Plastic Thinking in Choreographic Art: Towards the Basics of Analysis and Synthesis

Introduction. The theoretical study of plastic thinking in choreographic art suggests the boundaries of its measurementas an anthropogenic phenomenon and apractical type of human artistic activity. Due to the growing importance of this issuein Russian and foreign art practice, this topic becomes akey for modern methodological research. The purpose of the study is to research and present the modality of plastic thinking in choreographic art through theanalysis and synthesis of applied art history. Materials and Methods. The focus of research attention is on the cognitive foundations of creativity in theart of dance, the roleand functions of plastic thinking in the history of choreography. As atheoretical support, the fundamental works of Russian and foreign scientists devoted to the study of rational and extra-rational foundations of creativity were used; historical and theoretical studies of the nature of choreographic art with the inclusion of semantic meanings of dance creativity; modern scientific models of body analysis and specificity of its functioning in choreography. Results and Discussion. The study is based on the search for new typological plans of plastic thinking, body and movement, as well as the identification of new cognitive forms of translation of human experience in choreographic art, taking into account complex approaches and interdisciplinary methodological connections in the philosophy and anthropology of art. The spatial understanding of danceas aphenomenon of volumetric meaning and structure of plastic thinking is analyzed. It is shown how the structural and systemic formations of plastic thinking in choreographic art gradually developed in the context of theoretical and applied art history. Conclusion. This study contributes to the field of historical, theoretical and philosophical-methodological foundations of art history. The main part of the scientific work is theanalysis of the role of plastic thinking in choreographic art in theanthropological aspect. The materials obtained can be useful for performers, teachers, choreographers and danceartists, as well as experts interested in topical issues of modern plastic theater.