The “Crystal palace” ballet by J. Balanchine and the musical performance “Crystal palace” by E. Mironova as a manifestation of the metaphorical thinking concepts

The author of the study analyses the two author’s conceptions in the title of the stage works -ballet by J. Balanchine and musical performance by E. Mironova. They have the same title “Crystal Palace”, but are the expression of different “artistic and architectural” meaning. The author interprets the concept of each stage director as a synthesizing core in the interdisciplinary genre synthesis of a theatrical work. Integration interactions are disclosed in the study along various interconnected directions: substantive, scenographic and figurative-metaphorical. From the position of integral synthesis, including the individual language of the choreographer, director and stage designer, the author also considers the historical and cultural context that influenced the creation of the artistic image of the Crystal Palace. In the art of the 20th-21st centuries the dynamics of correlation between traditional and innovative, not their interpenetration, but their coexistence, turned out to be significant. For G. Balanchine it was the period of a ballet master’s formation, the search for his individual language, the time when he worked on a series of choreographic compositions and actively experimented. Е. Mironova finds that particular edge when tradition in its classical forms gives an impulse for new searches and discoveries. In general, the architectural and scenic synthesis in each interpretation is based on metaphorical thinking.