Choreographic Elements Research Articles

Bentuk Penyajian Tari Manggang Kemplang Oleh Sanggar Kipas Emas Di Kelurahan Timbangan Ogan Ilir

Manggang Kemplang Dance is a dance that tells about the manggang kemplang tradition which reflects the local wisdom of the Ogan Ilir people in utilizing natural resources and local wisdom in processing food which is danced by 5 dancers. The problem in the research is the form of presentation of the Manggang Kemplang dance in Timbangan Village, Ogan Ilir Regency. The aim of this research is to find out and describe the form of presentation of the Manggang Kemplang dance by the Golden Fan Studio in Timbangan Village, Ogan Ilir Regency. This research uses qualitative methods with data collection techniques in the form of observation, interviews, documentation and literature study. The form of presentation of the Manggang Kemplang dance consists of aspects of choreographic elements which include dance movements, dance space, accompaniment/accompaniment music, dance title, dance theme, dance type, mode of presentation, dancers, fashion, make-up, lighting and props. .

Hybrid choreographic femininities: DanceSport, physical culture, and performative corporeality in contemporary China

ABSTRACT The integration of conventional Western styles and Chinese (physical) cultural elements has become an increasingly utilised choreographic trend in Chinese DanceSport. In major competitions and televised events, choreographers have sought to create distinctive performance-based identities and practices that at once adhere to Western stylistic and competitive conventions but also incorporate traditional Chinese physical and cultural aesthetics. In this study, we draw from Foucault’s theorisations of power and knowledge and disciplinary techniques to offer a dispositive analysis of the bodily performances of Chinese female DanceSport dancers – specifically analysing 19 prized dance pieces in two national competitions. Through the analysis of discursive, non-discursive, and material choreographic elements, we seek to examine how the bodies of Chinese female dancers interact with multiple forms of Western DanceSport and Chinese socio-cultural and political power/knowledge. We conclude that Chinese female dancing bodies are subject to the anatomical knowledge regarding the physical execution of Western technical skills as well as adhering to the norms of Western feminine aesthetics. However, our analysis illustrates how Chinese female dancers strategically utilise Western dance movements and techniques to navigate and potentially negotiate with traditional Chinese norms. Yet, these practices may still function within an anatomopolitical framework of female dancing bodies that is shaped through the promotion of Chinese national identity by the state.

Systematization of elements in single and pair figure skating as a component of sport

At the current stage of development of figure skating, its technical and compositional components have undergone drastic changes, even compared to the 2000s. If at the beginning of the last century, the basis of the competition program was formed by figures that require only skating skills and require not so much coordination as technical skills, then the modern competition program involves the performance of a wide arsenal of technical and choreographic elements, among which skating skills are only one of the evaluation criteria. Globalization and evolution of figure skating have brought this sport to a completely new level, expanding the number of disciplines and the variability of technical elements. The increase in the number of performing multi-turn jumps and the increase in the variability of rotations is the main vector that determines the direction of sports training and requires increased attention to these elements on the part of coaches and athletes. The diversity of the competitive program encourages athletes, coaches and choreographers to improve the elements of the technique according to various criteria, as well as to detail its components, which is difficult to achieve without their systematization. Technical elements were divided into classes by M. Panin-Kolomenkin, O. Mishin, and O. Tchaikovsky. Systematization of elements greatly facilitates coaching and is indispensable in judging and also provides an elementary understanding of the components of the sport directly for the athlete. However, in modern scientific literature, the issue of systematization of the main technical elements is highlighted in a fragmentary way, which emphasizes the relevance of this work.

USING MODERN INNOVATIVE METHODS AND TECHNOLOGIES IN TEACHING SWIMMING TO CHILDREN OF PRESCHOOL AGE

In the last decade, many comprehensive programs for physical education of children in preschool institutions have been approved in Ukraine, but they do not take into account the great potential of modern innovative methods and technologies. Therefore, their research opens up new opportunities for practical improvement of the process of teaching preschoolers to swim. The purpose of the article is to outline modern innovative methods and technologies for teaching swimming to preschool children, which can be gradually introduced into the process of physical education in preschool educational institutions of Ukraine. During the study of the problem, the authors used the methods of analysis of scientific sources, specification, comparison, and pedagogical observation. According to the results of the research, taking into account the personnel and material and technical capabilities of preschool educational institutions, it is recommended to introduce swimming lessons using general developmental and dance music-rhythmic exercises from the arsenal of artistic gymnastics, synchronized swimming, aquastep. The authors draw attention to swimming lessons with elements of aquaaerobics, hydroaerobics, hydroplastics, funk aerobics, children's yoga in a playful form, as well as classes in applied swimming. The article points to the experience of studying the possibility of multi-phase swimming training in deep water conditions. Music-rhythmic exercises in water have already partially entered the practice of teaching children, but all their possibilities are not only not used, but even not thoroughly studied. With preschoolers who have already mastered the basic swimming skills, figure-swimming lessons can be held, where complexes of choreographic elements are performed using gymnastic and acrobatic combinations. Applied swimming lessons are designed to form skills in children that allow them to perform various actions in water in non-standard situations of everyday life. Children's yoga in the water helps to form a correct posture, strengthen muscular corset, promotes concentration of attention, coordination of breathing and development of all physical qualities, especially flexibility and strength. Innovative methods and technologies of teaching older preschoolers to swim can be used in lessons held in the conditions of a deep swimming pool. On the lessons, not only standard, but also modular equipment should be used. In the process of introducing innovative technologies into the process of teaching swimming to children of preschool age, it is necessary to adhere to such technological criteria as scientific, systematic, structured, procedural, and efficient.

Koreografi Tari Pasambahan Sanggar Nan Gombang di Painan Kabupaten Pesisir Selatan

This study aims to reveal and describe the Choreography of pasambahan dance in Sanggar Nan Gombang in Painan, Pesisir Selatan Regency. This type of research is qualitative research with descriptive methods. This research instrument is the researcher himself and is assisted by supporting instruments such as stationery, books, cellphones, digital cameras. The data in this study used primary data and secondary data. Data collection techniques are carried out by means of literature studies, observations, interviews, documentation. The steps of analyzing data are data collection, data reduction, data presentation and drawing conclusions. The results showed that pasambahan dance consists of choreographic elements which include themes, movements, upper design, floor design, music design, dramatic design, process, equipment, and group choreography. The theme of pasambahan dance is welcoming distinguished guests. The movements of the Pasambahan dance consist of 24 kinds of movements. In the upper design listed from the Pasambahan dance, it is more dominant to use angular, horizontal, low, and vertical upper designs. In this Pasambahan dance floor design, it is developed from a straight line, curved and left oblong. Pasambahan dance music design uses musical instruments such as Talempong, Bansi, Gandang, Violin, Saluang, and Guitar Bass. The dramatic design of Pasambahan dance has an atmosphere of excitement of a host who welcomes guests who come to visit. The process of this Pasambahan dance starts from the idea possessed by the choreographer and is expressed in the form of motion that exists in the elements of choreography, as well as the property of carano that is used more predominantly in unison interactions.

KREATIVITAS YOLANDA PUTRI PROBOSEKAR DALAM KARYA TARI LEDHEK DI SANGGAR GUNTUR KOTA KEDIRI

This research was conducted as a study on the creativity of creating a new work inspired by Tayub's folk art. The Ledhek dance is a new creation dance in the type of popular traditional dance created by Yolanda Putri Probosekar and performed in 2019 at TMII. The problem in this research is about Ledhek Dance Choreography. The concept used to analyze the choreography of the Ledhek dance is to use Sumandiyo Hadi's concept of group choreographic elements, [ etc.]

The "White" duet in J. Neumeier's ballet “Lady of the Camellias": features of the author's interpretation of the roles of Marguerite and Armand

In this article, the author continues to study the choreographic interpretations of the works of J. Neumeier, in particular, the ballet "Lady of the Camellias". The identification of expressive staging means and choreographic elements used by Neumeier in the production of the "white" duet of Marguerite and Armand is carried out in this work in order to determine the place of this choreographic fragment in the performance and its significance both for the plastic embodiment of the images of the main characters and in the context of the evolution of the author's style. The author applied comparative-historical, ideological-artistic and analytical methods, as well as the method of included observation (based on personal experience of working with Neumeier). Video materials from the archives of the Hamburg "Ballettzentrum" and the Moscow Bolshoi Theater and lectures conducted by Neumeier on the eve of the Moscow premiere of "Lady of the Camellias" (recordings from the author's archive) were also used. A detailed analysis of the "white" duet allows us to conclude that the studied choreographic fragment is markedly different from the other two duets of Marguerite and Arman. From the point of view of developing the images of the main characters, this is the only episode of the play in which Neumeier allows the audience to see the light lyrics in the relationship between Marguerite and Armand. In the "white" duet, the choreographic innovations of the choreographer in the field of technically saturated duet dance, replete with upper supports, with a lack of preparation for them and constant control by the partner of the ballerina's movements, are especially justified. They are the main means of plastic expressiveness, creating the effect of flight, an unbroken flow of movements, as well as the visualization of musical legato. It is this duet technique (later actively used by the choreographer) that can be called a distinctive feature of the choreographic style of J. Neumeier.

ELEMEN-ELEMEN KOREOGRAFI DAN REFLEKSI DALAM SAJIAN KARYA TARI TUNJUNG PUTIH

Tunjung Putih dance by the choreographer; Divany Rico Jhosua in 2020 is a new traditional art whose dance work creation is motivated by the problem of social discrimination experienced by cross-dressers and cross-gender dancers. The idea of creating this work is the story of Wrahatnala's character while posing as a woman and acting like a sissy. To find out the elements of choreography in Tunjung Putih dance, the author uses the concept presented by Y. Sumandyo Hadi, namely the explanation of the concepts of cultivation through the elaboration of choreographic elements. The result of this study is to know the form of Tunjung Putih dance through the description of 11 elements of choreography in it. Reflection of the creation of Tunjung Putih dance in the form of critical analysis with further research to respondents on issues and responses related to the presentation of this dance work.

Three Duets of Katarina and Petruchio in John Kranko's Ballet The Taming of the Shrew: on the Question of Choreographic Interpretation of the Literary Source

The subject of this article is the interpretation of J. Kranko images of Katarina and Petruchio in three duets of the ballet "The Taming of the Shrew", studied in contextual comparison with the original text – the comedy of W. Shakespeare. The purpose of the study is to determine the place of the three duets of the main characters in Kranko's performance, drawing ideological and figurative parallels with the text of the original source, and to identify expressive means and choreographic elements used by the choreographer in their production. The methods of ballet studies analysis approved by ballet historians Dobrovolskaya, Krasovskaya, Surits were used as a theoretical basis; the works of choreographer and ballet art theorist Lopukhov became the methodological basis for the analysis of choreography. Other sources used include video materials from the archives of the Stuttgart State Opera and the Bolshoi Theater. The work on the article required a historical approach – the involvement of materials (videotapes and reviews) from 1969 to 1996.. The methods of ideological and artistic analysis and semantic analysis of the choreographic construction of the duets of Katarina and Petruchio were also used. The detailed semantic analysis of the choreography and composition of the duets of the main characters has become the main research tool. The new results include the identification and comparison of staging tools developed and used by the choreographer. In the first duet it is an alternation of syncopated pas, acrobatic elements, movements on the floor; in the second – plastic imitations of funny and awkward situations; in the third – technically rich choreographic development of duet dance (which corresponds to the three phases of the development of the relationship of the heroes: duel, ridicule, harmony). So, the modification of the images and relationships of the main characters of J. Kranko concludes The Taming of the Shrew in three duets, making them meaningful fragments that form the concept of ballet, as well as the author's view of the plot of the comedy by W. Shakespeare.

Duets by Anna Karenina and Alexey Vronsky in the ballet by J. Neumeier's "Anna Karenina": features of the author's interpretation of the images of the main characters

This article continues the author's research devoted to the study of the problem of choreographic interpretations of literary works, in particular, John Neumeier's ballet "Anna Karenina". In this work, the identification of expressive staging means and choreographic elements used by Neumeier in the production of duets by Anna Karenina and Alexei Vronsky is carried out in order to determine the place of these choreographic fragments in the performance, as well as their significance for the author's interpretation of the images of the main characters of the novel by Leo Tolstoy. In the course of the research, the author applied comparative-historical, ideological-artistic and analytical methods, as well as the method of included observation (based on personal experience of working with Neumeier on Kitty's party). In the course of the source analysis, video materials from the archives of the Hamburg Ballettzentrum and the Moscow Bolshoi Theater were used, as well as lectures conducted by Neumeier before the Moscow premiere of Anna Karenina (recordings from the author's archive). A detailed analysis of the dance score of three duets by Anna and Vronsky revealed traditional and innovative author's solutions related to the new research results. So, Neumeier uses such staging means as the compilation of Tchaikovsky and Schnittke's music; the inclusion of symbolic images (a chair, a door, a bag) in the choreographic canvas; the appearance of other characters; the use of stage lighting to accentuate the transition from reality to the sphere of the subconscious; active choreographic development based on a technically saturated duet dance, replete with high supports in the neoclassical style, as well as acrobatic elements; semantic use of plastic quotations. It can be concluded that in order to develop the images and relationships of Anna Karenina and Alexey Vronsky, the choreographer chooses a duet as the dominant musical and choreographic form. Moreover, in his version of Anna Karenina, Neumeier makes three duets of the main characters a key component of the performance and the author's interpretation of the images of the main characters.

Ballet "The Taming of the Shrew" by Jean-Christophe Maillot: peculiarities of authorial interpretation of the images of Katherine and Petruchio

The subject of this research is Jean-Christophe Maillot’s interpretation of the images of Katherine and Petruchio in the context of ideological-imagery parallels with the original text – W. Shakespeare’s comedy "The Taming of the Shrew". The article determines the expressive means and choreographic elements used by the choreographer to stage the lead roles, as well as their contextual comparison with the original literary text. The theoretical framework leans on the principles of ballet analysis developed by the ballet theoretician and historians Dobrovolskaya, Krasovskaya, Slonimsky, and Surits. The works by Lopukhov serve as the methodological basis for analysis of the shape and choreography. Other sources include video materials from the archives of Monte Carlo Ballet and Bolshoi Theater, recordings of staged rehearsals that took place from April to June 2014 (author's archive). The research employs the methods of ideological-artistic analysis, semantic analysis of construction and choreographic solution of the roles of Katherine and Petruchio, as well as method of included observation (personal participation in the performance). The novelty lies in revealing the innovative and modernized classical elements of choreography and staging developed by Maillot (leitmotif plasticity combinations, transforming symbolic moves). The detailed semantic analysis of the composition and choreography f the images of Katherine and Petruchio became the main instrument of research and allowed making the following conclusions. Interpretation of the images of the protagonists in the first act is conceptually similar to Shakespeare's text and slightly adapted in accordance with the expressive potential of ballet art and authorial artistic tasks. In the second act, the choreographer shifts the compositional and plotline focus, highlighting not the final scenes, but the full-scale duet of the protagonists, where the plasticity solution is transformed depending on the changes in their emotional states. Namely abstract and visual plasticity ideation individualizes the choreographic style of Maillot and underlies his interpretation of the profound plotline of Shakespeare's comedy.

The aesthetic category of the comic in the musical characterization of characters (on the example of Yuri Shevchenko's ballet “Buratino and the Magic Violin”)

The purpose of the article. To analyze the embodiment of the comic on the material of Yuri Shevchenko’s ballet “Buratino and the Magic Violin” through the analysis of musical and choreographic elements, as well as the peculiarities of their synthesis. Suggest a typology of ballet characters. Methodology. Methods of comparison and matching helped to determine the differences between comic and lyrical characters, as well as to identify the means of expression that created the appropriate comic image. Scientific novelty. For the first time in Ukrainian art history, an analysis of musical and choreographic elements was carried out to identify the comic component of the characters in Yuri Shevchenko’s ballet “Buratino and the Magic Violin”. The synthesis of musical and choreographic components of ballet is emphasized. A typology of ballet characters is proposed. Conclusions. The analysis allowed to divide the characters of Yuri Shevchenko’s ballet “Buratino and the Magic Violin” into comic, semi-comic, humorous, and lyrical. The means of expression (musical and choreographic) used to characterize the characters with an emphasis on the comic group were identified. In music, this is the leittimbre of the trombone mainly in low registers, “broken” intervals, as well as leitintervals (dissonances), tremolo trumpet, and glissando of copper and, most importantly, the characteristic rhythmic pattern with syncope. In choreography, it is the dominance of non-classical elements and movements, as well as specific, street techniques ― leitelements (falling, pushing, pulling, kicking). Keywords: aesthetic category comic, choreographic elements, synthesis of elements, leittimbres, leitelements, leitintervals, comic, semi-comic, humorous, lyrical characters.

The study of the archaic round dances dramaturgy from the spring cycle

The relevance of the study is determined by the need to find clarification of the interpretation of the primary symbolism of some dance ornaments and movements. This will help to focus the choreographers’ attention on the competent use and interpretation of symbols in the dance dramaturgy.
 The purpose of this study is to analyze the archaic motifs in the dramaturgy of the spring cycle dances on the cycle example of round dances “Podolianochka” to explain their primary sign content.
 The methodology. The article analyzes the dramaturgy of the archaic spring rites on the cycle example of round dances “Podolianochka”, which are united by a plot and choreographic features. The archaic origins sources of the choreographic staging of these ritual actions are traced and systematized. The components of mythological, calendar-ritual and initiating origins of such a rite are considered.
 The results. The main character origin as a sun reflection in the spring flood (in the Danube) is formulated on the basis of a common feature — “white face” and others. The initiation of “Podolianochka-Bilodanchyk” leads to the Lela-spring birth. Choreographic elements that contribute to the success of the magical ritual and accompany the events course are considered: jumps — for the successful initiation, marriage and promoting plant growth, running — to increase fertility. It is shown that the schemes of movement in these round dances ensure the involvement of all girls in the role of the central character, as well as create magical symbols similar to Easter painting: sun-bird, meander, “thunderbolt”. It is proved that from the view of magical point the round dance plays the role of rosaries, the grains of which are taken one by one, and to each of them the gods’ glorification is pronounced.
 The novelty of this study is to clarify the ideological basis of the main character origin of the dance “Podolianochka-Bilodanchyk”, in the interpretation of choreographic patterns as symbols similar to Easter painting, the analogy between the touching of rosaries and mandatory participation in the role of the central character of all girls.
 The practical significance of this study is the selection of meaningful lines of round dance dramaturgy: 1) choreographic staging of events with grain and sorcery for the harvest; 2) girls’ initiation before the marriage period; 3) choreographic staging of events from the gods’ life and consecration of human actions. This allows you to more fully reconstruct both individual movements and the round dance dramaturgy as a whole in practice.

Serangan Empat Hari Di Surakarta Sebagai Sumber Penciptaan Karya Tari Tekad

The research entitled Tekad choreography by Zhola Verucha Taruna aims to find out and explain descriptively about the form of Tekad choreography, which includes the creation process. The theoretical basis used is the theory of structure, according to Suzanne K. Langer. The creation process uses the thoughts of Alma H. Hawkins and uses the approach of Sumandiyo Hadi to explain the choreographic elements. The method used in this research is Practice-Based Research.The results showed that the choreography of Tekad by Zhola Verucha Taruna was non-literal. This dance form consists of four parts. The use of everyday movements is varied with the Aikido movement of the Muso Jihiden Eishin Ryu flow, which has been developed and uses the ideas of the katana as a symbol property of determination. While the music used is music in the form of MIDI (Musical Instrument Digital Interface), and lighting is more about spatial attitudes. The process of creating this dance work uses the principle of re-interpreting the Four-Day General Attack of the City of Surakarta with elements of novelty in the form of works through seeing, feeling, and imagining, and manifesting them into form. Determination is the title of a dance work resulting from exploration, improvisation, and evaluation of ideas into a complete form to accommodate messages or contents about struggle or spirit.

Organizing Controversy: Toward Cultural Hospitality in Controlled Vocabularies Through Semantic Annotation

This research explores current controversies within country dance communities and the implications of cultural and ethical issues related to representation of gender and race in a KOS for an ICH, while investigating the importance of context and the applicability of semantic approaches in the implementation of synonym rings. During development of a controlled vocabulary to represent dance concepts for country dance choreography, this study encountered and considered the importance of history and culture regarding synonymous and near-synonymous terms used to describe dance roles and choreographic elements. A subset of names for the same choreographic concepts across four subdomains of country dance (English country dance, Scottish country dance, contra dance, and modern western square dance) were used as a case study. These concepts included traditionally gendered dance roles and choreographic terms with a racially pejorative history. Through the lens of existing research on ethical knowl­edge organization, this study focused on principles and methods of transparency, multivocality, cultural warrant, cultural hospitality, and intersectionality to conduct a domain analysis of country dance resources. The analysis revealed differing levels of engagement and distinction among dance practitioners and communities for their preferences to use different terms for the same concept. Various lexical, grammatical, affective, social, political, and cultural aspects also emerged as important contextual factors for the use and assignment of terms. As a result, this study proposes the use of semantic annotation to represent those contextual factors and to allow mechanisms of user choice in the design of a country dance knowl­edge organization system. Future research arising from this study would focus on expanding examination to other country dance genres and continued exploration of the use of semantic approaches to represent contextual factors in controlled vocabulary development.

Joint loads and muscle force distribution during classical and jazz pirouettes

The objective of this study was to analyze the muscle force distribution and lower limb joint loading during two types of pirouettes and check which muscle in which pirouette generates the highest force and which joint is the most loaded. Skilled dancers (n = 16) performed single-turn pirouettes in jazz and classic styles. Kinematic and kinetic data were collected using the Vicon system and Kistler plates. The joint reaction forces and muscle forces were calculated using a musculoskeletal model in the AnyBody Modeling System. No statistically significant differences were found for the duration of the turn in both pirouettes. The range of motion in all joints of supporting leg in sagittal plane and in hip joint in frontal plane for non-supporting leg were significantly higher in classic pirouette. The ankle joint was the most loaded joint in both pirouettes and its maximal value was significantly higher in classic pirouette. The force generated by ankle plantar flexors muscles was significantly greater in the jazz pirouette in turn phase. For the nonsupport limb, external hip rotators generated significantly greater force when performing the classic pirouette. It seems that early stage dancers may start their lessons with jazz pirouettes, where necessary joint mobility is lesser. They also are supposed to increase muscle strength and body awareness with such proceedings. A better awareness of the mechanical loads on the musculoskeletal system which a dancer performing pirouettes faces should have an impact on the way dance classes are conducted and choreographic elements are sequenced.

Идиопатическая кокцигодиния как «маска» повреждения от перегрузки в видах двигательной активности, связанных с искусством движения

In this study, we analyzed specific manifestations of idiopathic coccygodynia in children and adolescents involved in rhythmic gymnastics and choreography. The experimental group consisted of 34 individuals aged 10 to 14 years with complaints of discomfort and/or pain in the pelvis, sacrum, coccyx, and hip joints, increasing during professional movements and who had no history of injuries. The control group comprised 12 healthy adolescents from the same teams. We evaluated local muscle hypertonia, pain severity (using a visual analog scale) in all study participants. In addition to that, they have undergone sports and choreographic testing and isokinetic examination (using the multiarticular complex ‘Biodex System 4 Pro’). Individuals in the experimental group had a 2-week rehabilitation course that included modification of training; intramuscular injections of 2.0 mL of 0.1% lidocaine solution into the area of muscle hypertonia; application of ointment (2.2 mL); manual therapy; special exercises to relax spasmed muscles). We identified significant difference in pain severity when performing basic choreographic elements between the two groups in the beginning of the study. We also observed a significant decrease in pain in the experimental group after the rehabilitation course. We obtained an indirect proof of the hypothesis that local muscle hypertonia is the leading cause of discomfort and pain. The results of isometric examination suggest that the number of patients with a bilateral difference (according to two of the three parameters studied) significantly differed between participants in the experimental group after a course of physical rehabilitation and controls. This fact can serve as an indirect evidence that hypertonia affects functional activation of muscles, and a 2-week course of physical rehabilitation is not sufficient. The introduction of the concept of ‘sports coccygodynia’ will allow orthopedic traumatologists and sports medicine doctors to focus on several therapeutic and diagnostic measures and to avoid unnecessary instrumental examination, which will significantly increase the effectiveness of patient rehabilitation. Key words: children and adolescents, muscle hypertonia, coccygodynia, lesions caused by overload, choreography, rhythmic gymnastics

Choreographic language in French musical and stage productions XVII – XVIII centuries

Purpose of the article. The article is devoted to issues of choreographic vocabulary in French musical and stage productions of the XVII - XVIII centuries, which will allow us to broaden knowledge about the historical dance of this period and to outline new directions in its study. The methodology of the research is to apply methods of formal and comparative analysis, hermeneutic method, which allowed to analyze the purpose and functions of dance art at the court in France in an era of absolutism; characterize the specifics of the dance language in the aspect of its semantic content. The scientific novelty of the work is to deepen the notions of choreographic elements and their interaction in the dances of French musical and stage productions of the XVII - XVIII centuries, which broadens opportunities for their perception and understanding; the role of dance in the social and political life of the contemporary society, which allows us to outline new angles in the study of ballet history, historical dance in colleges, universities, etc. The materials offered in the article are of interest to specialists in such fields as the philosophy of culture, the history of choreography, etc. Conclusions. The content of choreographic elements and their interaction in the dances of French musical and stage productions of the 17th - 18th centuries is largely uncertain. In part, it can be understood by studying such aspects as facial expressions, gestures, as well as features of world perception and rules of court etiquette of the period under study. Some explanations can be found in the works of the XVII - XVIII centuries, which are devoted to the phenomenon of dance. Some of them present numerous numerical and rather complicated conditional symbols of dance movements, hand movements, body, descriptions of external attributes of dance that had a significant effect on the design of the artistic whole, however, did not deny freedom in their interpretation.

Dance as a Key Element of the Masque in the Royal English Court of King James I

The historical aspect of the formation and flourishing of the genre of the English court Masque, which is associated with the period of the reign of the Stuart kings, is considered. The performances of the Masques of the reign of James I of England were financially costly, requiring the joint efforts of the best poets, set designers, composers, musicians, and choreographers. It was found that the court Masque of the era of James I, began with the Antimasque, which was the invention of the leading court poet and playwright B. Johnson. Antimasque is a kind of mirror that reflected the best traditions of ancient Greek pantomime. Antimasque did not imply the presence of actor's remarks. The function of the Antimasque was to contrast, to oppose the highest virtue, which was undoubtedly possessed by the King and the aristocracy, against all sorts of human vices. The Antimasque looked like an amateur show, with obscene dances, caustic humour, whimsical dance figures, ugly costumes and Masques. The confrontation between Masque and Antimasque acquired a moral and social aspect. It is described that French and Italian dance masters had a significant influence on the choreographic performances of English Masques, and Italian dances dominated and were cultivated at the court of James I. The functions of dance in the Masque, which formed the core of the performance, had cementing properties typical for the royal family and its court. The sequence of dances in Masques is established — from the calm and measured (mezher) to the fast and easy: galliard, lavolta, branli, moriski. It was found that the cost of luxurious costumes, Masques, decorations and stage effects, and the services of foreign choreographers approached astronomical figures. It is proved that the epilogue of the court Masque was marked by a joint dance with the audience. This emphasized the secular-spiritual, sacred-ritual significance of the Masque, although the performances of the Masques did not go beyond the generally accepted norms of a society with patriarchal values. The functions of the Masques are substantiated, which were mainly reduced to the demonstration of the wealth and power of England and the assertion of the status of the anointed king of God. The Masques of James I are seen as a dynamic bright spectacle, a phenomenon of the Stuart era. In the future, the choreographic elements in the Masques become a prerequisite for the development of English ballet, and the musical and theatrical elements of the Masques — the prototype of English opera.

CHOREOGRAPHIC WORKS AS OBJECTS OF FORENSIC EXPERTISE: KEY FEATURES AND APPROACHES TO SOLVING EXPERT TASKS

A research aim was to investigate signs peculiar to choreographic works, as objects of copyright. Will consider, what elements of choreographic results can be attributed to maintenance, and also internal and external forms, and also to offer approach to the decision of set certain tasks. Identification of the main features of choreographic works has a special relevance for the methodological provision of forensic expert activity. It was established that the main tasks of the forensic expertise of choreographic works are: the definition of the object of copyright law in the object of research; definition in the object of the research or its part of signs of originality and creative nature; establishing the fact of reproduction of a choreographic work; establishing a method for its use or processing. The results of the conducted research indicate that the elements of the internal form of choreographic works may include the artistic image, composition, structure of the work. The elements of the external form – the choreographic work of the work (choreographic vocabulary of the work, style of speech), that is, the author’s own means and techniques of creating artistic images, with which plastic dance images are created. During realization of expertise it is expedient to investigate the next elements of choreographic language works: composition of motions, gestures, poses, mimicry; harmoniousness of motions and poses, plastic expressiveness and mimicry, rate and rhythm of motion, spatial picture; light and colour decisions; stage sceneries, suits, make-up and hair-dos of actors; individual style of motion (handwriting of motions) etc. At establishment of fact of the complete or partial use of choreographic work an expert on the stage of comparative research conducts the analysis of language elements of the investigated works, methods of their selection, use, mutual combination and correlation. The elements of maintenance and form of these works are thus analysed, in particular, features of expression of their internal and external form. In the process of research the special attention applies on facts that can testify to more early use by other authors of analogical choreographic elements. It also establishes the originality of the used choreographic vocabulary of the work, means and methods of creating artistic images. Key words: choreographic works, forms of work, expert practice, objects of copyright.