Потенціал художньо-емоційної інтерпретації жесту в інтердисциплінарній проєкції мистецької педагогіки
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Дата
2021
Назва журналу
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Видавець
СумДПУ імені А. С. Макаренка
Анотація
Стаття присвячена розгляду передумов функціонування комунікативного потенціалу художньо-емоційної інтерпретації жесту та деяких можливих напрямів його реалізації в області мистецької освіти. Застосування методу аналізу наукових досліджень із галузей нейробіології, психології, ітології та мистецької педагогіки дозволило з’ясувати, що художньо-комунікативний потенціал жесту (кінеми), зокрема, досліджений у межах системи емоційно-кінестетичної асоціативності Р. Лабана, підлягає реалізації в галузі підготовки майбутніх викладачів музичного мистецтва і хореографії до актуалізації міждисциплінарних зав’язків у фаховій діяльності.
The purpose of the article is to consider the prerequisites for the functioning of the communicative potential of artistic-emotional interpretation of a gesture and some possible directions for its implementation in the field of education in order to prepare future teachers of musical art and choreography for the use of interdisciplinary connections in professional activities. Application of the method of analysis of scientific research in the fields of neurobiology, psychology, itology and art pedagogy has allowed us to come to some conclusions. In particular, it has been found that a gesture is, to a high degree, an information-intensive phenomenon, which is due, on the one hand, to its ability to embody certain emotions, and, on the other hand, to the unification of interpretations of kinesthetic patterns. The functional orientation of the gesture towards the embodiment and transmission of emotional information in artistic form predetermines existence of its artisticcommunicative potential. The study of the potential of artistic-emotional interpretation of a gesture seems appropriate in the light of the possibilities of its implementation in the process of professional training of future teachers of musical art and choreography, in particular, its segment based on the use of interdisciplinary forms of training. The possibility of identifying emotionally colored communicative messages based on the analysis of movement (gesture) has been proved in the studies in neurobiology and psychophysiology. In this context, the concept of analysis, systematization and interpretation of movement, developed by Rudolf Laban, is worthy of attention. The personal developmental potential of this system is to be realized outside of choreographic training, which is due to the universality of the means of describing the meaning of gestures and movements by updating the ancient psychological mechanism for identifying emotional and kinesthetic correspondences. The reliability of the emotional-kinesthetic associations, confirmed by research, determined in R. Laban’s theory (choreutics), made it possible to use this system in non-choreographic artistic (animation of characters in cinema, kinesthetic sculptures) and non-artistic (robotics, psychology) fields of activity. The factor of unification of interpretations that arise in the mind as a result of the description of the communicative meanings of gestures and movements, their direction, amplitude, strength, etc., determines the universality of the choreutics positions in general and the possibility of their implementation in the field of art education in particular. These ideas have been developed in a certain way in the field of conductor training as well as teaching vocals to schoolchildren. Thus, the expressiveness of a gesture should be considered as a universal kinesthetic instrument of artistic-performing communication. The experience of scientists in the development and implementation of pedagogical methods based on the system of affectivekinesthetic associativity of R. Laban proves the effectiveness of this system in the context of increasing the level of students’ creative activity in educational-professional activities. The aforementioned determines the feasibility of developing methods and techniques of artistic teaching based on the interdisciplinary integration of acoustic and kinesthetic means of artistic expression.
The purpose of the article is to consider the prerequisites for the functioning of the communicative potential of artistic-emotional interpretation of a gesture and some possible directions for its implementation in the field of education in order to prepare future teachers of musical art and choreography for the use of interdisciplinary connections in professional activities. Application of the method of analysis of scientific research in the fields of neurobiology, psychology, itology and art pedagogy has allowed us to come to some conclusions. In particular, it has been found that a gesture is, to a high degree, an information-intensive phenomenon, which is due, on the one hand, to its ability to embody certain emotions, and, on the other hand, to the unification of interpretations of kinesthetic patterns. The functional orientation of the gesture towards the embodiment and transmission of emotional information in artistic form predetermines existence of its artisticcommunicative potential. The study of the potential of artistic-emotional interpretation of a gesture seems appropriate in the light of the possibilities of its implementation in the process of professional training of future teachers of musical art and choreography, in particular, its segment based on the use of interdisciplinary forms of training. The possibility of identifying emotionally colored communicative messages based on the analysis of movement (gesture) has been proved in the studies in neurobiology and psychophysiology. In this context, the concept of analysis, systematization and interpretation of movement, developed by Rudolf Laban, is worthy of attention. The personal developmental potential of this system is to be realized outside of choreographic training, which is due to the universality of the means of describing the meaning of gestures and movements by updating the ancient psychological mechanism for identifying emotional and kinesthetic correspondences. The reliability of the emotional-kinesthetic associations, confirmed by research, determined in R. Laban’s theory (choreutics), made it possible to use this system in non-choreographic artistic (animation of characters in cinema, kinesthetic sculptures) and non-artistic (robotics, psychology) fields of activity. The factor of unification of interpretations that arise in the mind as a result of the description of the communicative meanings of gestures and movements, their direction, amplitude, strength, etc., determines the universality of the choreutics positions in general and the possibility of their implementation in the field of art education in particular. These ideas have been developed in a certain way in the field of conductor training as well as teaching vocals to schoolchildren. Thus, the expressiveness of a gesture should be considered as a universal kinesthetic instrument of artistic-performing communication. The experience of scientists in the development and implementation of pedagogical methods based on the system of affectivekinesthetic associativity of R. Laban proves the effectiveness of this system in the context of increasing the level of students’ creative activity in educational-professional activities. The aforementioned determines the feasibility of developing methods and techniques of artistic teaching based on the interdisciplinary integration of acoustic and kinesthetic means of artistic expression.
Опис
Ключові слова
хореографія, музичне мистецтво, майбутні викладачі, кінема, Лабан, хоревтика, художня комунікація, choreography, musical art, future teachers, kinema, Laban, choreutics, artistic communication
Бібліографічний опис
Хмелевська, І. О. Потенціал художньо-емоційної інтерпретації жесту в інтердисциплінарній проєкції мистецької педагогіки [Текст] / І. О. Хмелевська, В. М. Трощенко // Педагогічні науки: теорія, історія, інноваційні технології : науковий журнал / МОН України, Сумський державний педагогічний ун-т ім. А. С. Макаренка ; [редкол.: А. А. Сбруєва, М. А. Бойченко, О. А. Біда та ін.]. – Суми : СумДПУ ім. А. С. Макаренка, 2021. – № 2 (106). – С. 453–463. – DOI: 10.24139/2312-5993/2021.02/453-463.