Проблематика клішованості в контексті творчості хореографа-постановника сучасного танцю
Problems of cliche in the context of creativity of choreographer-director of modern dance

Summary/Abstract: The purpose of the article is to identify the specifics of the use of clichéd expressive means in the process of creating a production of modern choreography and to determine the ways to get rid of clichés in the context of philosophical and worldview types of choreographic life. Methodology. In order to identify the peculiarities of the use of clichéd means of expression in the performances of modern dance, the typological method, the method of structural-semantic and textual analysis was applied. Scientific novelty. The problem of the use of clichéd expressive means by choreographers-directors of modern dance is investigated; the features of the use of clichéd forms of visual expressiveness are considered on the basis of modern choreography productions; based on the analysis of the theoretical works of the leading choreographers of the 20th century. the approaches to avoiding the use of clichés in the process of staging modern dance have been identified. Conclusions. Certain lexical elements of modern dance, compositional features, and visual means of expressiveness of choreographic performances in their own semantics are clichéd, since, as a result of the frequent use of choreographers-directors (usually due to positioning as necessary elements of the text of the choreographic performance, which provide an easy and accurate way of transmitting the encoded information) have lost their imagery, and their semantic content has gradually decreased. In contemporary dance productions, the cliché is a kind of sign of the choreographic text, which has its own conceptual content and structurally organized form, providing a certain meaning to the concept placed in this cliché. This meaning can be interpreted as an element of the semantic system, the internal structure of which is associated with its relationship with other elements of this structure and reflect the system of connections and relationships between objects and phenomena of reality existing outside a separate sign in the form of a converted form of this objective content, which largely depends on the projected on the iconic image created by the choreographer of the viewer's social experience. The meaning of the choreographic cliché is considered as a result of the process of determination, when a “psychic image” appears in the viewer's mind, the presence of which is manifested through a visual signification and is fixed in the signs of the dance text. Changes in the content of the cliché as a sign (its meaning) create differences of an individual and social nature, reflecting the choreographer's ideas about the surrounding reality. The choreographer-director of contemporary dance comprehends and rethinks life in accordance with his own philosophical and worldview principles, revealing life concepts that are closer to a paradox and distant from the established logic. Seeing life as a force, the choreographer constantly strives for awakening in order to free himself from disciplinary individualizations.

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