Semiotics of the mask in the ballet art

The article considers the mask as an independent sign in the Russian semiotic system. The sources of the formation of the principle of masquerade in Russian ballet art are investigated. The semantic content of the Russian mask, which influenced world art, is analyzed. The history of the mask goes back to the mummers participants in folk holidays. In the court and fortress ballet of the 18th century, masks dominated the actor’s expressiveness of the dancer’s open face, which was associated with ancient traditions and the traditions of Italian carnivals, and the popular commedia dell’ arte. In the ballet of the 20th century, the possibilities of masks increased. Psychological, political masks appeared. The ballet formulates the basic requirements for a mask, including expressiveness, texture and lightness. The existing variety of masks in life and ballet is situationally and subjectively limited. Many famous dancers performed in masked performances. The periodic return of the code of masks occurs during a period of social upheaval, and then is displayed in ballet texts