Non-dance and conceptual choreography

Abstract

The article is an attempt to formulate the problem of the concept of post-choreographic theatre. The first task set by the researcher is to articulate the characteristic properties of the new stage of contemporary theatre associated with conceptual choreography. The second task of the study is to trace the main stages of the formation of a new type of theatrical art, presenting a panorama of discoveries of contemporary choreographers (from the ideas of the semantic potential of movements by Doris Humphrey, through the specifics of understanding the spectator in the performances of Trisha Brown, who worked with new forms of space that transform the perception of the body, to the restructuring of relations with the spectator in the works of Cunningham and the conceptual choreography of Jérôme Bel). The theoretical nature of the perception of bodily movements of modern and postmodern dance, the filling of this theory with conceptual ideas are revealed. A typological study of the choreography of Doris Humphrey, Trisha Brown, Merce Cunningham, Yvonne Rainer, Pina Bausch, Jérôme Bel is conducted. The conducted analysis of the innovations of choreographers, as well as the involvement of the theory of postdramatic theatre by Hans-Thies Lehmann, lead to the need to form a new concept of post-choreographic theatre.