Functions, Components, Main Characteristics of the Rhythm of Performance and Method for Analyzing Its Rhythmic Organization
The article is devoted to the problem of studying and theoretical understanding the stage works of art. Despite the inalienability of rhythm as property of any work of art, the study of rhythm within theatrical science has not yet taken shape as a separate area of study, unlike related art disciplines, which determines the relevance of the topic disclosed in the article. Art history in the field of studying the plastic arts, music, cinema, literature (especially poetry) has been fruitfully studying the rhythm of various forms of works of art for a long time. Taking into account the innate synthetic nature of the subject of its research, theatrical science not only can, but also must use the existing developments of these disciplines. The purpose of the article is to consider the terminology of art history sciences in the field of rhythm and clarify it for application to a stage work of art, also to formulate a method for analyzing the rhythmic organization of a performance based on the specified terminology. The article defines such concepts as rhythm, rhythmic line, rhythmic score, rhythmic accent, rhythmic rhyme, rhythmic leitmotif, rhythmic pause, and formulates a method for analyzing the rhythmic organization of a performance. Some topics for future research are also outlined, which are necessary for the subsequent development of theatrical rhythmology. It is concluded that at the current stage of its development, theatrical rhythmology actively studies and analyzes various examples of all components of the rhythmic organization of the performance and theoretically comprehends them, accumulates, analyzes and systematizes this knowledge, taking small but firm steps along the road of its academic development.