| Popis: |
The aim of the article is to determine the specificity of the aesthetic perception of the scenic ballroom choreography by audience in the context of the study of drama as an artistic method to create and present the content and form of the modern scenic choreographic production. Methodology of the research. General scientific and specifically scientific methods of cognition are as follows: analytical (for processing scientific literature), comparative (for carrying out a comparative analysis of aesthetic perception of ballroom dance vocabulary), typological (aimed at identifying and defining the specifics of aesthetic perception of ballroom choreography by audience), and art history analysis. The scientific novelty of the research. The specificity of the aesthetic perception of the scenic ballroom choreography by audience has been studied; art history and chorological works of modern foreign scientists in order to provide scientific basis to the aesthetic perception of scenic choreography works have been reviewed and analysed; the influence of drama and compositional of performances on the process of understanding and perception by the viewer of the semantic and content aspect has been determined; the vocabulary of ballroom dance in the context of aesthetic perception has been determined; the concepts of “aesthetic perception”, “aesthetic experience”, and “aesthetic excellence” are clarified and supplemented. Conclusions. The aesthetic perception of the scenic ballroom dance by the audience is a multifaceted phenomenon, whereas in addition to the influence of the choreography characteristic of this dance form, it sublimates the perception of the stage design, costumes, visual effects, etc. These factors form not just the aesthetic experience of ballroom stage performances, but also their personal interpretation. Scenic ballroom choreography, as a performing art, which requires the audience, achieves the function of communication through its expressiveness as it not only contains, but also conveys meaning. |
