Body-rhythmic organization of artistic performance

Abstract

The article deals with the theoretical understanding of the body-rhythmic organization of artistic performance as a key mechanism of the performative process and the definition of its role in the formation of performing integrity, stage presence and artistic image. Special attention is paid to the interaction of movement, breathing, temporal structure of action and processes of perception that determine the logic of the stage event. Artistic performance is considered as a complex process in which body action, rhythmic organization and sound-acoustic components are combined into an interdependent system. The regularities of the organization of stage action have been revealed based on the application of structural-functional analysis of performance processes, which made it possible to trace the interaction of plastic, rhythmic and temporal parameters in the formation of artistic integrity. A comparative analysis of modern performative practices has been carried out, as a result of which common principles of body-rhythmic organization in various forms of stage art were outlined. The interpretative approach has been used to understand the role of body and sound impulses in the construction of stage dramaturgy. The scientific novelty of the research is determined in the interpretation of the body-rhythmic organization of artistic performance as an integrative approach that synchronizes the temporal, spatial, and energetic parameters of stage action. It is substantiated that rhythm functions as an internal score of performance, which ensures the coherence of the ensemble, forms stage tension, and structures the process of audience perception. The artistic image is considered as an event of interaction arising from the resonance of body impulses, sound signals and perceptual attention. It is proved that the body-rhythmic organization is the structural basis of artistic performance, which provides the internal logic of stage action and transforms it into the process of shared experience. The physical dynamics of movement, the acoustic fabric of performance and cognitive mechanisms of perception are combined, as a result of which the artistic image appears as a living, procedural structure. Prospects for further research related to the analysis of body-rhythmic strategies in various types of performative arts and the possibilities of their use in performing and artistic-pedagogical practice are outlined