The semiotic paradox of a smile in the Russian ballet

In this article, ballet is considered as a semiotic system of increased complexity. An important role in it is played by signs, including the facial expression of a person. When the ballet appeared, the face was hidden by a mask. Until the end of the 19th century, a smile in ballet was “painted”, taking into account the technique of applying makeup, the nature of the part, the storyline, the individual characteristics of the performer, his acting and plastic expressiveness. The internal contradiction in understanding a smile gives rise to a semiotic paradox as a source of content and selfdevelopment of a plastic image. With the development of choreographic art, the sacred meaning of a smile is replaced by an aesthetic one, and then by a fi gurative and plot load. When recoding, the semiotic diversity of smiles is enhanced, from which their diff erent types are formed. A restrained smile in the national ballet coincides with the peculiarities of national self consciousness.