Abstract:

The article explores the problem of reflecting the fluidity of time in choreographic art as an important aspect of the artistic and psychological perception of dance. The purpose of the article is to consider the relationship between tempo, rhythm, composition of movements and spatial organization in creating the effect of continuity and cyclicity of time. Considerable attention is paid to the psychological aspect of the perception of time by dancers and spectators, as well as the role of improvisation and experimental choreographic techniques in the formation of subjective time. Historical and contemporary Ukrainian and foreign dance practices are analyzed, including folk choreography and modern forms of modern dance, with an emphasis on how changing the tempo, using pauses, repetitions and movement trajectories affect the sense of time in the performance. Separately, the methods of interaction of music, light and space to enhance the artistic sense of the fluidity of time are discussed. Choreographic art is perceived as a form of «living time», where each movement, pause or repetition acquires semantic meaning, and the compositional decisions of the artist-creator form in the viewer a sense of continuity and variability of time. The results of the study can be used in the practical activities of choreographers, choreography teachers, psychologists, as well as in scientific works devoted to cultural studies and art history. 

Keywords: choreography, fluidity of time, rhythm, tempo, movement, composition, improvisation, psychological perception, modern dance, Ukrainian choreography. 

References:

1. Verkhovynets, V. (1968). Teoriya ukrayinsʹkoho narodnoho tantsyu. [Theory of Ukrainian folk dance]. Kyiv. 

2. Holubenko, M. M. (2020). Temporalʹnistʹ muzychnoyi kulʹtury tsyfrovoyi doby. [Temporality of musical culture in the digital age]. Kyiv. 

3. Humenyuk, A. (2020). Terminolohiya ukrayinsʹkoho narodnoho tantsyu v doslidzhennyakh V. Verkhovyntsya, V. Avramenka ta A. Humenyuka. [Terminology of Ukrainian folk dance in the studies of V. Verkhovynets, V. Avramenko and A. Humenyuk]. Kyiv. 

4. Dem’yanchuk, A., Kundys, R. (2019). Stvorennya khoreohrafichnoho obrazu zasobamy plastychnykh i chasovykh mystetstv. [Creating a choreographic image using plastic and time arts]. Kyiv. 

5. Kovalʹchuk, N. (2022). Zastosuvannya praktyk suchasnoho tantsyu u psykhoemotsiynomu rozvytku osobystosti. [Application of modern dance practices in psycho-emotional development of the individual]. Lutsk. 

6. Kovalʹchuk, N. (2019). Psykholohichni osoblyvosti vplyvu tantsyu na rozvytok osobystosti. [Psychological features of the influence of dance on the development of the individual]. Kharkiv. 

7. Kovalʹchuk, N. (2021). Somatychni praktyky v mystetstvi tantsyu: vplyv, vzayemodiya ta rozvytok. [Somatic practices in the art of dance: influence, interaction and development]. Kyiv. 

8. Korysʹko, N. M., Sinelʹnyk, K. V. (2018). Mystetstvo tantsyu v aspekti psykholohichnofiziolohichnykh vymiriv. [The art of dance in the aspect of psychological and physiological dimensions]. Kyiv. 

9. Kostiv, V. (1968). Teoriya ukrayinsʹkoho narodnoho tantsyu. [Theory of Ukrainian folk dance]. Kyiv. 

10.Lanʹ , O. B. (2024). Rezhysura odnoaktnoyi khoreohrafichnoyi vystavy: teoretychno-praktychnyy aspekt. [Directing a one-act choreographic performance: theoretical and practical aspect]. Lviv. 

11.Markevych, L. (2019). Transformatsiya systemy khudozhnʹoyi movy ukrayinsʹkoyi natsionalʹnoyi baletnoyi vystavy v 20-80 rokakh KHKH st. [Transformation of the artistic language system of the Ukrainian national ballet performance in the 20s-80s of the 20th century]. Ivano-Frankivsk. 

12.Radchenko, O. (2019). Chas yak uyava i chas yak buttya: Emilʹ Shtayger versus Martin Haydegger. [Time as imagination and time as being: Emil Steiger versus Martin Heidegger]. 

13.Khoreohrafichna kulʹtura suchasnosti: hlobalizatsiyni vyklyky (2021). [Choreographic culture of modernity: globalization challenges]. Kyiv. 

14.Samoylenko, A. I. (2020 ). Zmistovnyy chas ta suchasnistʹ yak katehoriyi muzykoznavstva: istoryko-semiolohichna paradyhma. [ Contents time and modernity as categories of musicology: historical and semiological paradigm]. Lviv. 

15.Valʹdes, S. P. (2024). Dyvnyy faktor tyazhinnya za mezhamy performansu v mediakonteksti, shcho bazuyetʹsya na chasi. [Strange Attractor Factor beyond Performance Art in a Time - Based Media Contex].