Cautionary Tale of the Picture of Dorian Gray: Parable and Autobiography

Author(s): Mikail PUŞKIN / Language(s): English Issue: 18/2021

Current research paper performs focused textual analysis of themes and characters of the novel The Picture of Dorian Gray by Oscar Wilde intertwining the study with pertinent references to details of the author’s biography thus providing essential critical insights. Peculiarity of the paper lays with it considering the novel to encompass two distinct juxtaposed genres: an autobiography (decadent values) and a parable (moral values). By synthetically combining them, the author at the same time conveys superiority of idealized artistic aesthetic worldview of reality (at times superseding conventional morality) while reinforcing fundamental if naïve good nature of humanity with both of them engaged in (endless) struggle for the reader’s soul against the suffocating reality of hypocritical society.

ÇAĞDAŞ SANATTA İFADE UNSURU OLARAK DİJİTAL ENSTALASYON

Author(s): Gültekin Akengin,Asuman Aypek Arslan / Language(s): Turkish Issue: 2/2021

A work of art includes a process that is shaped in the artist's dream world, continues with the participation of the audience, and sometimes continues with technological formations, can change, terminate or continue its existence in an endless process. Digital art takes place in the contemporary art process as the formation of art by human experience by pushing the boundaries of concepts, technology and the world of perception. Art has crossed all borders because it is one of the few things that the viewer can only define meaning. Advances in digital technology allow the artist to create a work that can now be seen and appreciated all over the world. Digital art has not only broadened the definition of art, but also increased the accessibility of art to the world. Artists tend to be more involved in the process than the outcome, and approach the creation of a work of art both experimentally and evolutionarily – something that's especially true for digital artists. The site-specific production of the installation enables the installation to be more closely related to other contemporary art forms such as video installation and performance. The expression, material and strategy possibilities offered by the installation to the artist have enabled many innovations and original works to be revealed. Digital installation is integrated with technology and offers its audience the opportunity to be directly involved in art by offering an interactive art experience. In this research, it has been concluded that the digitalization in art and the presentation of installation with digital opportunities, the artists successfully reflect this situation with their productions and the process will continue with innovations.

Yeraltı ve Şarkı Söyleyen Kadınlar’da İtki İmgeler ve Kökensel Dünya Bağlamında İnsan-Dışı Hale Geliş

Author(s): Özge Nilay Erbalaban Gürbüz / Language(s): Turkish Issue: Sp. Iss./2021

Art is one of the concepts has always discussed by philosophy from classical to modern. Whereas, philosophy re-exists in art, with the possibilities of art. In the works of Gilles Deleuze, one of the most authentic philosophers of the 20th Century, the artist and the philosopher are similar in terms of constructing ideas. However, the method of the artist and the method of the philosopher differentiate from one another. The artist creates ideas by activating perceptions and affections, while philosopher uses concepts. Director as an artist; expresses perceptions and affections in the form of images by using cinematic tools. This article aims to compare films from two auteur directors of New Turkish cinema, Inside (Zeki Demirkubuz, 2012) and Singing Women (Reha Erdem, 2013) with the image categories of Deleuze, and to demonstrate that these two directors use cinematic tools in their films to establish ideas through perceptions and affections, as emphasized by Deleuze. While conducting the research, first, the ideas about art in Deleuze’s philosophy were examined. For Deleuze, art is an activity of thought like philosophy and science. A chronological literature review shows that Deleuze’s philosophy cannot be separated from his thoughts on the philosophy of art, and that his ideas about cinema are an original part of this context. Then, the image classification that Deleuze discussed in Cinema I: Movement Image was mentioned in the context of “impulse images”. or Deleuze, the ability of films to perform a cinematic thinking activity depends on inventing images. The unifying concepts of impulse images are “the originary worlds” and “becoming”. For this reason, the mise-en-scène, acting and language signifiers in the aforementioned films have been analyzed through Deleuze’s impulse images and their unifying concepts. As a result, it was revealed that the directors cinematically constructed Deleuze’s images of impulse with the concepts that the philosopher discussed. It was concluded that the film directors discussed the categorical definition of mankind using signifiers such as mise-en-scène, acting and language.

Desire And Decadence In The Film Bildnis Einer Trinkerin (1979) As An Aesthetic Modernist Reaction

Author(s): Onur Keşaplı / Language(s): English Issue: Sp. Iss./2021

Aesthetic modernism parts from modernization which is characterised by westernization and progress. Aesthetic modernism, which prefers stability over improvement, primitivity over contemporary, imagination over mind, play over work and subconscious over consciousness is, with the enforcement of modern process, the other modern choice alongside the dominant version of modernization. It is difficult to say that the aesthetic modernism, which is interpreted as the stakeholder theme of 19th century romanticism and 20th century avant-garde, is treated sufficiently cinema. In spite of this, the filmography of Ulrike Ottinger as a feminist and surrealist director, provides a spectrum through which viewing of aesthetic modernism in cinema is possible). Bildnis Einer Trinkerin, which the director shot in 1979 while in pursuit of visual pleasure in the company of satire and fantasy, conveys the arrival of a woman in Berlin with one-way ticket and no other motivation than to get drunk and how she realizes her desire. The obscurity of the past and future of the main character provides an absolute focus to the actions and appearances that takes place in films timeline. The character who does not speak throughout the film becomes a feminine dandy with her costume repertoire and a flâneuse with her movements that knows no limit. Through the behaviours of the main character who, together with the side characters almost becomes part of a travelling circus, the film assumes an identification as an aesthetic modernist reaction. In regards to how the film achieves this, within the scope of conceptual frame, desire and decadence comes to the fore. Desire, which is determinant with regards to triggering of the absurdity in the film, is in harmony with productivity and sociability that Deleuze and Guattari incorporated while conceptualizing the term. Whereas the outcomes of the act of drinking of the main character point to decadence. Decadence, which includes the denotations of addiction and downfall is in harmony with Paglia’s conceptualization of the term within the axis of art and sexuality. Aesthetic modernism’s opposition to bourgeois and capitalism, which are the common ground of desire and decadence, bestows the film with an exceptional importance.

Yaşamın ve Ölümün Büyüsü: Terrence Malick’in Tarih Temalı Sinema Filmlerinde Doğa-İnsan-Savaş İlişkisi

Author(s): Sinan Vardar / Language(s): Turkish Issue: Sp. Iss./2021

The lines of life which are to discover again and again till the death which has ritualistic faces convert to an effective narration in Terrence Malick’s cinematography. All the narrations in Malick’s movies about historical include and examine relations between human and nature and own and other. These historical-themed narratives, which are put forward on the axis of concepts such as “love”, “magic”, “death”, “war”, “loss”, “eternity”, contain discussions reinforced with the language of cinema based on the self, which can be shown among the problematic issues based on humanity. These narratives on the reconstruction of the self in the face of the other encountered, and thus the questioning of cultural determinism are among the basic dynamics of the history-themed movies of Malick. In our study, we will examine and argue the topics such like issue of selfdom, constructing of selfdom, cultural determinism, relations between man and nature through Malick’s The Thin Red Line (1998) and The New World (2005) movies. Throughout the investigations to we carry out, we will evaluate the philosophy of history, the problem of the self, the establishment of the self, cultural determinism, the relationship between nature and human, based on related philosophical approaches.

Performance of Affects and Imitation of Emotions: A Study on Babis Makridis’s Pity Film

Author(s): Filiz Erdoğan Tuğran / Language(s): English Issue: Sp. Iss./2021

According to Gabriel De Tarde, from the moment a person is born, she/he creates her own behavior by imitating those around her/his. Tarde, in his book “Laws of Imitation”, which was published in a new edition in 1903; He mentions the importance of imitation and invention by saying “Everything socially is an invention or imitation, the relationship between the two is like the relationship between mountain and river”(Tarde, 1890 [1993], p. 3). Moreover, in the same work, he once again mentions the social importance of imitation by saying “In order for an invention to be considered an invention, it must be imitable”. Therefore, while creating human identity, which is a social being, it creates itself by feeding on the environment, people around it, literature and art. With the invention of cinema, this situation continues intensely by noticing the characteristics of movie characters and trying to resemble them. This process of imitation is also effective in the formation of the behaviors and therefore the emotions that come out with them. As the human being is also affected by the culture and historical processes she/he is in, she/he tries to create her/his own individuality within differences and samenesses. The article will discuss the performance and imitations of emotions based on Babis Makridis’ film Oiktos (Zavallı, Babis Makridis, 2018), which has been in the current called ‘Greek Strange Wave’ in recent years, and will try to examine the film through Brauch Spinoza’s concepts of affect and question the possibility of Ulus Baker’s proposal for a sociology of emotions.. The questions of how human emotions are formed and how emotional behaviors are shaped will be asked through the anonymous main hero of the film and answers will be sought.

Grafik Tasarimda Sürrealizm: Inception Film Afişi Örneği

Author(s): Levent Mercin,Cihan Tikit / Language(s): Turkish Issue: 64/2021

The scientific, social and political developments of the 20th century, which resulted in wars, were reflected in the field of art as the formation of movements based on the rejection of tradition. One of these art movements is Surrealism. Surrealism, which turns towards the reality and artistic expression of the subconscious by opposing rationalism and traditional way of thinking, continues its effect on many art fields such as literature, painting, sculpture, photography, graphic design. In this study, the influence of the Surrealism movement on graphic design and the graphic design works of the leading Surrealists were examined. The posters used in the movie ‘Inception’ were analyzed using the semiotic analysis method. According to the data obtained, the plot of the film is the adventures of a team who steal secrets and ideas from dreams, on a different mission. In terms of semiotics, it is referred to the transformation complexity in the perception of reality and reality with a vague transition from a realistic space to an unrealistic space in the foreground of the movie poster. This regulation, which has surrealist effects, can be interpreted as contrasts such as reality and fiction, reality and dream, reality and illusion, life and death. It can be stated that the written and visual elements in the posters examined are used in a way to create an aesthetic integrity and reflect the movie content to the audience, and the elements on the poster are successful in attracting attention, so the poster design has achieved its purpose. When the plot of the movie is examined in the context of intertextuality, it is understood that the movie ties in with very old doctrines.

Ancient Greek Sculpture in the 20th Century Western Art

Author(s): Sibel Almelek İşman / Language(s): English Issue: 62/2021

Ancient Greek art and culture had served as a significant guide for Western civilisation for centuries. Greek philosophy, literature and mythology as well as art and architecture had a major impact on artists especially in the periods of Renaissance and Neoclassicism. It is interesting to see that Ancient Greek sculpture has still been inspiring for the 20th century western painters, sculptors and performance artists. This article will focus on the visual representations of four statues -Apollo Belvedere, Venus of Milo, Nike of Samothrace and Sleeping Ariadne- in the imagination of artists working in various styles. Depictions of aforenamed statues and their novel and distinctive interpretations had been the subject of this descriptive research. 20th century creations have been scanned for traces of Ancient Greek sculpture. These timeless paragons of Classical and Hellenistic periods acquired a fresh life thanks to the 20th century art world’s admiration and respect for the Ancient Greek sculpture. It can be concluded that by juxtaposing classical and contemporary imagery, artists created memorable and engrossing works.

Eril Egemen Yapının Sanatsal Bağlamda Dişil Formu

Author(s): Tolga Akalın,Mehtap Kurt / Language(s): Turkish Issue: 62/2021

Women have always been the subject of art in terms of their biological and physiological characteristics. The compositions that are shaped in accordance with contents have different nuances in terms of form according to the cultural structure in the arts of civilizations with functional practices and sub-meaning interpretations. Despite this, they have common characteristics in terms of woman/body/sexuality on social duty and classification. Such that male domination social gender roles, gender discrimination based on biology bring along some restrictions and exclusion, and that degrades women to the subject of scopophilic. Gender structure in art is exposed with unfair visual codes, disadvantageous images, improper female circumstances and erotic nudity in many compositions. Women body that is turned into a theatrical material, their identity and gender are abstracted, their image, representation, symbol and government connetion shows the demands of male dominant structure. In this frame, the aim of this study is to analyze the affect of gender roles, patterns, the woman themed art pieces in historical process that is oriented towards structuring, building a sustainable woman perception in male dominant systems of societies on art history. Accordingly, the study is important in terms of showing the systematical dominances on woman identity, body, sexuality created by male dominant sense of art and art literature research in terms of turning femininity into a different construction other than its natural positions and clarifying the problem of re-naming and re-structuring the position of woman and body today. Literature research and descriptive research methods are used in this study. Related visuals and written resources are analyzed and the parts that are related to the content of this article are handled in a manner that creates meaningful unity.

Erol Deneç ve Ernst Fuchs’un Eserleri Üzerine Bir Karşılaştırma

Author(s): Rabiye Can Göl,Tuğba Güngör / Language(s): Turkish Issue: 62/2021

Fantastic Realism, rising from the surrealism movement, started with the Vienna Fantastic Realism school, which was founded in 1945 by Rudolf Hausner, Ernst Fuchs, Wolfgang Hutter, Anton Lehmden and Arik Brauer after World War II. Famous critic Prof. Johann Muschik named this core group "Fantastic Realists" due to the religious, mysterious subjects and symbolist approaches, that they dealt with in his works. In this research, the works of Ernst Fuchs (1930- 2015), one of the world's leading representatives of the fantastic realist art movement, "The Cross (1950)" and the "Human, Horse, Eagle Trio (1991)" by Erol Deneç (1941-…) are analyzed by using E. B. Feldmann’s "investigative art criticism" method, which is included in the discipline-based art education. E. B. Feldmann's method of "investigative art criticism"; consists of description, analysis, interpretation and judgment sub-titles. After examining the works individually, they were compared in terms of their similarities and differences. Despite the subject and technical richness of fantastic realism, the comparative analysis of the works of two artists who come from different lives and cultures, produced with similar characteristics, emphasizes the importance of the study, and it is thought that it will contribute to art education and shed light on the researchers who are interested in the field.

Nabokov vs. Dostoevsky: The Duality Of Standards and a Universal Message Conveyed

Author(s): Mohammed Amine Belaid,Imane Hind Sari / Language(s): English Issue: 61/2021

Literature underwent thousands of phases that caused people to react distinctly to the endless fluid of literary perception. The purpose of this study is to highlight the impact this continuity of changes had and still have on literary criticism. To epitomize the previous idea, we had to juxtapose the lives of two writers who witnessed different eras: Dostoevsky and Nabokov. The two figures experienced their intertwined fates with variant attitudes and welcomed all the occurrences with an open mind, a number of life-changing works sprang up from their collections of events and particularly personal accounts. This paper also aims to psychologically apply the former nuances of Nabokov’s criticism on Dostoevsky on his own writings in order to demonstrate the identical traits of the literary artist. The Jungian Theory served in this sense to bridge the gap between them and emphasize the emergence of the collective unconscious in the literary realm.

Post Modernizm Aurasına Bakış ve Sanatsal Örneklemeler

Author(s): Elif Fatma Tolun / Language(s): Turkish Issue: 61/2021

Postmodernism has been the subject of widespread debate and postmodernist production has filled every aspect of our lives. The works of European philosophicals such as François Lyotard, Michel Foucault, Gilles Deleuze, Pierre-Félix Guattari and Jean Baudrillard are connected to the subject within the framework of the development of tradition. Postmodernism was interpreted by these philosophicals as the losing its legitimacy of great meta-stories with the phenomenon of enlightenment. In the section called “Evolution of Postmodernism”, the views of European thinkers such as Lyotard, Foucault, Deleuze, Guattari and Baudrillard and some North American thinkers such as Jameson and Foster were discussed. In the section “Postmodern Situation and Examples in Plastic Arts”, postmodern art productions were examined in comparison with the movements that have predecessors such as minimalism and conceptual art. Finally, an evaluation has been made on what kind of structure can be mentioned in terms of these theoretical studies and artistic productions.

Gauguin’in Resimlerindeki Renk Orkestrasyonu

Author(s): Huseyin Uysal / Language(s): Turkish Issue: 61/2021

Gauguin is an important painter who lived between 1848-1903 and became a pioneer for his contemporaries with his artistic stance. Although he started painting at a late age, he proved himself in a short time with his devoted work, both theoretical and practical. Reacting to the nature-following feature of Impressionism towards which his contemporaries were oriented, innovations revealed its open artistic structure, arguing that emotion and state should be included alongside the impression. This innovative structure also opened the door for him to make exemplary studies on the relationship between painting and music within the scope of interdisciplinary art. Gauguin, who has a special interest in music, gave musical meaning to his paintings with color tones and often used the term "Color Orchestration" for his paintings. From this point of view, the aim of this study, which is shaped by the case study pattern, that is one of the qualitative research approaches, is to deal with the color orchestrations in Gauguin's paintings within a pictorial and musical framework. In this direction, five different paintings by Gauguin were chosen to create orchestration examples. By paying attention to the subject of the paintings and the stain values and timbres of the colors that make up the painting, instruments were determined to correspond to the color and orchestration examples were created with these instruments. As a result of revealing the relationship between color and sound with this study, Gauguin's "Colour Orchestration" idiom has been embodied.

Сцена як універсум комунікативної діяльності людини

Author(s): Lyudmyla Vaclavivna Tanska / Language(s): Ukrainian Issue: 4/2021

The purpose of the article. The research is connected with the definition of culturological bases of synthetic image formation in the system of modern communication and opening of stage space as a communicative phenomenon in the context of the transformation of spectacular cultural practices of the XX century. The research methodology consists of theoretical and interpretive models of comparative and systematic approaches to the definition of stage space as cultural integrity. The scientific novelty of the work is to reveal the peculiarities of cultural creation of stage space in the twentieth century, when artists turned to previous systems of artistic reflection, figurative distinctions of the stage in culture. Emphasis is placed on the relevance of the study of the communicative properties of the stage in cultural construction. The stage can be remote, virtual, chamber, monumental. However, the scene from the category of subjectspatial dimension passes into another dimension - time. On the stage you can not break the unity of time and space, the stage is the unity of action and event, and also presents a certain space-time - chronotope, human image, an image of the day. Conclusions. The revival of the pre-cultural, pre-civilization in the broad progressive sense of the word world of the stage becomes the basis for a polymorphic definition of the communicative dimension of the stage as such. Stage space in the modern dimension requires a comprehensive interdisciplinary study, which focuses on discursive analysis, phenomenological and aesthetic studies of the categories "stage", "act", "action", "event", "creativity", etc. The article only raises the issue of interdisciplinary research tools. Further elaboration of the problem field requires separate investigations.

Поняття «Contemporary Dance» (танець контемпорарі): культурологічні, філософські та мистецтвознавчі підходи

Author(s): Natalia Vladimirovna Fedotova / Language(s): Ukrainian Issue: 4/2021

Київський театр класичного балету: історичний та мистецький аспекти діяльності (1981–1998)

Author(s): Olha Sergeevna Bilash / Language(s): Ukrainian Issue: 4/2021

The purpose of the article is to learn the pattern of the artistic activities of the troupe "Theatre of Classic Ballet" in the context of the historical development of Ukrainian choreographic art of 1980th and 1990th. The methodology of the work contains using such research methods as general-historical, comparative-historical, analytical, etc. The scientific novelty of the publication lies in the exploration of the work of the troupe of "Theatre of Classic Ballet" its historical and artistic aspects for the first time in history. Conclusions. The activity of the artistic group has been connected with the work of famous Ukrainian ballet masters of the second half of the 20th century, such as V. Vronsky (1981-1986), V. Rybiy (1986-1988), and V. Kovtun (1989-1998). V. Vronsky has formed the principal cast of the troupe, create a basic repertoire, which included masterpieces of the world and Ukrainian classics. Also, the team has been popularized because of the cooperation with the leading theatres of the USSR. V. Rybiy has extended the concert programs of theatre with the help of the works of Soviet and European ballet masters. He has gained an ability to show those works in any theatrical conditions, using a minimum of stage designs. However, V. Kovtun has introduced in the repertoire big choreographic forms and, in order to implement them - he has expanded the troupe to 45 people. He has also invited famous Kyiv performers to take part in the program and has developed abilities for young artists to enter the troupe.

Чоловіче академічне виконавство 1950–1970-х рр. (на прикладі творчої діяльності М. Апухтіна, А. Бєлова та Г. Баукіна)

Author(s): Liudmyla Ivanivna Vyshotravka / Language(s): Ukrainian Issue: 4/2021

The purpose of the article is to study artistic processes among ballet performers in the 1950s – 1970s on the example of the creative activity of Nikolai Apukhtin, Anatoly Belov, and Gennady Baukin. The methodology of the work includes the use of the following research methods: general historical, comparative, analytical, dialectical, systemic, etc. The scientific novelty of the publication lies in the fact that it first explored the professional culture in the field of male classical performance of the first half of the twentieth century on the example of the stage achievements of N. Apukhtin, A. Belov, and G. Baukin. Conclusions. The artistic contribution of the ballet premieres of the 1950s – 1970s. in the development of Ukrainian classical choreography on the example of the creativity of dancers N. Apukhtin, A. Belov, and G. Baukin, consists in the following: 1) a significant increase in the professional culture of performers due to the complication of the technical component and improvement of the actors' acting skills; 2) the creation of highly artistic images in ballets of the Soviet classics (B. Asafiev, R. Glier, A. Kerin, S. Prokofiev, A. Khachaturian, M. Chulaki, V. Yurovsky, etc.) and choreographic performances on national themes (V. Homolyak, K. Dankevich, G. Zhukovsky, V. Kireiko, N. Lysenko, A. Svechnikov, M. Skorulsky, B. Tishchenko, etc.); 3) transfer of professional experience in the process of pedagogical work to subsequent generations of Ukrainian dancers.

Контактна імпровізація в контексті соціального танцю ХХІ століття: особливості відкритої танцювальної форми «джем»

Author(s): Anastasia Vladimirovna Zhuravleva / Language(s): Ukrainian Issue: 4/2021

The purpose of the article is to reveal the features of contact improvisation as a practice of social dance of the XXI century and to determine the specifics of its implementation in the unique dance form "jam". Research methodology. A comprehensive method of studying the features of contact improvisation in the context of a social dance of the XXI century, a historical method, thanks to which the details of the development of contact improvisation have been clarified; the method of functional and systems analysis, which contributed to the study of contact improvisation as a unique hybrid practice; a phenomenological method that helped to highlight the essential features and identify the key elements of contact improvisation in the dance form "jam", etc. The scientific novelty consists in expanding the theoretical basis for analyzing the phenomenon of contact improvisation; clarifying the concept of "contact improvisation"; the features of the practice of contact improvisation in the context of the specificity of social dance are investigated on the basis of the analysis of its physical and mental components; analyzed the main elements of contact improvisation (inaction, weighing/carrying, falling, playing, discussing, observing, touching) through the prism of the unique open dance form "jam". Conclusions. Contact improvisation is based on communication between two moving bodies that are in physical contact, and the cumulative relationship of physical laws governing their motion - the laws of gravity, momentum, and inertia. In accordance with the specifics of social dance, contact improvisation is a tool for studying one's own capabilities, a model of human relations and meditative practice, which creates the preconditions for further development, providing a huge space of freedom and ease of performance of one or another dance element, removes the restrictions imposed by choreography, allows you to move like this, as the dancer wants, without tension, provides new material for self-knowledge and exploration of relationships, is a source of inspiration and a way of expressing the creative energy that is in the body. Contact improvisation, as a hybrid practice, works at the crossroads between body meditation, psycho-kinesthetic therapy, sports training, and dance improvisation and, in the context of the specifics of social dance, is implemented at improvisational meetings of contactees, the so-called jams, at the local and national level.

Принципи хореографічної освіти в початкових мистецьких закладах

Author(s): Olga Yaroslavivna Kvetsko / Language(s): Ukrainian Issue: 4/2021

The purpose of the article is to determine the basic principles of choreographic education in primary art institutions. Methodology. The methods of analysis and synthesis are used in the work. Based on the analysis of classes with different age groups of children on the basis of the choreographic department of Kaluga Children's Music School of Ivano-Frankivsk region identified the basic principles of choreographic education, which contribute to the improvement and development of children's performance, creative thinking, discipline and aesthetic taste to dance. The method of synthesis allowed us to determine the main criteria for teaching choreography for preschoolers. The scientific novelty of the work is that for the first time the basic principles of education and choreography lessons were comprehensively studied. The paper analyzes the trends in the development of choreographic education in primary art institutions; the concept of "children's choreography" is defined as one of the bases of formation of dancing abilities and "foundation" for further development of children in the direction of choreographic art;. It is investigated that the newest information technologies in the field of choreographic art allow: to strengthen the efficiency of knowledge of children; create a positive impression in choreography lessons; provide high educational diversity; increase success; to improve performing skills; rationally organize educational indicators; increase academic achievement. Conclusions. The author concludes that the use of the latest methods and techniques of teaching choreography will lead to high success, increase performance, which will determine in the future the path of children to further professional choreographic education.

Сучасний танець: теоретичні засади новітніх підходів до викладання

Author(s): Oleksiy Anatoliyovych Pastukhov / Language(s): Ukrainian Issue: 4/2021

The purpose of the article is to substantiate the theoretical principles of using specific approaches in the process of training performers of modern dance. The research methodology is based on an interdisciplinary synthesis of scientific methods and approaches integrated into pedagogy, art history, and psychology. General scientific methods were also used: analysis, synthesis, generalization. The scientific novelty of the article lies in the conceptualization of the theoretical substantiation of specific approaches in the preparation of performers for modern dance, in particular, taking into account the latest technologies and psycho-emotional and mental characteristics of the performer. Conclusions. Along with traditional methods of teaching modern dances, it is necessary to develop and implement innovative methods and approaches that would meet the requirements of the latest technological development. In particular, they are related to the peculiarities of distance education, the ability to use computer programs to simulate biomechanical models of movement, to hone their kinematic technique, which largely determines the aesthetic and visual superiority and complexity of modern dance compositions. It is important to take into account the psychoemotional characteristics of the modern dancer based on the development of his creative and innovative thinking, improvisation, as well as the socio-communicative component, which involves the ability to convey a wide range of potential emotional expressions and social signals from performer to spectator.