Stage Performance of Pop Song: Set of Expressive Means in Contemporary Performance Practices

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The art of pop singing includes not only vocal art but also a complex of expressive means, among which the performer’s acting skills play a prominent role; the extent to which additional expressive means are used depends on the performer’s individuality, the semantic, figurative, emotional and stylistic originality of the song. The purpose of the research is to describe the set of expressive means that a singer can use when creating an artistic image and performing a pop song on stage (vocal art, acting and the singer’s image (stage image), theatricalisation and scenography of a musical piece, the role of accompaniment). Research methodology. Musicological, stylistic, and contextual analysis is applied; a complex of expressive means of a stage performance of a pop song in modern socio-cultural conditions is considered, which is the basis for forming a musician (pop singer) – an artist of a new universal type. The scientific novelty of the study lies in the in-depth consideration of a complex of expressive means in the contemporary stage practices of pop singers, including the acting skills of pop performers, the theatricalisation of vocal pop works, etc., which makes it possible to determine the trend of development of contemporary pop song as a synthesis of acting and vocal art. Conclusions. When a song is sung in the name of a character, the main means of expression of the pop singer’s acting skill is transformation, the creation of the character of the character for whom the song is sung. The theatricalisation of a pop song requires the performer and the director to have a sense of proportion to understand that the meaning and image of the work are revealed primarily through singing; one of the most essential tasks of the director is to help the pop singer find an original and organic image. It is undeniable that the live accompaniment of a song provides an opportunity for a broader theatricalisation in the sense of communication between the singer and the concertmaster or orchestra. In the pyrotechnics of a pop singer’s performance, the leading positions belong to inner vision, imagination and penetration into the emotional and semantic construction of the material.