Abstract:

Choreology is one of the sciences in which the subject of research is a choreographic text, the content of which is adequate to its symbolic form. The process of reference, i.e. the translation of specific symbolic forms into the language of dance, is carried out through the movements of the human body and its interactions with other structural elements of this cultural pattern.

Choreography is not just the invention of movements, it is an assessment of the perceptual and emotional effects of a particular movement or spatial configuration. Choreographers adjust a certain movement or position until they achieve the effect they had in mind. Both dancers and choreographers are guided by brain mechanisms involved in perception, action, and emotion.

In specialized institutes, psychologists and neuroscientists study the neural mechanisms of human movement perception and motor control, moving from the study of simple movements to more complex stimuli and motor tasks. If choreographers and dancers performed in research laboratories, and relevant experts analyzed dance performances, we could learn more about both dance and the brain.

The article describes the experiences of foreign neuroscientists who have studied the effects of delayed neural processing of moving objects, perceptual anticipation, and applied these considerations to the perception of choreographic movement. The authors also analyze the philosophical concepts of beauty and the sublime in choreographic art, consider these processes from the point of view of dance psychology; explain the beauty of harmony between mind and object as conceived by Kant; prove that the perception of dance is connected with the interaction between expectations and their realization; analyze the phenomenon of «implicit movement»; discuss the universal principles of perception and evaluation of choreographic art.

Keywords: choreology, choreographic movement, neuroscience, nature of movement perception, dance psychology; brain and movement, «implicit movement».

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