AVANT-GARDE SYNTHESIS OF THE ARTS IN THE CREATIVITY OF SCENEGRAPHERS AT THE BEGINNING OF THE 20TH CENTURY

The urgency of turning to the philosophical foundations of the formation of avant-garde stage synthesis on the stage of the Diaghilev seasons is emphasized. The purpose of the article is to determine the intentions of the stage synthesis of avant-garde art – cubism, Fauvism, abstractionism as a philosophical and anthropological phenomenon of destruction and deconstruction of classical art. The research methodology is determined by comparative and systematic approaches. Transcendental, phenomenological and dialectical methods make it possible to carry out a philosophical and anthropological analysis of the synthesis of arts as a dynamic integrity of synthetic form formation. Scientific novelty of the article. For Diaghilev's seasons, the avant-garde space was a certain gesture of despair, a compromising phenomenon of adapting the iconography of the Art Nouveau style. Conclusions. The European avant-garde syntheses of the beginning of the 20th century were equivalent to the search for a stage synthesis of Vs. Meyerhold, O. Exter, K. Malevich