Choreography in the performance of a pop vocalist
DOI:
https://doi.org/10.32461/2226-3209.1.2019.167011Keywords:
choreography, pop vocal, pop number, actor vocalist, danceAbstract
Purpose of the article is to identify the characteristics of choreography in the pop vocalist number. Methodology. Systematization of approaches to understanding the place and role of choreography in the pop vocalist number by analyzing the scientific and methodological literature allowed for a scientifically objective study. The scientific novelty consists in substantiating the need for multidimensional choreographic training of vocalist pop artists for a high-quality embodiment of the artistic image in the range from a solo number to a musical. Conclusions. The choreographic component of the pop vocalist's number not only performs a purely visual ornamental function but also contributes to the deepening of the artistic image and the diversity of its perception by the viewer. In the system of training of the pop singer, the improvement of vocal possibilities should go in parallel with the choreographic preparation, taking into account the dominance of vocal art in the number. Choreographic training of vocalists is needed for free plastic and dance improvisation, performing dance compositions by the director and choreographer, and organic interaction with the accompaniment ballet on stage. The preparation of the artist of the musical, where the choreography is close in terms of quantitative and qualitative parameters to the dominant vocal art, requires the development of special training techniques that synchronize vocals and choreography. The diversity of approaches to the choreographic component of the pop soloist-vocalists numbers makes it possible to optimally realize the artistic image in accordance with the artistic tasks and individual characteristics of the artist.
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