Pub Date : 2022-09-28DOI: 10.31516/2410-5325.077.08
I. Pedan
The purpose of the article is to study the artistic properties of natural materials in modern object design. The focus is on the problems of using the artistic properties of natural materials, as well as their interpretation in morphology and aesthetics. An important element of this interaction is the use of natural materials in design, which today is a current trend not only in the artistic, but also in the commercial context. Thus, natural materials often become the main goal of design practices. They are systematically used by artists to express their symbolic ideas, which explore the properties and content of materials. My personal experience in both design and fine arts allows us to speak about the important role of the analysis of the artistic properties of natural materials. From my point of view, this area of design requires a separate, deeper reflection. It is necessary to study and generalize the system of artistic representation of materials, which is often considered by researchers as a secondary task. As my research showed, an important component in the analysis of the expressive means of natural materials is the subject environment. It is for this reason that natural materials are equally interesting for both designers and artists. Orientation to the subject environment raises the question of the nature of the use of natural and artificial materials, their combination in artworks. The methodology. The purpose and objectives of the study determined the methodology. As the main ones, I used the methods of typology and structural generalization. The results. The study of the artistic experience of European designers, as well as the study of special scientific literature, allows me to mark out two main groups of formal means of expression. They are formed on the basis of the criterion of interaction with the natural properties of natural materials: 1) means of expression that transform the original features of natural materials; this group considers those artistic practices that change the original features of the material under the influence of a general design decision; 2) means of expression, which are the most natural properties and characteristics of the material; this group considers such artistic practices that do not significantly change the basic qualities of natural materials. Each group has its own morphological features, which to some extent affect the artistic integrity of the work. Natural materials are natural carriers of textural and textural qualities, the identification and use of which greatly contributes to the quality of the aesthetic solution. The natural aesthetic properties of, for example, stone or wood have a significant impact on the compositional-plastic and figurative-stylistic features of the work. These features form a more expressive artistic language. The scientific novelty. The article proposes the author’s typology of the use of natural materials in the design of objects.
{"title":"Artistic properties of natural materials in object design: imitation and interpretation","authors":"I. Pedan","doi":"10.31516/2410-5325.077.08","DOIUrl":"https://doi.org/10.31516/2410-5325.077.08","url":null,"abstract":"The purpose of the article is to study the artistic properties of natural materials in modern object design. The focus is on the problems of using the artistic properties of natural materials, as well as their interpretation in morphology and aesthetics. \u0000An important element of this interaction is the use of natural materials in design, which today is a current trend not only in the artistic, but also in the commercial context. Thus, natural materials often become the main goal of design practices. They are systematically used by artists to express their symbolic ideas, which explore the properties and content of materials. \u0000My personal experience in both design and fine arts allows us to speak about the important role of the analysis of the artistic properties of natural materials. From my point of view, this area of design requires a separate, deeper reflection. It is necessary to study and generalize the system of artistic representation of materials, which is often considered by researchers as a secondary task. \u0000As my research showed, an important component in the analysis of the expressive means of natural materials is the subject environment. It is for this reason that natural materials are equally interesting for both designers and artists. Orientation to the subject environment raises the question of the nature of the use of natural and artificial materials, their combination in artworks. \u0000The methodology. The purpose and objectives of the study determined the methodology. As the main ones, I used the methods of typology and structural generalization. \u0000The results. The study of the artistic experience of European designers, as well as the study of special scientific literature, allows me to mark out two main groups of formal means of expression. They are formed on the basis of the criterion of interaction with the natural properties of natural materials: \u00001) means of expression that transform the original features of natural materials; this group considers those artistic practices that change the original features of the material under the influence of a general design decision; \u00002) means of expression, which are the most natural properties and characteristics of the material; this group considers such artistic practices that do not significantly change the basic qualities of natural materials. \u0000Each group has its own morphological features, which to some extent affect the artistic integrity of the work. Natural materials are natural carriers of textural and textural qualities, the identification and use of which greatly contributes to the quality of the aesthetic solution. The natural aesthetic properties of, for example, stone or wood have a significant impact on the compositional-plastic and figurative-stylistic features of the work. These features form a more expressive artistic language. \u0000The scientific novelty. The article proposes the author’s typology of the use of natural materials in the design of objects.","PeriodicalId":33223,"journal":{"name":"Kul''tura Ukrayini","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-09-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48013077","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-29DOI: 10.31516/2410-5325.076.11
T. S. Pavliuk
The purpose of this article. The purpose of the article is to analyze the historical processes of the development of ballroom choreography in the Baltic countries in the XX century. The methodology. The following methods were applied in the work: historical and historical-genetic — in order to understand the genesis, the specifics of the processes of development of ballroom dance; source study — for the selection and processing of sources related to the art of ballroom dancing; comparative — to compare the historical periods of the evolution of ballroom culture; included observation — to view individual choreographic works and their preliminary comprehension. The scientific novelty. For the first time, an attempt was made to study topical issues of the development of ballroom choreography in the Baltic countries in the XX century. The results. The Baltic republics became the center of the development of Soviet ballroom choreography, because ballroom practice existed here even before World War II as part of local traditions. The first choreographic organizations arose here, in particular, the Estonian Dance Union (1930). In the post-war period, local and international ballroom dance tournaments were held at a high level in Estonia, Latvia and Lithuania. A generation of outstanding ballroom dancers has formed in Riga, Tallinn, Vilnius, Klaipeda and other cities. In the Baltic republics, the “Soviet program” of ballroom dancing did not become popular: due to the lack of strict party censorship that exists in other Soviet regions, local dancers developed as performers of the European and Latin American programs. Conducting seminars and master classes in different republics of the USSR, they served as conductors of high standards of world ballroom choreography in the Soviet Union. The collapse of the USSR led to significant socio-cultural transformations and the beginning of a movement towards European integration, the Baltic countries, like other former Soviet republics, began to actively join the world traditions and trends of ballroom choreography.
{"title":"Ballroom choreography of the XX century in the Baltic countries","authors":"T. S. Pavliuk","doi":"10.31516/2410-5325.076.11","DOIUrl":"https://doi.org/10.31516/2410-5325.076.11","url":null,"abstract":"The purpose of this article. The purpose of the article is to analyze the historical processes of the development of ballroom choreography in the Baltic countries in the XX century. \u0000The methodology. The following methods were applied in the work: historical and historical-genetic — in order to understand the genesis, the specifics of the processes of development of ballroom dance; source study — for the selection and processing of sources related to the art of ballroom dancing; comparative — to compare the historical periods of the evolution of ballroom culture; included observation — to view individual choreographic works and their preliminary comprehension. \u0000The scientific novelty. For the first time, an attempt was made to study topical issues of the development of ballroom choreography in the Baltic countries in the XX century. \u0000The results. The Baltic republics became the center of the development of Soviet ballroom choreography, because ballroom practice existed here even before World War II as part of local traditions. The first choreographic organizations arose here, in particular, the Estonian Dance Union (1930). In the post-war period, local and international ballroom dance tournaments were held at a high level in Estonia, Latvia and Lithuania. A generation of outstanding ballroom dancers has formed in Riga, Tallinn, Vilnius, Klaipeda and other cities. \u0000In the Baltic republics, the “Soviet program” of ballroom dancing did not become popular: due to the lack of strict party censorship that exists in other Soviet regions, local dancers developed as performers of the European and Latin American programs. Conducting seminars and master classes in different republics of the USSR, they served as conductors of high standards of world ballroom choreography in the Soviet Union. \u0000The collapse of the USSR led to significant socio-cultural transformations and the beginning of a movement towards European integration, the Baltic countries, like other former Soviet republics, began to actively join the world traditions and trends of ballroom choreography.","PeriodicalId":33223,"journal":{"name":"Kul''tura Ukrayini","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48718039","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-29DOI: 10.31516/2410-5325.076.18
A. A. Paladiichuk, N. Tsyhanovska
The purpose is to highlight the issues of improving the performance skills of higher education applicants — choreographers at all stages of professional education in folk stage dance using the method of myofascial release. The methodology. To achieve this goal, a number of general scientific methods were used, in particular: the method of pedagogical observation, the method of analysis and synthesis, methods of generalization and systematization, historical and genetic method, method of questionnaire and polling. The results. Myofascial release training is an integral part of maintaining the health of applicants-choreographers. Purposeful use of MFR techniques throughout the the whole period of study at stage folk dance classes has a compensatory function, helps dancers to recover faster after high loads, improves the elasticity of muscle and connective tissue, increases the amplitude of movement in the joints, which, in its turn, leads to better results of performance skills. The scientific topicality lies in the consideration of the issues of higher education applicants’ performance skills improvement when making complex movements at all stages of training in stage folk dance by the method of myofascial release. The influence of MFR on the performance skills of applicants-choreographers in stage folk dance is considered. Series of exercises on myofascial release with the help of various techniques are suggested: rolling, rocking, resting, raking and releasing. The practical significance lies in the use of MFR exercises by higher education applicants at folk dance classes, which improves the quality of performance skills. Systematic use of the MFR method by higher education applicants at all stages of training not only helps to avoid future occupational injuries of articular-ligamentous apparatus, but also improves the quality of functional and aesthetic movement when performing complex virtuoso movements.
{"title":"Improvement of performance skills in folk stage dance by the means of myofascial release","authors":"A. A. Paladiichuk, N. Tsyhanovska","doi":"10.31516/2410-5325.076.18","DOIUrl":"https://doi.org/10.31516/2410-5325.076.18","url":null,"abstract":"The purpose is to highlight the issues of improving the performance skills of higher education applicants — choreographers at all stages of professional education in folk stage dance using the method of myofascial release. \u0000The methodology. To achieve this goal, a number of general scientific methods were used, in particular: the method of pedagogical observation, the method of analysis and synthesis, methods of generalization and systematization, historical and genetic method, method of questionnaire and polling. \u0000The results. Myofascial release training is an integral part of maintaining the health of applicants-choreographers. Purposeful use of MFR techniques throughout the the whole period of study at stage folk dance classes has a compensatory function, helps dancers to recover faster after high loads, improves the elasticity of muscle and connective tissue, increases the amplitude of movement in the joints, which, in its turn, leads to better results of performance skills. \u0000The scientific topicality lies in the consideration of the issues of higher education applicants’ performance skills improvement when making complex movements at all stages of training in stage folk dance by the method of myofascial release. The influence of MFR on the performance skills of applicants-choreographers in stage folk dance is considered. Series of exercises on myofascial release with the help of various techniques are suggested: rolling, rocking, resting, raking and releasing. \u0000The practical significance lies in the use of MFR exercises by higher education applicants at folk dance classes, which improves the quality of performance skills. Systematic use of the MFR method by higher education applicants at all stages of training not only helps to avoid future occupational injuries of articular-ligamentous apparatus, but also improves the quality of functional and aesthetic movement when performing complex virtuoso movements.","PeriodicalId":33223,"journal":{"name":"Kul''tura Ukrayini","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45402440","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-29DOI: 10.31516/2410-5325.076.12
Yu. M. Zubai
The phenomenon of pianist-composer in Ukrainian musical culture, considered in retrospect, is studied. Its consideration allows to fully understand the place and role of creative and instrumental performance of Ukrainian artists both in the history of musical culture of Ukraine and in terms of the development of musical culture in Europe. The purpose of the article. To make a systematic review of the phenomenon of pianist-composer in Ukrainian musical culture, in the XIX-XXI centuries, in terms of the contribution of Ukrainian musicians into the development of both the art of composition and performance (instrument — piano). The methodology. Interdisciplinary approach has been applied, within which there is an appeal to cultural, art, psychological, historical, etc., scientific principles; we used activity-structural method in the direction of research of creative personality (pianist-composer), method of cultural-historical analysis (activity and historical significance of creativity of pianist-composer in Ukrainian musical culture); applied intonation, genre-style and text-interpretation methods that contribute to the adequate assessment of the results of the creative process in the field of composition and performance; methods of biography and source studies used in the historical research aspect of assessing the importance of the personality of Ukrainian pianists-composers. The results. A retrospective review of the work and instrumental and performance activities (piano) of Ukrainian pianists-composers in terms of their importance for Ukrainian musical culture and for world, European musical activity. The scientific novelty. For the first time we made an attempt of a systematic diachronic analysis of the meaning of compositional and instrumental-performance activities (piano) of Ukrainian artists of the XIX–XXI centuries in terms of formation and further development of the domestic piano school with the simultaneous influence of the compositional activities of these individuals on the musical culture of Ukraine and the world. The practical significance. Systematized presentation of historical and cultural, musicological, etc., characteristics of the phenomenon of pianist-composer in Ukrainian musical culture, allows to apply its results in teaching at the level of specialized music institutions, in the segment of development of educational materials on this topic, to promote Ukrainian piano schools and compositional works of outstanding domestic artists, also in the direction of determining the projective trends in the development of domestic compositional and performing (piano) musical activities.
{"title":"The phenomenon of pianist-composer in Ukrainian musical culture","authors":"Yu. M. Zubai","doi":"10.31516/2410-5325.076.12","DOIUrl":"https://doi.org/10.31516/2410-5325.076.12","url":null,"abstract":"The phenomenon of pianist-composer in Ukrainian musical culture, considered in retrospect, is studied. Its consideration allows to fully understand the place and role of creative and instrumental performance of Ukrainian artists both in the history of musical culture of Ukraine and in terms of the development of musical culture in Europe. \u0000The purpose of the article. To make a systematic review of the phenomenon of pianist-composer in Ukrainian musical culture, in the XIX-XXI centuries, in terms of the contribution of Ukrainian musicians into the development of both the art of composition and performance (instrument — piano). \u0000The methodology. Interdisciplinary approach has been applied, within which there is an appeal to cultural, art, psychological, historical, etc., scientific principles; we used activity-structural method in the direction of research of creative personality (pianist-composer), method of cultural-historical analysis (activity and historical significance of creativity of pianist-composer in Ukrainian musical culture); applied intonation, genre-style and text-interpretation methods that contribute to the adequate assessment of the results of the creative process in the field of composition and performance; methods of biography and source studies used in the historical research aspect of assessing the importance of the personality of Ukrainian pianists-composers. \u0000The results. A retrospective review of the work and instrumental and performance activities (piano) of Ukrainian pianists-composers in terms of their importance for Ukrainian musical culture and for world, European musical activity. \u0000The scientific novelty. For the first time we made an attempt of a systematic diachronic analysis of the meaning of compositional and instrumental-performance activities (piano) of Ukrainian artists of the XIX–XXI centuries in terms of formation and further development of the domestic piano school with the simultaneous influence of the compositional activities of these individuals on the musical culture of Ukraine and the world. \u0000The practical significance. Systematized presentation of historical and cultural, musicological, etc., characteristics of the phenomenon of pianist-composer in Ukrainian musical culture, allows to apply its results in teaching at the level of specialized music institutions, in the segment of development of educational materials on this topic, to promote Ukrainian piano schools and compositional works of outstanding domestic artists, also in the direction of determining the projective trends in the development of domestic compositional and performing (piano) musical activities.","PeriodicalId":33223,"journal":{"name":"Kul''tura Ukrayini","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48170146","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-29DOI: 10.31516/2410-5325.076.04
V. Sheiko, E. Trubaieva
The purpose of the article is to highlight the mediating role of psychoanalysis in the processes of evolution of culture and art and the formation of culturology as a new and young scientific field. The main attention is paid to the mediating role of psychoanalysis in the development of the cultural and artistic field and the formation of personality. The methodology of this scientific research is culturological principles and research methods. It is the culturological methodology that has convincingly proved the mediating role of psychoanalysis in the civilizational development of culture and art, in the processes of formation of culturology as a scientific field. The topicality is, firstly, the application of culturological methodology, which made it possible to clarify the mediating role of psychoanalysis in the civilizational evolution of culture and art and the formation of culturology as a science in general. The scientific result of this study is a positive attempt with the help of culturological methodology to clarify the mediating role of psychoanalysis in the evolution of culture and art and in the processes of formation of culturology as a science. The practical significance of the scientific results of the article is that they can serve as a source material for further research on this issue, and can be used as research material for the preparation of scientific and methodological and teaching handbooks for lectures on issues of culture, art and culturology.
{"title":"Mediation component of psychoanalysis in the evolution of culture and the formation of culturology as a science","authors":"V. Sheiko, E. Trubaieva","doi":"10.31516/2410-5325.076.04","DOIUrl":"https://doi.org/10.31516/2410-5325.076.04","url":null,"abstract":"The purpose of the article is to highlight the mediating role of psychoanalysis in the processes of evolution of culture and art and the formation of culturology as a new and young scientific field. The main attention is paid to the mediating role of psychoanalysis in the development of the cultural and artistic field and the formation of personality. \u0000The methodology of this scientific research is culturological principles and research methods. It is the culturological methodology that has convincingly proved the mediating role of psychoanalysis in the civilizational development of culture and art, in the processes of formation of culturology as a scientific field. \u0000The topicality is, firstly, the application of culturological methodology, which made it possible to clarify the mediating role of psychoanalysis in the civilizational evolution of culture and art and the formation of culturology as a science in general. \u0000The scientific result of this study is a positive attempt with the help of culturological methodology to clarify the mediating role of psychoanalysis in the evolution of culture and art and in the processes of formation of culturology as a science. \u0000The practical significance of the scientific results of the article is that they can serve as a source material for further research on this issue, and can be used as research material for the preparation of scientific and methodological and teaching handbooks for lectures on issues of culture, art and culturology.","PeriodicalId":33223,"journal":{"name":"Kul''tura Ukrayini","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47561911","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-29DOI: 10.31516/2410-5325.076.06
D. Trehubov, І. М. Trehubova
The topicality of the research is determined by the need for a deeper understanding of the Ukrainian people’s worldview based on the analysis of the folklore and traditions. The current state of folklore and traditions has absorbed information from different historical times, but their comparison allows us to identify the foundations of the Ukrainians’ worldview. The purpose of this research is to find the ritual motives that formed the basis of the “procurement of a girl” plot based on the Slavs’ traditions and to find the place for this plot in the calendar-ritual cycle. The methodology. The article analyzes spring and wedding motifs within the folklore plot “procurement of a girl” and searches for the place of the corresponding ritual in the calendar-ritual cycle. The paper focuses on the typical formulas used in the respective songs, and focuses on initiation and solar bases of the plot. The results. Solar symbols of the plot “procurement of a girl” were identified: the Zori bathing in the form of a sun reflection, the meeting of the dawn by a girl under a pine tree with an allegorical ignition of a tree, the swimming in the Danube is a sunset allegory, the Cossacks movement coincides with the sun movement, the horse is a solar sign. The initiation character of the plot “procurement of a girl” was clarified: a journey through a disordered world, a comparison of the pine tree burning with the image of a bride, the ritual use of the magical time (dawn) and the ritual use of the magical bathing water. Among the ceremonial events of the spring period, Ivan Kupala holiday was chosen as the basis for comparison with plot peculiarities. It is shown that only this holiday combines spring and wedding ceremonies and traditions. It is concluded that an important element of the initiation rite is the horse used as the Sun image and a carrier through the afterlife, so the movement of Cossacks on horseback from the Don to home was a solar symbol. It is shown that within the specified plot at the initiation time the girl is alone and needs help at dawn from the Sun and from the groom-Cossack, who is waiting for the ceremony end. The scientific novelty of this research is to clarify the place in the calendar-ritual cycle of events that took place within the “procurement of a girl” plot. It is established that the archaic solar marriage ceremony took place during the summer solstice, and later had divided into Ivan Kupala holiday and wedding ceremonies. The practical results of this research are the separation of archaic Easter plots (for the spring equinox) such as “Podolianochky” from Kupala plots such as “procurement of a girl”. A more detailed comparison of the last plot with Kupala traditions allowed to restore the ritual actions dramaturgy of the archaic solar marriage.
{"title":"Initiation elements of the folklore plot “procurement of a girl”","authors":"D. Trehubov, І. М. Trehubova","doi":"10.31516/2410-5325.076.06","DOIUrl":"https://doi.org/10.31516/2410-5325.076.06","url":null,"abstract":"The topicality of the research is determined by the need for a deeper understanding of the Ukrainian people’s worldview based on the analysis of the folklore and traditions. The current state of folklore and traditions has absorbed information from different historical times, but their comparison allows us to identify the foundations of the Ukrainians’ worldview. \u0000The purpose of this research is to find the ritual motives that formed the basis of the “procurement of a girl” plot based on the Slavs’ traditions and to find the place for this plot in the calendar-ritual cycle. \u0000The methodology. The article analyzes spring and wedding motifs within the folklore plot “procurement of a girl” and searches for the place of the corresponding ritual in the calendar-ritual cycle. The paper focuses on the typical formulas used in the respective songs, and focuses on initiation and solar bases of the plot. \u0000The results. Solar symbols of the plot “procurement of a girl” were identified: the Zori bathing in the form of a sun reflection, the meeting of the dawn by a girl under a pine tree with an allegorical ignition of a tree, the swimming in the Danube is a sunset allegory, the Cossacks movement coincides with the sun movement, the horse is a solar sign. The initiation character of the plot “procurement of a girl” was clarified: a journey through a disordered world, a comparison of the pine tree burning with the image of a bride, the ritual use of the magical time (dawn) and the ritual use of the magical bathing water. Among the ceremonial events of the spring period, Ivan Kupala holiday was chosen as the basis for comparison with plot peculiarities. It is shown that only this holiday combines spring and wedding ceremonies and traditions. It is concluded that an important element of the initiation rite is the horse used as the Sun image and a carrier through the afterlife, so the movement of Cossacks on horseback from the Don to home was a solar symbol. It is shown that within the specified plot at the initiation time the girl is alone and needs help at dawn from the Sun and from the groom-Cossack, who is waiting for the ceremony end. \u0000The scientific novelty of this research is to clarify the place in the calendar-ritual cycle of events that took place within the “procurement of a girl” plot. It is established that the archaic solar marriage ceremony took place during the summer solstice, and later had divided into Ivan Kupala holiday and wedding ceremonies. \u0000The practical results of this research are the separation of archaic Easter plots (for the spring equinox) such as “Podolianochky” from Kupala plots such as “procurement of a girl”. A more detailed comparison of the last plot with Kupala traditions allowed to restore the ritual actions dramaturgy of the archaic solar marriage.","PeriodicalId":33223,"journal":{"name":"Kul''tura Ukrayini","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44189681","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-29DOI: 10.31516/2410-5325.076.16
V. Miziak
The purpose of the study. To analyze essential characteristics of stage speech in actor’s profession and to distinguish the aspects relevant in forming of future actors’ professional skills. An additional purpose of the research lies in exploration of significance of all stage speech skills acquired in the course of training and practical activities in young actor’s professional career. The methodology. The methodology of the paper is determined by the specifics of the article’s subject and purpose. The basis of the research is determined by historical-chronological, typological, analytical and complex methods along with the use of own methodological materials and generally accepted theatrical literature, archival materials and periodicals on the subject. To solve the set tasks, analytical-synthetic methods of source processing and art analysis (particularly in the part of practical review of using the exercises for breathing posture, development and correction of diction and pronunciation) have also been used, as well as the comparative-historical approach (to outline the state of stage speech development in Ukraine and across the world). Conclusions. We revealed the pedagogical conditions for formation of performing skills and professional speech potential in those who master the art of acting through professional training at higher educational institutions. It is appropriate to introduce special courses in practical areas of “Verbal interaction training” and “Training of actor’s acting skills”. Such conditions are fully justified theoretically and proven experimentally in the course of educational process in higher educational institutions and by practical experience in theatrical realities of state and private creative teams. The semantic component of working with words and speech practice in students’ training in the acting field has been defined, structural components, criteria and indicators have been outlined, with performing skills’ levels having also been described to further assess the mastery of acting in the course of professional training. Having analyzed various sources on the subject of the article, we can summarize that perfect mastery of stage speech is one of the future actor’s most significant indicators emphasizing his/her skills. The scientific novelty. In the framework of analytical research, the mechanisms for development of basic professional skills of stage speech in students of higher educational institutions applying for the first (bachelor’s) level of “dramatic theater and cinema” acting art educational curriculum were analyzed. The practical significance of results obtained. The research results may be used to improve educational curricula that need to be implemented for the purposes of developing better and more productive skills of professional stage speech. They may also be used in preparation for individual practical lessons, lecture courses on “Stage speech” subject to train future professional actors of th
{"title":"Stage speech as a important component of professional skills in mastering the profession of actor","authors":"V. Miziak","doi":"10.31516/2410-5325.076.16","DOIUrl":"https://doi.org/10.31516/2410-5325.076.16","url":null,"abstract":"The purpose of the study. To analyze essential characteristics of stage speech in actor’s profession and to distinguish the aspects relevant in forming of future actors’ professional skills. An additional purpose of the research lies in exploration of significance of all stage speech skills acquired in the course of training and practical activities in young actor’s professional career. \u0000The methodology. The methodology of the paper is determined by the specifics of the article’s subject and purpose. The basis of the research is determined by historical-chronological, typological, analytical and complex methods along with the use of own methodological materials and generally accepted theatrical literature, archival materials and periodicals on the subject. To solve the set tasks, analytical-synthetic methods of source processing and art analysis (particularly in the part of practical review of using the exercises for breathing posture, development and correction of diction and pronunciation) have also been used, as well as the comparative-historical approach (to outline the state of stage speech development in Ukraine and across the world). \u0000Conclusions. We revealed the pedagogical conditions for formation of performing skills and professional speech potential in those who master the art of acting through professional training at higher educational institutions. It is appropriate to introduce special courses in practical areas of “Verbal interaction training” and “Training of actor’s acting skills”. Such conditions are fully justified theoretically and proven experimentally in the course of educational process in higher educational institutions and by practical experience in theatrical realities of state and private creative teams. The semantic component of working with words and speech practice in students’ training in the acting field has been defined, structural components, criteria and indicators have been outlined, with performing skills’ levels having also been described to further assess the mastery of acting in the course of professional training. Having analyzed various sources on the subject of the article, we can summarize that perfect mastery of stage speech is one of the future actor’s most significant indicators emphasizing his/her skills. \u0000The scientific novelty. In the framework of analytical research, the mechanisms for development of basic professional skills of stage speech in students of higher educational institutions applying for the first (bachelor’s) level of “dramatic theater and cinema” acting art educational curriculum were analyzed. \u0000The practical significance of results obtained. The research results may be used to improve educational curricula that need to be implemented for the purposes of developing better and more productive skills of professional stage speech. They may also be used in preparation for individual practical lessons, lecture courses on “Stage speech” subject to train future professional actors of th","PeriodicalId":33223,"journal":{"name":"Kul''tura Ukrayini","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48666400","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-29DOI: 10.31516/2410-5325.076.15
N. M. Ihnatieva
Disciplines, which constitute a mandatory list of the actor’s professional training have long been formed within the structure of the pedagogical process in theatrical higher educational institutions. Naturally, the question concerning the effectiveness of the method used to work with students in developing their necessary skills and abilities becomes urgent. The purpose of the article is to analyse and compare the educational process concerning the disciplines included in the stage movement system, to reveal more effective method for students’ training in educating the basics of plastic culture for future actors, to identify and justify the necessary conditions to make the learning process more successful under normal life circumstances. The methodology. The research was carried out using the analysis of the conditions for giving classes and the effectiveness of using two different teaching methods — dressage and training. The results. The main difference between training and dressage is the process of awareness of one’s muscle sensations and understanding of the upcoming action. The article confirmed that the method of physical and psychophysical training is the most suitable for working with students during stage movement classes. In case of understanding one’s physical sensations, which to a greater extent depends on the desire of a person himself, the method of training allows to develop and train professional skills and abilities. The student learns to control the body consciously, and the body gradually begins to obey responding to the thoughts of a person that allows to reflect the character’s interior life through external manifestations (gestures, postures, body movements) more accurately, and create in each new image own special plastic expression, inherent only in the particular role. The actor’s technique is just a means of expressing the personage’s character in accordance with the author’s idea and keeping the meaning of the composition itself. As the author notes, more effective training of students in special movement disciplines requires certain conditions — namely, the availability of space, special equipment and physical presence of a partner. The scientific novelty of the article lies in the generalization of the experience of applying training in practice during the process of teaching them the basics of plastic culture. The article is an attempt to substantiate the use of physical and psychophysical training for the development of future actors’ necessary skills and abilities. The practical significance lies in the fact that certain conditions and the use of a more effective method of work — psychophysical training — are required to teach students the basics of stage movement. The materials of the article can be used for practical activities of stage movement teachers and for further research in this area.
{"title":"Training in the process of stage movement classes","authors":"N. M. Ihnatieva","doi":"10.31516/2410-5325.076.15","DOIUrl":"https://doi.org/10.31516/2410-5325.076.15","url":null,"abstract":"Disciplines, which constitute a mandatory list of the actor’s professional training have long been formed within the structure of the pedagogical process in theatrical higher educational institutions. Naturally, the question concerning the effectiveness of the method used to work with students in developing their necessary skills and abilities becomes urgent. \u0000The purpose of the article is to analyse and compare the educational process concerning the disciplines included in the stage movement system, to reveal more effective method for students’ training in educating the basics of plastic culture for future actors, to identify and justify the necessary conditions to make the learning process more successful under normal life circumstances. \u0000The methodology. The research was carried out using the analysis of the conditions for giving classes and the effectiveness of using two different teaching methods — dressage and training. \u0000The results. The main difference between training and dressage is the process of awareness of one’s muscle sensations and understanding of the upcoming action. The article confirmed that the method of physical and psychophysical training is the most suitable for working with students during stage movement classes. In case of understanding one’s physical sensations, which to a greater extent depends on the desire of a person himself, the method of training allows to develop and train professional skills and abilities. The student learns to control the body consciously, and the body gradually begins to obey responding to the thoughts of a person that allows to reflect the character’s interior life through external manifestations (gestures, postures, body movements) more accurately, and create in each new image own special plastic expression, inherent only in the particular role. The actor’s technique is just a means of expressing the personage’s character in accordance with the author’s idea and keeping the meaning of the composition itself. As the author notes, more effective training of students in special movement disciplines requires certain conditions — namely, the availability of space, special equipment and physical presence of a partner. \u0000The scientific novelty of the article lies in the generalization of the experience of applying training in practice during the process of teaching them the basics of plastic culture. The article is an attempt to substantiate the use of physical and psychophysical training for the development of future actors’ necessary skills and abilities. \u0000The practical significance lies in the fact that certain conditions and the use of a more effective method of work — psychophysical training — are required to teach students the basics of stage movement. The materials of the article can be used for practical activities of stage movement teachers and for further research in this area.","PeriodicalId":33223,"journal":{"name":"Kul''tura Ukrayini","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48953607","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-29DOI: 10.31516/2410-5325.076.17
К. Shkurieiev
The purpose of the study is to comprehend the experience of interactive distance learning with sports ballroom dance through the prism of the culturological approach through the development of the tournament-training process and finding out the place and role of this type of choreography in modern Ukrainian culture. The metodology. The research methodology is based on a culturological approach. Traditional methods of art history are used — description, observation, systematization of facts, statistical method is also used. The results. Modern information technologies in combination with coaching experience allow to save students’, club, local choreographic culture even in martial law, if you practice meaningful dancing. New realities even expand the possibilities of technical self-improvement and development of creative potential, shifting attention to the theoretical foundations of dance and tournament practice. At the same time, in the conditions of suspension of the usual dance life, the dominance of socializing and hedonistic functions of sports ballroom choreography at the expense of others — cognitive, aesthetic, regulatory, semiotic, communicative — was revealed. The scientific novelty. The author’s system experience of interactive distance learning in sports ballroom dancing was highlighted and analyzed, the functions of sports ballroom dancing are specified, in particular club-tournament activity in the formation of personality. Motivation to dance depending on the age of students is determined. Prospects for the development of the training process are outlined, taking into account the experience of distance learning. The practical significance. The experience of distance learning in the new conditions of 2010s — early 2020s in Ukraine opens the way to improve the concept of this sport, the practice of both group and individual classes by fundamentalizing and understanding this activity in the broader dimensions of the cultural process. Some provisions of the article can be used in educational and special courses in ballroom choreography, theory and methods of dance sports, pedagogy, history of Ukrainian culture.
{"title":"Development of methods and concepts of sports ballroom dances in the conditions of distance learning in Ukraine during 2010s — early 2020s","authors":"К. Shkurieiev","doi":"10.31516/2410-5325.076.17","DOIUrl":"https://doi.org/10.31516/2410-5325.076.17","url":null,"abstract":"The purpose of the study is to comprehend the experience of interactive distance learning with sports ballroom dance through the prism of the culturological approach through the development of the tournament-training process and finding out the place and role of this type of choreography in modern Ukrainian culture. \u0000The metodology. The research methodology is based on a culturological approach. Traditional methods of art history are used — description, observation, systematization of facts, statistical method is also used. \u0000The results. Modern information technologies in combination with coaching experience allow to save students’, club, local choreographic culture even in martial law, if you practice meaningful dancing. New realities even expand the possibilities of technical self-improvement and development of creative potential, shifting attention to the theoretical foundations of dance and tournament practice. At the same time, in the conditions of suspension of the usual dance life, the dominance of socializing and hedonistic functions of sports ballroom choreography at the expense of others — cognitive, aesthetic, regulatory, semiotic, communicative — was revealed. \u0000The scientific novelty. The author’s system experience of interactive distance learning in sports ballroom dancing was highlighted and analyzed, the functions of sports ballroom dancing are specified, in particular club-tournament activity in the formation of personality. Motivation to dance depending on the age of students is determined. Prospects for the development of the training process are outlined, taking into account the experience of distance learning. \u0000The practical significance. The experience of distance learning in the new conditions of 2010s — early 2020s in Ukraine opens the way to improve the concept of this sport, the practice of both group and individual classes by fundamentalizing and understanding this activity in the broader dimensions of the cultural process. Some provisions of the article can be used in educational and special courses in ballroom choreography, theory and methods of dance sports, pedagogy, history of Ukrainian culture.","PeriodicalId":33223,"journal":{"name":"Kul''tura Ukrayini","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46856931","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-29DOI: 10.31516/2410-5325.076.10
Y. Voskoboinikova
The scientific topicality. The opera “Carmen” by French composer J. Bizet is a part of the repertoire of leading opera theatres and has recently undergone many impressive interpretations, more aimed at something shocking than the disclosure of musical material. Nowadays when directors that are not musicians are involved in opera production, it is extre-mely important to return to the in-depth study of musical material in order to reveal the compositional direction of G. Bizet, hidden in the score. The purpose of the study is to reveal the compositional intentions of the musical direction of the final duet and choir from Bizet’s opera “Carmen” by deciphering the author’s text, in particular the constructive, psychological and visual-plastic components of the stage action encoded in it. The methodology. The research was carried out by using an integrated approach involving effective analysis of literary text, structural analysis of musical form, identification of patterns of tonal plan, analysis of psychological and visual-plastic components of the selected fragment of the opera, as well as using comparative analysis of its various productions. The results. The article identifies the main components of the author’s musical text that affect the quality of director’s and performer’s interpretation. A detailed description of the author’s work on the formation and tonal plan of the final of the opera “Carmen” was made, which determine its psychological and visual-plastic essence. The scientific novelty. For the first time in the study of the final of the opera “Carmen” music-theoretical analysis was combined with visual-plastic and effective one, which directly opens new perspectives for effective deciphering by performers of the author’s intentions laid down in the musical text. The practical significance. The materials of the article can be used in the practical activities of opera directors and performers, as well as in the educational process of training of vocal and conducting art masters. Conclusions. It was determined that Georges Bizet’s compositional skills are based on three main components — a deep psychological sense of the material, specific shaping and innovative tonal plan for the music art of his time. The psychological completeness of the images of the heroes of the final of the opera “Carmen” is ensured not only by the use of leitmotifs, but also by the parallel presentation of images in the stage and off-stage (behind-the-scenes) space of the play. The main shaping principle the final is the destruction, which coincides with the psychological state of the heroes who suffer from internal disorders. G.Bizet’s specific approach to the tonal plan together with extremely sharpened intonation brings the vocal parts of recitatives closer to expressionist aesthetics, the development of which will take place in French music of the XIX–XX centuries, in particular in the works of F. Poulenc.
{"title":"The final of G. Bizet’s opera “Carmen”: composer’s direction as the basis of the performer’s interpretation model","authors":"Y. Voskoboinikova","doi":"10.31516/2410-5325.076.10","DOIUrl":"https://doi.org/10.31516/2410-5325.076.10","url":null,"abstract":"The scientific topicality. The opera “Carmen” by French composer J. Bizet is a part of the repertoire of leading opera theatres and has recently undergone many impressive interpretations, more aimed at something shocking than the disclosure of musical material. Nowadays when directors that are not musicians are involved in opera production, it is extre-mely important to return to the in-depth study of musical material in order to reveal the compositional direction of G. Bizet, hidden in the score. \u0000The purpose of the study is to reveal the compositional intentions of the musical direction of the final duet and choir from Bizet’s opera “Carmen” by deciphering the author’s text, in particular the constructive, psychological and visual-plastic components of the stage action encoded in it. \u0000The methodology. The research was carried out by using an integrated approach involving effective analysis of literary text, structural analysis of musical form, identification of patterns of tonal plan, analysis of psychological and visual-plastic components of the selected fragment of the opera, as well as using comparative analysis of its various productions. \u0000The results. The article identifies the main components of the author’s musical text that affect the quality of director’s and performer’s interpretation. A detailed description of the author’s work on the formation and tonal plan of the final of the opera “Carmen” was made, which determine its psychological and visual-plastic essence. \u0000The scientific novelty. For the first time in the study of the final of the opera “Carmen” music-theoretical analysis was combined with visual-plastic and effective one, which directly opens new perspectives for effective deciphering by performers of the author’s intentions laid down in the musical text. \u0000The practical significance. The materials of the article can be used in the practical activities of opera directors and performers, as well as in the educational process of training of vocal and conducting art masters. \u0000Conclusions. It was determined that Georges Bizet’s compositional skills are based on three main components — a deep psychological sense of the material, specific shaping and innovative tonal plan for the music art of his time. \u0000The psychological completeness of the images of the heroes of the final of the opera “Carmen” is ensured not only by the use of leitmotifs, but also by the parallel presentation of images in the stage and off-stage (behind-the-scenes) space of the play. \u0000The main shaping principle the final is the destruction, which coincides with the psychological state of the heroes who suffer from internal disorders. \u0000G.Bizet’s specific approach to the tonal plan together with extremely sharpened intonation brings the vocal parts of recitatives closer to expressionist aesthetics, the development of which will take place in French music of the XIX–XX centuries, in particular in the works of F. Poulenc.","PeriodicalId":33223,"journal":{"name":"Kul''tura Ukrayini","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46284364","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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