Great Russian choreographers of the 20th century and masters of stage folk dance tried to find an answer to the difference in the staging of dances of the peoples of Russia and East Asia (China, Korea, Japan). Today, with actively expanding international cultural contacts, this issue is becoming relevant for a new generation of choreographers and dancers who are trying to avoid scholastic stylization of the "Far East" or automatic transfer of dance folklore to the domestic stage when preparing concert programs. It is not enough to study the cut of the costume and its color scheme, although such details should not be neglected, it is important to understand the principles of staged composition of folk dance, which contains not only the history and cultural traditions, but also the character, aesthetics and psychology of human behavior in life, the mentality of the whole people. Japanese traditional dance (nihon buyo), numbering about 120 types and representing 120 different schools, respectively, has a certain purely Japanese specificity, combining both folk dance and classical dance in a single concept - "traditional dance". The history of the emergence and development of these two trends is connected with the history of Japanese culture, and their interpretation differs significantly from the interpretation of the European terms "classical"and " folk". This is explained by the fact that the Japanese worldview reflected in these areas differs from the European one in certain psychophysical, historical and cultural features. Japanese folk dance developed in connection with the formation of religious ideas, with the development of music, with the appearance of musical instruments in different historical periods, with the philosophy and aesthetics of musical performance, as well as with different methods of sound extraction in the process of playing each of them, and, accordingly, with the visual and sound perception of listeners. Unlike in the West, where classical ch ... Read more