Compositional thinking and self-development of a future choreographer: Developing skills in organizing stage space

Introduction. Considering the spectacular nature of the theatrical image, the author addresses various aspects of the organization of the stage space formed on the stage tablet. The specifics of the future choreographer’s compositional thinking include various components of the space created by the architectural environment of the stage, sculptural forms and angles of performers, colour palette, light, linear and airy perspective, necessary for the competent and harmonious construction of a choreographic performance. In modern dance art, it is possible to use a variety of means to create a choreographic image on stage that is unforgettable for the viewer. The goal of this work is to consider the process of mastering the principles of organizing choreographic space by students of the Ballet Direction programme using the synthesis of plastic arts and modern digital technologies included in the context of a single staging process. Materials and Methods. The research methodology uses the integrative method and the method of system analysis, with the help of which the author’s choreographic concepts of the late XIX – early XX centuries, underlying traditional and non-traditional teaching systems, are considered. The teaching procedure of the compositional construction of the stage space is considered, which is based on the frontal, constructive, coloristic, and decorative levels. The article also considers the so-called "computer choreography", which is gaining more and more significant positions both in choreographic art and in the educational process of future choreographers. Results. The inclusion in the practical course of various tasks that offer students a range of opportunities for creative self-expression and experimentation with various styles and genres of dance in the space of the stage will help to form their intellectual and creative abilities. The importance of studying and exploring the spatial potential of the stage, which enhances the production culture in the educational process and self-development of choreographers, is emphasized. Attention is also drawn to the prospects of using modern digital technologies in the educational process of future choreographers – both as a means for learning and teaching and as an effective tool for their future creative activities. Conclusions. The problem of compositional thinking of a future choreographer can be solved by forming a holistic perception of choreographic art. Set design occupies an important place in dance productions. The author’s idea is realized in the stage space, to which everything should be subordinated: creative tasks, compositional design, subject basis. The harmonious combination of all components contributes to creating a unique choreographic space, which is one of the conditions for successful production. The knowledge gained by students of choreographic programmes should be based on the integrated use of compositional and visual characteristics of plastic elements and analysis of the stage space. Further research is needed on the possibilities and risks of using modern digital technologies in the creative process and in preparing choreographers.