Abstract:

The article substantiates the concept of a choreographic work, which is the embodiment by the director and composer of the main idea of the author of the work, and also provides for an original approach to solving and resolving certain tasks and is considered a constructive principle of artistic and aesthetic activity.

It is proven that work on a compositional plan requires concentration of knowledge, experience and the ability to set the team up for creative cooperation. The compositional plan has its own structure, which includes: an ideological and thematic plan, a musical and dramaturgical plan and a production plan. The content is revealed and three types of interpretation are characterized: literary, musical and modern, the so-called reinterpretation.

It has been proven that the concept of a choreographic work, which accumulates a system of views, concepts about certain movements, phenomena or processes, is a way of understanding and interpreting fragments and dance episodes. The concept is the embodiment by the director and composer of the main idea of the author of the work, and also provides for an original approach to solving and resolving certain problems and is considered a constructive principle of artistic and aesthetic activity.

Work on the compositional plan is responsible and requires concentration of knowledge, experience and the ability to set the team up for creative cooperation. Preparing to work on a certain choreographic work, the director studies archival materials that contain the necessary material, searches for historical documents that confirm certain conjectures and considerations. In addition, he gets acquainted with works of painting, sculpture, literary primary sources that make it possible to create a certain idea of the events that need to be recreated in the plot using the means of choreographic expressiveness. The compositional plan of the choreographic work is developed and approved by the director, is a directorial and choreographic decision, a plan of work on the choreographic work with specific tasks for the composer, artist, responsible for the preparation of costumes.

Keywords: choreographic art, concept of a choreographic work, compositional plan, interpretation of a choreographic work.

References:

1. Androschuk, L. M. (2017). Khoreohrafichne vtilennya obrazu Ukrayiny (z dosvidu roboty z tvorchym student·sʹkym kolektyvom). [Choreographic embodiment of the image of Ukraine (from the experience of working with a creative student collective)].

2. Verkhovynets, V. (1990). Teoriya ukrayinsʹkoho narodnoho tantsyu. [Theory of Ukrainian folk dance]. Kyiv.

3. Goldrych, O. (2006). Khoreohrafiya: Posibnyk z osnov khoreohrafichnoho mystetstva ta kompozytsiyi tantsyu. [Choreography: A manual on the basics of choreographic art and dance composition]. Lviv.

4. Enska, O. Yu., Maksymenko, A. I., Tkachenko, I. O. (2020). Kompozytsiya tantsyu ta mystetstvo baletmeystera. [Dance composition and the art of a ballet master]. Sumy.

5. Kolnoguzenko, B. M. (2007). Mystetstvo baletmeystera. [The art of a choreographer]. Kharkiv.

6. Kolnoguzenko, B. (2014). Vydy mystetstv ta khoreohrafiyi. [Types of arts and choreography]. Kharkiv.

7. Kryvokhizha, A. M. (2020). Mystetstvo baletmeystera. [The art of a choreographer]. Uman.

8. Nover, Zh. Zh. (1965). Lysty pro tanetsʹ i balety. [Letters about dance and ballets]. 1965. 375 p.

9. Savchyn, L. (20172. Metodyka roboty z khoreohrafichnym kolektyvom. [Methodology of working with a choreographic team]. Rivne.

10. Shalapa, S., Korysko, N. (2015). Metodyka roboty z khoreohrafichnym kolektyvom. [Methodology of working with a choreographic team]. Kyiv.

11. Shutyak, N., Markevich, S. (2020). Formuvannya literaturno-stsenichnykh obraziv personazhiv u maliy formi tantsyu. [Formation of literary and stage images of characters in a small form of dance].