Anthropological Interpretations in the Basics of Thinking and the Language of Physicality in Dance

Abstract

The problem stated in the scientific article is an issue in the philosophy and psychology of art and is part of the general reasoning about creative thinking in the history of culture. Nevertheless, it reserves the obvious fact of its insufficient elaboration in the field of choreographic art, as well as in the system of dance activity at different stages of cultural and historical time.

The author believes that the task of the anthropological vector of the study of the language of physicality and thinking in dance is not similar to the traditional art criticism analysis. It is solved in completely different ways. The article is based on the methodology of cultural-historical and art criticism analysis of generally accepted scientific definitions and concepts of choreographic art, but builds a new vector in dealing with them.

The author comes to the conclusion that the basis for understanding the subject of choreography is thinking and its connection with the language of physicality in dance. In this regard, anthropological interpretations are another meaning of the quality of choreographic knowledge, which, firstly, allows us to reveal the methodological potential of the Russian school of art criticism from the perspective of modern multifunctional discourse. It is a kind of search for a balance between the physical, mental and sensual components in the language of physicality. Secondly, it allows us to bring to the identification of the specifics of the spatio-temporal organization of dance and to define this connection with thinking as an informative (polysemantic and architectonic) field of ability.

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