Corporeality as a concept of expression in musical and choreographic art

Abstract

The article is aimed at defining the conceptual field of bodily expressiveness in musical and choreographic art. The research methodology was developed based on the conceptualization of the issue of corporeality (as a multidimensional existential attribute of a person), which requires methodological pluralism, and therefore is based on several scientific approaches. Thus, historical discourse allows us to consistently trace radical changes in the interpretation of the category of corporeality. Thanks to the anthropological approach, the following is determined: the relationship between the evolution of the bodily concept and the cognitive mechanisms of musical reception and creativity; functioning of music and dance as a universal symbolic communication for homo sapiens; the ability of a person to express his thoughts and emotions with the help of his own body. The use of a discursive approach made it possible to substantiate the kinship of the concept of “motority” with philosophical, aesthetic, culturological, musicological and choreological categories, such as: time, space, chronotope, movement, gesture, intonation, rhythm and meter. The semiological approach made it possible to characterize musical motority as a symbolic sphere, to reveal plastic types of musical motority. It has been established that the meaning of the concept of expressiveness should be sought in its communicative essence, therefore corporeality should also be considered as a phenomenon of the specific language of musical and choreographic art. The linguistic means of expressiveness of the specified arts include their specific means of expression and means of artistic imagery, which can attract attention, arouse interest, influence emotions and feelings. It has been proved that the bodily presence in all real musical experience is not simply a sensory “response” to an auditory “stimulus”, but an important constitutive element. The bodily moment is immanently present in every act of musical creativity as a connecting link between knowledge, action and being. The intuitive basis of musical knowledge and creativity is, first of all, the sense of potentially fruitful options mediated by the body.