THE PHENOMENON OF SCREAM AS AN AFFECTIVE MARKER IN THE SOUND SPACE OF CONTEMPORARY UKRAINIAN BALLET

Abstract

The article is devoted to the conceptualization of the scream as a significant element in shaping the emotional, visual and sonic field of a ballet performance. The purpose of the research is to provide a comprehensive analysis of the integration of the scream into the sound space of a ballet production and its interaction with embodied choreography. The research methodology is based on an interdisciplinary approach combining musicological, psychological and acoustic analysis. The study employs structural analysis of musical-choreographic compositions, examination of the acoustic and expressive parameters of the scream and a semantic analysis of its functions within the dramaturgy of contemporary ballet. A comparative method is also applied to examine the use of the scream in contemporary Ukrainian productions. Scientific novelty. For the first time, the scream is systematically examined as a multimodal affective marker integrated into the stage and musical space of Ukrainian ballet. The patterns of its functioning are identified, models of its integration are conceptualized and its role in shaping the cultural-symbolic, emotional and sonic structure of a production is determined. Conclusions. In contemporary Ukrainian ballet, the scream functions as a significant means of sonic and visual communication, shaping the affective trajectory of the audience’s emotional perception. It is integrated into dramaturgy, musical composition, and bodily expression, creating a complex sound–choreographic effect. The analyzed ballet productions by contemporary Ukrainian composers, in particular “Mariupol” by Ivan Harkusha (choreography by Vladyslav Detiuchenko) and “My Home On Two Feet” by Viktor Rekalo (choreography by Illia Miroshnichenko and Kateryna Kuznietsova), made it possible to identify two principal approaches to the use of the scream in choreographic works: the purely musical approach and the approach integrated into the overall sound space of the performance by the production team (choreographer, producer, etc.).