealing a sense of oeuvre, of a body of work connected by a distinctive worldview. Not all of his productions of exceptional significance are cited here, and Flight (2015), at the Vakhtangov Theatre in Moscow, not having found its rightful place here, appears separately at the end. This Conversation, while intentionally taking a wide perspective, nevertheless focuses on production details so as to foreground various artistic qualities that distinguish his approach. Butusov discusses at some length what constitutes his directorial method and methodology, stressing, above all, the primacy of creative freedom for his actors and himself from which emerge complex and highly charged theatre constructions. Butusov, who is against war as such, speaks of his position on the Russian-Ukrainian war, which led to his resignation in 2018 from the artistic directorship of the Lensoviet Theatre in St Petersburg. He became Principal Director of the Vakhtangov, alongside the acclaimed Rimas Tuminas, Artistic Director of this theatre. Tuminas resigned from his post in spring 2022. Butusov and his family left Russia for Paris, and Butusov resigned from the Vakhtangov in November 2022. His production of Tom Stoppard’s Rosencrantz and Guildenstern are Dead is to be premiered at the Russian- and Lithuanian-speaking Vilnius Old Theatre in September 2023. This conversation took place on 23 March and 27 April 2023 on Zoom, and was translated from the Russian and edited by Maria Shevtsova.

Освітньо-виховна діяльність у спеціалізованих дитячих художніх закладах Поділля другої половини XX століття

The article is devoted to the coverage of educational activities in spe­cialized children's art institutions of Podillia in the second half of the twentieth century. Solving the complex tasks of integrating art educa­tion into the European educational space is impossible without a thor­ough study of one's own historical past, familiarization with the legacy of the teachers-artists who stood at the origins of art education in Podil­lia. The problem of educational activities in specialized children's art in­stitutions in Podillіa is quite urgent. In modern society, among educa­tional institutions that perform the educational and educational function of artistic direction at a high level, few can compete with the work of children's art schools. Art education in Podillіa has historical traditions and is important to study. The analysis of archival sources and periodi­cals of the studied period allows us to state that only from the second half of the XXth century. the first children's art schools appear in Podillіa, in particular Buchachska, Vinnytsia, Kamianets-Podilska, Khmelnytska and Ternopil. Research into the history of practical training in artistic educational institutions of Podillia showed that drawing, painting, com­position, sculpture, art history were key and were studied in all schools, which means that regardless of the settlement and the teaching staff, professional training was conducted at a high level. and all schools pro­duced highly qualified pupils and future artists. It has been proven that the main program tasks set by teachers of art schools included learning the basics of fine art, developing spiritual qualities and understanding beauty. The implementation of these tasks took place through tradi­tional and innovative forms and methods of education. Classes in the subjects «drawing», «painting», «composition» and «sculpture» were classes of artistic research, because the students acquired not only pro­fessional skills, but first of all, learned to think outside the box and fan­tasize. An equally important task for teachers of art schools was the de­velopment of imagination, creative thinking, visual memory of students, using a variety of art materials and techniques. It has been proven that the system of consistent development of art education was laid as the basis of education in schools, namely, the foundation was laid for the successive transmission of the traditions of a realistic depiction of the world to future generations, and the implementation of pre-professional training. It is proven that the main principle of the educational process – the unity of learning and creativity – was formed in the period under con­sideration. We consider the analysis of the formation and development of professional art education in Podillіа to be a perspective for further research.

Public art as an artistic way of development of the architectural and urban environment

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.

Representation of Landscape and Ecological Vision in Miyazaki’s Filmography

This study analyzes the central role of landscape in Hayao Miyazaki’s films. The depiction of landscape in Miyazaki’s films goes beyond mere visual backdrops in order to convey deep symbolic meanings and to foster an empathic connection between the viewer and the world depicted. The renowned Japanese animator, filmmaker, screenwriter, draftsman, manga artist and film director has strongly promoted environmental awareness in his productions by paying close attention to the depiction and visualization of landscape dynamics, using details, and real and invented elements to create an engaging visual experience. The landscapes also take on emotional, metaphorical dimensions, reflecting the emotions and inner thoughts of the characters. Through an in-depth critical analysis of eleven selected films, the proposed research identifies the character-defining elements adopted by Miyazaki to stimulate reflection on a sustainable combination between urban development and the preservation of natural elements, as well as increasing focus on the beauty of the landscape, thereby highlighting the importance of its preservation. The relevance of this research is to understand Miyazaki’s approach to creating representations of natural elements and how he has managed to combine them with the plots of his various films, indirectly stimulating environmental awareness and fascination with nature in its different forms.

Hans Jacob Nilsens og Stein Bugges teatersyn

The 1930s and -40s can be described as a period of change and revolt in Norwegian theatre. In this article I will highlight the work and ideology of two of our significant contributors to the contemporary and the future theatre of their time: Hans Jacob Nilsen (1897–1957) and Stein Bugge (1896–1961). Particularly interesting are their artistic and ideological program for a theatre more in sync with the political and cultural movements of their time. Nilsen and Bugge functioned as artistic directors of Den Nationale Scene (DNS) in Bergen in each decade (1934-39 and 1947-48). Both leaned heavily on the theatre development of Central and Eastern Europe and what we can call the re-theatricalization of European theatre. That means a closer focus on the means of theatre production and the potential effect on society in context. The main question is: In what direction did Nilsen and Bugge intend to pull Norwegian Theatre artistically and in terms of cultural policy?

MEANS OF VIDEO ART: KHARKIV PROJECTS «IN THE DARK» AND «LIUTYI»

The article examines the use of moving image and video practices as a means of visual activity in the cultural and artistic exhibition environment. The analysis is based on the influence of the visual in the context of social and contemporary art. This problem is raised in the theory of Ukrainian art criticism about Ukrainian video art in a visual way and represents the testing of art projects. The aim is to analyze and define the segments of visual activity of Kharkiv video art using the examples of the projects In the Dark and Liutyi. The analysis of sources and recent publications has revealed a high degree of research on the emergence of video art and the reasons for the emergence of a new screen form in the global context, but in the context of the contemporary development of Ukrainian video art and the peculiarities of the use of moving image in the practices of Ukrainian artists at the level of local and regional schools, it has not been properly and deeply studied. The artistic direction of video art, which emerged at the turn of the twentieth and twenty-first centuries, has not received structuring and theorization of the main technical and technological means of reproduction and representation of forms and hybrid forms, including a study of the artistic practices of Kharkiv video art and its place in the general context of the regional peculiarities of Ukrainian video art. The study of these issues and the development of these principles are the most relevant issues for the Ukrainian artistic process. It is important to note that art projects such as In the Dark and Liutyi, which use video art, have a common idea, a common space and environment. They develop the aesthetics of a loft space for immersion in a new reality that creates a moving image and is also part of the contemporary creative industry. Artistic visions change the viewer’s emotions and mental component into a transformed sense of reality, causing a state of immersion, combining different and distant associations in one trope and leading to a synthesis of several sensations, which actualizes the personal, visual and deepens the social sense of the individual.

State of the Art Management of Acute Pulmonary Embolism

The desire for surgical intervention for pulmonary embolism (PE) precipitated the development of cardiopulmonary bypass, and therefore a new era in history of cardiac surgery, cardiology, and medicine. However, the advent of systemic thrombolysis and catheter-directed therapy have decreased interest in surgical management of PE. Surgical pulmonary embolectomy is limited to patients in critical condition with high mortality after other interventions have failed. The issue with clinicians delaying surgical pulmonary embolectomy is that in the interim patients may become critically ill with irreversible end organ dysfunction. Management necessitates decompression of RV afterload by relieving PE obstruction to improve RV function and left ventricular filling. Understanding the pathophysiology of right ventricular outflow tract (RVOT) obstruction and RV failure with a multidisciplinary heart team is paramount.

Desire, obsession and tragedy: Ricky Dukes on adapting Oscar Wilde’s Salomé

In his in-person and video production of Oscar Wilde’s one-act tragedy Salomé (1891), Ricky Dukes, Lazarus Theatre Company’s founder and artistic director, explores its treatment of the dynamics of power and perception, all the while updating the play for contemporary audiences. Dukes has directed over thirty productions for the Lazarus Theatre Company, including Shakespeare’s A Midsummer Night’s Dream, Macbeth and The Tempest, as well as newer works such as an adaptation of William Golding’s Lord of the Flies (1954). Dukes and I examine, in what follows, some of the challenges of making theatre in the age of the COVID-19 pandemic; the resonances of Wilde’s play; his reading of it; and his creative decisions for this production, including the infamous Dance of the Seven Veils scene. Dukes takes stock of the gains and the losses for the individual characters and, in so doing, makes apparent how destructive their obsessions are. This interview, conducted in the pandemic’s early days, offers insights into his imaginative adaptation of Wilde and into the Victorians’ relevance for our own times.

PSYCHOLINGUISTIC CATEGORIES AS THE LEADING MEANS IN THE COMPARATIVE FRAMEWORK OF IMPRESSIONISM

The Purpose of The Study is to study the poetics of impressionism, which unites the world of music, visual and verbal arts, creating a flexible and eclectic impressionistic synthesis and opening up new possibilities for artistic creativity. The Methodology of The Research is the teaching of the methods of description of impressionism, which ensures the comprehensiveness of obtaining information about psycholinguistic categories as the leading means in the comparative study of impressionism. The Scientific Novelty of the research consists in comparative and intertextual methods, which reveal the cultural concept of the category of style and allow to compare the works of different types of art within the same artistic era, as well as to put the works of writers of different artistic directions in the same row. The Conclusions. In works in which the issues are related to the comprehensive disclosure of the specifics of historical and cultural eras or artistic directions and currents, the parallel reading of works of different types of art implies a common aesthetic orientation of artists (within the same period, different artistic systems can be combined with different types of art, coexist ). The given conclusions encourage the study of impressionistic stylistic currents not only in literature, but also in painting and music.