Dialogue of Art Forms in S. P. Diaghilev's "Russian Seasons"
S. А. Diaghilev's enterprise at the turn of the XIX-XX solved the problem of interaction between art forms. The performances of «the Russian Seasons» combined plastic, pictorial, musical art and became a genuine artistic discovery. The generality of the types of art was determined by the unity of the imaginative nature, the generality of the methods and laws of the construction of the artistic image, the universal components of the artistic language. The idea of dance as a moving painting, the connection between sound and colour, as «phonical colouring» and «scenic colour», embodied in the performances of S. Diaghilev's non-repertory company: «Firebird» (1910) and «Petrushka» (1911) (the music of I. F. Stravinsky, the choreography of M. Fokine, the artistic design of L. Bakst, A. Benois). The performances united plastic, pictorial, musical art and became a genuine artistic discovery. The dialogue of art forms in S. Diaghilev's «Russian Seasons» was based on the unity of perception and understanding of the world, as a language of feelings that shapes the aesthetic experience of the personality. In the collaboration of musicians, artists, choreographers under the guidance of the impresario, a confidential atmosphere of creativity was born, and the amazing ability of art to unite people in the name of a common idea was revealed. The impresario created a bright creative team that influenced all further development of art all over the world.