INTERSECTION OF PERFORMATIVE AND CHOREOGRAPHIC ARTS OF THE EASTERN EUROPE EARLY IN THE 21ST CENTURY
Journal Title: Вісник Національної академії керівних кадрів культури і мистецтв - Year 2017, Vol 1, Issue 4
Abstract
The purpose of the article. The research is related to the search for new means and methods of justifying the aesthetic and ethical-moral norms as the ground for analysis of the principles and devices of performative techniques in contemporary dance art. The crisis of certain development models of contemporary dance art does not always consider the place and the role of an experiment in perceiving the emergence of choreographic lexis and the conflict of social, political and spiritual transformation in the dance art. There is a comparative review of contemporary Polish art perfor-mances, which exploit different principles and techniques for interaction with the audience and the space on the base of the individual creative work of Polish choreographers. The research studies the principles and devices of performative techniques as the instrument of emotional and social expression of an individual within the emotionally oriented environ-ment with the help of verbal interaction with the perception object. Methodology of the research lies in the application of the comparative and historical logical methods. The previously mentioned methodological approach enables revealing and analyzing certain models concerning anthropological components of performative practices in order to find the dy-namic view of the contemporary dance future and new dimensions of its origin and visual perception. Scientific novelty of the work consists in broadening of the image of the artist’s freedom evolution in different types of contemporary dance. Contrastive analysis of the Polish contemporary art performances and the stated system of contemporary dance and the beginning of post-modern experiments gives an opportunity to understand better the anthropological determinant, which gradually deepens the analysis of creative initiative in acknowledging the essential individual artist’s freedom. Conclu-sions. Understanding the development of paradigmatic systems, based on the moral component of contemporary dance art gives the new starting point for reformative activity in the direction of considering universal human values. The con-temporary choreographic art establishing itself on the moral universal principles and authentic approach to creation of the new principle of movements advances to strengthening itself as an energy field of modern culture.
Authors and Affiliations
Olena Shabalina
Keywords
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