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The article studies the theatrical nature of the creative method of the artist William Hogarth in creating paintings and graphic series "A Rake's Progress" and the composer Igor Stravinsky in creating the opera "The Rake's Progress" based on the engravings of the artist. The formation of theatrical thinking is shown, its origins and interaction with diverse phenomena of English culture in the work of Hogarth and Stravinsky are determined. The author pays particular attention to the issue of the identical creative way that brings out the unity of theatrical thinking, as well as the genre specifics of Hogarth and Stravinsky, scenic and musical dramatic art for the creation of a scenic and pictorial form. The article analyzes the stylistic features that reflect the main trends of English culture of the 18th century and European culture of the first half of the 20th century. It examines in detail the expressive means subordination of the musical pattern to the picturesque dramaturgy of the artist. This research approach allows to confirm the semantic links of structural validity between the works of the music and art.

žurnal sibirskogo federalʹnogo universiteta. gumanitarnye nauki/žurnal sibirskogo federalʹnogo universiteta. seriâ gumanitarnye nauki

Specifics of Theatrical Concepts of the Creative Method of William Hogarth in His Graphic Series “A Rake’s Progress” and I. Stravinsky’s Opera “The Rake’s Progress”