Abstract:

The article reveals the particularities and current trends in the system of structuring a choreographic work. The importance of visual plastic components and ways of creating a lexical motif in choreographic practice are considered. The conditions for a harmonious combination of movement and musical accompaniment in relation to the structural components of a choreographic work are analysed.

The article proves that the plastic theme or plastic motif, and if it runs throughout the work, then the leitthema or leitmotif, is closely related to music, this is especially clearly visible in classical ballets, where the plastic leitthema practically coincides in duration and tempo. rhythmic structure with musical accompaniment. What happens when the choreography is not supported by music, or when the music serves only as the body, or when the musical canvas of the accompaniment is so complex that it is impossible to reflect the structure and tempo of the musical piece in combinations of choreographic movements? In this case, the ballet master needs to work only with the structure and character of the performance of the combinational construction of choreographic movements, creating his own stylistic ramifications in the compositional basis of the choreographic work.

The choreographer must clearly understand that the movement content that was used in one part must necessarily correlate with the content of other parts of the choreographic work. The lexical material of the motif of the choreographic piece used by the director must be balanced and proportionate to obtain a single whole.

When considering the language of movement, the choreographer must always remember that it performs a communicative function. The quality of the performance is affected by the gaze, facial expressions of the performer, the distance between the performers, between the performer and the audience, the direction of movement and many other conditions.

Keywords: choreographic composition, motif, plastic theme.

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