The Theory of ‘Fall and Recovery’ by Doris Humphrey as a Means of Forming the Choreographic Language of Modern Dance and Pedagogical Practice in Contemporary Dance

Abstract

The purpose of the work is to reveal Doris Humphrey’s theory of ‘fall and recovery’ as a fundamental model for the formation of the choreographic language of modern dance and to determine its pedagogical potential in contemporary dance. The methodology of the work is based on historical and cultural, art history, comparative and analytical, and systemic approaches. An analysis of theoretical sources and a generalisation of the pedagogical experience of modern choreographers and teachers were applied, as well as an interpretative analysis of choreographic practices, in which the principles of the body’s interaction with gravity, weight, balance, tension, and release are identified. The scientific novelty lies in the comprehensive understanding of ‘fall and recovery’ as an integrated system for the formation of the choreographic language of modern dance and as a pedagogical model of contemporary dance, as well as in the introduction into scientific circulation of generalised observations regarding the Ukrainian context (institutional initiatives, educational programmes and professional platforms), where the principles of working with instability and restoring balance acquire methodological significance. Conclusions. Doris Humphrey’s theory of ‘fall and recovery’ appears as one of the key methodological foundations of modern dance and at the same time as a productive tool of modern choreographic pedagogy. Its principles are based on the conscious interaction of the body with gravity, work with weight and states of instability, which contributes to the formation of a holistic bodily thinking of the performer. The cyclical nature of falling and restoring balance is considered not only as a technical technique but also as a universal model of motor and emotional dynamics, within which movement acquires semantic depth and psychological fullness. An analysis of international and Ukrainian scientific sources and choreographic practices shows that Doris Humphrey’s ideas have not lost their relevance but, on the contrary, have undergone transformation and rethinking in the context of contemporary dance, performative practices, and modern educational models. The concept of ‘fall and recovery’ functions as a universal methodological resource that provides a connection between the historical heritage of modern and current processes of development of contemporary choreography, confirming its significance for dance theory, pedagogy, and stage practice.