SEMIOTICS OF THE MUSICAL-PLASTIC ORGANIZATION OF THE MOVING CHOIR

Abstract

The article considers the semiotics of the musical-plastic text of the moving choir as a complex artistic and communicative phenomenon that integrates musical sound, bodily-motor organization and spatial-compositional structure. The objective of the research is to reveal the symbolic nature of the moving choir and determine the main mechanisms of the formation of meanings in the choir-musical text. The theoretical basis is the provisions of the semiotics of art, musicological hermeneutics, intonation theory, choreology and modern performative studies. The research proposes analysis of the components of the semiotic structure of the moving choir, which includes intonation-rhythmic, spatial-compositional, kinetic-semantic and communicativeperceptive elements. Particular attention is paid to the analysis of movement as a sign that functions in interaction with the musical fabric, forms integral layers of meanings and plays the role of a carrier of emotional-semantic, symbolic and socio-cultural messages. It is determined that group corporeality, synchronicity and spatial trajectories are key components of the semiotic system of the moving choir. A review of the cultural-historical and contemporary stage practices of the moving choir is carried out, demonstrating different types of semiotic organization of the musical-plastic text: from rhythm plasticity and mass artistic actions to performative concepts of the 20th–21st centuries. It is noted that the semiotics of the moving choir is an open dynamic system, the meanings of which are formed in the process of performance and perception, and depend on the aesthetic strategy of the director and the cultural context. The results of the research expand the scientific understanding of the moving choir as an artistic phenomenon and can be used in musicology, choreography, performative studies, in the practice of staging mass scenes, as well as in artistic pedagogy.