Хореологія як наука: культурологічні та мистецтвознавчі аспекти

The purpose of the research is to reveal the conceptual apparatus and the main circle of problems of choreology as a discipline that reveals modern concepts of dance in a broad cultural context, expands and refines the dance vocabulary, connects the specificity of movements with the philosophy of dance, and also analyzes its stylistics and genres already formed or developing. The methodology is based on historical, comparative, semiotic and hermeneutical methods, which together provide the mastery of a new approach to dance as a cultural phenomenon. The set of approaches serves as a 19 basis for solving specific research problems and approving their own scientific concepts, which are based on the proposed intelligence. The specific scientific methodology in this case required the reference to the concepts of leading scientists in the field of choreology and related disciplines (in particular semiotics), the achievements of which are universally recognized among the world scientific community. Scientific novelty is confirmed by individual developments of the theory of dance on the basis of its own methods of choreological exposition. For the first time in the national art criticism and culturology, the experience of the dansologists of the Laban Center has been characterized, which can serve for the further development of domestic theorists and practitioners of dance. Conclusions. Choreology belongs to the sciences in which the subject of the study is the text (in this case, choreographic), the content (meaning) of which is adequate to its sign form. The process of reference (the translation of specific symbolic forms by the language of dance) is carried out with the help of the movements of the human body and the interactions of the latter with other patterns (the structural elements of this cultural pattern). Choreology studies dance both as a form of communication, and as a separate art form (taking into account its semiotic and phenomenological qualities), but first of all the consideration of dance as a cultural phenomenon is advanced. The formation of choreology as a science and an independent cultural and art history discipline confirms that the focus of her attention now is on the expressiveness of the dance of the twentieth and early twenty-first centuries.