Поліелементна структура та функції народного танцю як форми художньої діяльності

Abstract

У статті комплексно проаналізовано всі компоненти мистецтва танцю в аспекті їх моторної організації. Введено поняття пластично-рухової композиції танцю, яка має провідне образно-виразне значення. Висвітлено цілісну структуру моторного інтонування танцю. Запропоновано аналогії між рухово-пластичними, музичними і словесними компонентами народного танцю. Розглянуто суспільні функції танцю як специфічного роду людського мислення та діяльності.

В статье комплексно проанализированы все компоненты искусства танца в аспекте их моторной организации. Введено понятие пластически-двигательной композиции танца, которая имеет ведущее образно-выразительное значение. Освещена целостная структура моторного интонирования танца. Предложены аналогии между двигательно-пластическими, музыкальными и словесными компонентами народного танца. Рассмотрены общественные функции танца как специфического рода человеческого мышления и деятельности.

The article is research to a comprehensive study of all components of the dance art in the aspect of their motor organization. We believe that the question of the motor organization of dance deserves the closest attention, since it allows us to significantly expand the study of musical content through non-musical factors. Comprehensive study of folk dance art is a complex and versatile task. It involves the study of all its components. In addition, each of them should be considered not in isolation, but in the general system of their internal relations – in the aspect of their rhythmic and metric, that is, motor organization. The role of dance sources in music in the historical formation of its laws is enormous. In order to understand how the genre-stylistic formulas of dance become logical-semantic prototypes in music, the study examined the art of dance. Dances demonstrate themselves primarily through the rhythm. It has a great potential for emotional expression due to its connection with the vital activity of the body. And since a dance demonstrates itself through the rhythm, a large role in any piece of music of a sufficiently clear and active rhythm causes associations with certain dances. In other words, dance-motor rhythm symbols historically assign steady value to certain musical phrases. There is still no consensus on the definition of the concept of dance. Summarizing the various definitions, we proposed our own definition of dance. So, dance is a space-time form of art consisting of musical, visual, (sometimes verbal and sonorous) and uniting the motor components, the material of which is rhythmically organized, aesthetically significant plastic and facial expression of a person. The author proposed the concept of “plastic-motor composition", which has a figurative meaning. In turn, it is divided into certain structural constructions: knee, figure, pa, foot, arsis and thesis, gesture. Definitions for each of them are given. Plastic-motor composition as well as the verbal one, is very often incompatible with the musical structure in terms of its internal structure and size. This is demonstrated in the presence of several verses and several different figures on the same musical theme. It was concluded that the common for all minimal elements in kinetics, music and language is to combine them with one energy impulse (movement of ligaments, joints of a person’s hand – dancing, singing, playing, speaking). In other words, the presence of a certain part of motor energy in them. For a clearer view of the integrity of the motor intonation structure of the dance, the analogies between the motor-plastic, musical, and verbal (if any) components of the dance are given. Dance movements are peculiar plastic signs similar to a sound or a word. That is why it is inappropriate to translate movements into human language, but at the same time, they are language but only plastic. Like the words and sounds united in a group of sentences, they reflect aesthetic-motor images, as in music. Based on the works by A. Leontiev, V. Kholopova, the author proposed the option of considering the possible functional values of the dances. They are closely connected with the genre typology: social purpose makes the genre vital and necessary, and the genre in turn stabilizes this social and practical inquiry in culture. The social role of genres in art is so significant that the main ones persist longer than historical eras, political structures last. The peculiarity of the dance genre is that it addresses the functions of dance in people’s lives, their social structure and practical activities