ARTICLE SUMMARY PERFORMING ARTS AS AN INTER-ARTISTIC PHENOMENON

Abstract

The objective of the article is to theoretically understand the performing arts as an inter-artistic phenomenon and determine its methodological significance for the analysis of contemporary choreography and musical art.
The research methodology is based on the interdisciplinary approach combining methods of theoretical analysis, comparison and generalization. The work uses the principles of performance studies, aesthetics of performativity, art history and cultural analysis, which allows us to consider artistic phenomena not as a set of completed objects, but as event processes within which meaning is formed through action, bodily presence and interaction.
The research results show that performativity should be interpreted not as a set of individual types of art, but as an inter-artistic field in which movement, sound, voice, gesture and space function as equal meaning-making components. It is proven that performative phenomena cause a change in the roles of the performer and the viewer, transforming them into coparticipants
in the process. Particular attention is paid to the analysis of choreography and musical arts as bodily-spatial and collective forms of performative action. As an example, avant-garde choral practices are given (in particular, in the work of Karlheinz Stockhausen and Mauricio Kagel), where vocal sound directly correlates with breathing, body resonance and spatial arrangement of performers, creating a common acoustic-bodily field. It is substantiated that these principles transform choral
performance into a performative-installation project in which the vocalist or dancer acquires the status of a universal performer operating with a sound gesture.
The scientific novelty is in the meaningful understanding of performativity as an inter-artistic idea and in substantiating its characteristics for the analysis of choreographic and musical practices in a single research field.
Practical significance of the work is in the possibility of using its provisions in art historical research, understanding the interaction of choreography and musical art, as well as in the interpretation of the modern performative form of stage culture.