KIRISH: zamonaviy estrada xoreografiyasi nafaqat jismoniy harakatlar majmuasi, balki insoniyatning vizual, ijtimoiy va musiqiy madaniyati tarixini aks ettiruvchi nihoyatda murakkab sintetik til hisoblanadi. Insoniyat sivilizatsiyasi davomida raqs marosim, ibodat yoki ijtimoiy muloqot vositasi bo‘lib xizmat qilgan bo‘lsa, XX asrga kelib u to‘laqonli shoubiznes va tijoratga yo‘naltirilgan vizual mahsulotga aylandi. Jahon estrada xoreografiyasining rivojlanish bosqichlari jamiyatdagi texnologik inqiloblar (kamera, yoritish texnikasi, raqamli montaj, stadion muhandisligi) hamda iqtisodiy o‘zgarishlar bilan bevosita uyg‘un ravishda rivojlandi. Dastlab tor doiradagi teatr sahnalari uchun mo‘ljallangan raqs san’ati asta-sekin global estrada madaniyatining eng muhim va ajralmas qismiga aylandi. Bugungi kunda raqs har qanday musiqiy asarning vizual pasporti hisoblanadi. Ya’ni tomoshabin musiqani nafaqat tinglaydi, balki uni raqs orqali “ko‘radi”. Estrada xoreografiyasi tarixida yuz bergan transformatsiyalarni ilmiy o‘rganish bugungi san’atshunoslik va xoreografik pedagogika uchun dolzarb hisoblanadi, chunki bu jarayon madaniyatlararo globallashuvning yorqin ko‘zgusidir. G‘arb va Sharq harakat plastikasining yagona estrada sahnasida uyg‘unlashuvi jarayonini o‘rganish milliy san’atimizni ham jahon mezonlari asosida tahlil qilish imkonini beradi. MAQSAD: ushbu maqolaning asosiy maqsadi jahon estrada raqsining o‘zgarishlarga boy evolyutsion bosqichlarini (Brodvey teatrlari davri, musiqiy televideniye yoki MTV davri hamda global stadion shoulari davri) tizimli ravishda tahlil qilish va har bir davr sahnasiga olib kirilgan innovatsion xoreografik uslublarning falsafiy, vizual va biomexanik mohiyatini ochib berishdan iborat. Tadqiqot texnologik taraqqiyot inson tanasi plastikasini qanday o‘zgartirgani hamda zamonaviy mega-sahna xoreografiyasining nazariy va amaliy mezonlari nimalardan iborat ekanini ilmiy asoslashga qaratilgan. MATERIAL VA METODLAR: a) Mavzu bo‘yicha adabiyotlar tahlili: tadqiqot jarayonida xoreografiya nazariyasi va ommaviy san’at tarixi bo‘yicha yetakchi mutaxassislarning fundamental ilmiy ishlari tahlil qilindi. Jumladan, K. Winkler va A. Weilning Brodvey xoreografiyasi estetikasiga bag‘ishlangan ishlari, Sh. Dodds va S. Bainesning ekran raqsiga oid audiovizual tahlillari, shuningdek S. Foster va boshqa olimlarning zamonaviy ommaviy xoreografiya, kinetik empatiya hamda K-pop mexanizmlariga bag‘ishlangan so‘nggi monografiyalari chuqur o‘rganildi. b) Tadqiqot metodologiyasi: tadqiqot asosan induktiv yondashuv asosida olib borildi. Xoreografiya tarixida inqilobiy o‘rin tutgan ijodkorlar (Bob Foss, Jerome Robbins, Michael Jackson, Madonna hamda K-pop xoreograflari) faoliyati case-study obyekti sifatida tahlil qilinib, umumiy xoreografik qonuniyatlar ishlab chiqildi. Shuningdek, xoreografik asarlarning vizual tilini (tana harakatlari va sahna o‘lchamlarini) o‘rganishda vizual-qiyosiy va tarixiyxronologik metodlar, arxiv videoyozuvlarini kadrma-kadr tahlil qilish usullaridan foydalanildi. MUHOKAMA VA NATIJALAR: olib borilgan ilmiy-tahliliy tadqiqotlar natijasida jahon estrada xoreografiyasi evolyutsiyasi mazmuni, texnikasi va tomoshabinga ta’sir doirasi jihatidan uchta yirik, sifat jihatdan farqli davrga (paradigmaga) bo‘linishi aniqladi. 1. Brodvey myuzikllari – estrada xoreografiyasining poydevori va dramatik plastikasi. XX asrning birinchi yarmida raqs asosan estrada va vodvil san’atida fon vazifasini bajargan. Raqqosalar guruhidan sahnani chiroyli to‘ldirish, simmetrik kompozitsiya yaratish va yengil shou elementlarini namoyish etish talab qilingan. Biroq 1940–1950-yillarga kelib Nyu-Yorkdagi Brodvey teatr sahnalarida xoreografiya sohasida haqiqiy intellektual va texnik inqilob yuz berdi. “Teatrlashtirilgan jaz raqsi”ning otasi hisoblangan Jack Cole o‘z ijodida Sharq plastikasini (xususan, hind Bharatanatyam elementlarini) G‘arb jaz musiqasining poliritmiyasi bilan uyg‘unlashtirib, raqqosalardan jismoniy mukammallik bilan birga kuchli emotsional ifodani ham talab qildi. Undan keyin sahnaga chiqqan Bob Fosse xoreografiyada mutlaqo yangi harakat lug‘atini yaratdi: tana izolyatsiyasi (faqat bitta tana qismini – masalan, son, yelka, bosh yoki bilakni alohida harakatlantirish), assimetrik pozalar, bukilgan tizzalar va siniq, burchakli chiziqlar. Uning “Chicago” va “Sweet Charity” kabi myuzikllardagi sahnalashtirishlari jinoyat, ehtiros, xiyonat hamda inson ruhiyatining qorong‘i tomonlarini raqs tili orqali ifodalab berdi. Mashhur san’atshunos K. Winkler bu davr haqida shunday yozadi: “Brodvey sahnasidagi jaz raqsi nafaqat chiroyli harakatlar majmuasi, balki qahramonning ichki kechinmalari, ehtiroslari va ziddiyatlarini vizual tarzda ifoda etuvchi kuchli dramatik vositadir”. XULOSA: muallifning ilmiy tahlili va yondashuvi shuni ko‘rsatadiki, K. Winkler ilgari surgan “dramatik vosita” tushunchasi san’atshunoslik va teatrshunoslik nuqtayi nazaridan juda keng ma’noga ega bo‘lib, bu estrada sahnasida “xarakter raqsi” an’analarining paydo bo‘lishini anglatadi. Xoreografiya tadqiqotchisi sifatida ta’kidlash joizki, aynan Brodvey myuzikllari bosqichi klassik balet akademiyasiga xos bo‘lgan qat’iy vertikal, baland va simmetrik shakllardan voz kechdi. Buning o‘rniga jaz-modern plastikasini sahnaga olib kirib, tana og‘irligini yerga yaqinlashtirdi, og‘irlik markazini pastga tushirdi. Winklerning qahramon ehtiroslari va ichki ziddiyatlarini vizual ifodalash haqidagi ilmiy fikrini amaliy misollar bilan kengaytirar ekanmiz, Bob Foss yoki Jerome Robbins kabi afsonaviy ijodkorlar raqqosani oddiy harakat ijrochisidan to‘laqonli dramatik aktyor, syujet harakatini rivojlantiruvchi shaxs darajasiga ko‘targanini ko‘ramiz.
INTRODUCTION: contemporary pop choreography is not just a collection of physical movements, but an extremely complex synthetic language reflecting the history of humanity's visual, social, and musical culture. Throughout human civilization, dance has been a means of ritual, prayer, or mutual social communication, but by the 20th century, it has become a full-fledged show business and commercial visual product. The stages of development of world pop choreography were directly synchronous with technological revolutions in society (camera, lighting equipment, digital editing, stadium engineering) and economic changes. Initially intended for narrow, elite theatrical stages, the art of dance gradually became the most important and integral part of global pop culture. Today, dance is the visual passport of any musical work. That is, the audience not only listens to the music, but also "sees" it through the dance. The scientific study of the transformations that have occurred in the history of pop choreography is relevant for today's art history and choreographic pedagogy, since this process is the brightest mirror of intercultural globalization. Studying how Western and Eastern motor movements merged on a single pop stage allows us to analyze our national art based on world standards. AIM: the main goal of this article is to systematically analyze the evolutionary stages of world pop dance rich in changes (the era of Broadway theaters, musical television or the era of MTV and the era of global stadium shows) and to reveal the philosophical, visual, and biomechanical essence of innovative choreographic techniques brought to the stage in each period. The research is aimed at scientifically substantiating precisely how technological progress has changed the plasticity of the human body and what theoretical and practical criteria are the basis of modern mega-stage choreography. MATERIALS AND METHODS: a) Analysis of the literature on the topic: In conducting the research, the fundamental scientific works of leading specialists on the theory of choreography and the history of popular art were analyzed. In particular, the works of K. Winkler and A. Weil on the aesthetics of Broadway choreography, Sh. Dodds and S. Baines' audiovisual analyses of screen dance, as well as S. Foster and Ch. Recent monographs on modern mass-choreography, kinetic empathy, and K-pop mechanisms of teas have been thoroughly studied. b) Research methodology: The research design is based mainly on an inductive approach, and general choreographic patterns were developed by analyzing the activities of revolutionary figures in the history of choreography (Bob Foss, Jerome Robbins, Michael Jackson, Madonna, K-pop choreographers) as an object of case study. Also, in order to study the visual language of choreographic works (body movements and stage dimensions), visual-comparative and historical-chronological methods were used, as well as the practice of frame-by-frame analysis of archival video images. DISCUSSION AND RESULTS: as a result of the conducted scientific and analytical research, it was established that the evolution of world pop choreography, in terms of its content, technique, and sphere of influence on the audience, is divided into three major, qualitatively different periods (paradigms): 1. Broadway musicals - the foundation and dramatic plasticity of pop choreography In the first half of the 20th century, dance served mainly as a background in pop and vaudeville art. The group of dancers was required to beautifully fill the stage, present a symmetrical look, and light show elements. However, by the 40s and 50s, a real intellectual and technical revolution in choreography took place on the stage of New York's Broadway theaters (Theatre District). Jack Cole (Jack Cole), considered the father of "theatrical jazz dance," combined Eastern plasticity (in particular, elements of Indian Bharatanatyam) with the polyrhythm of Western jazz music in his work, demanding a high level of emotional reaction from dancers along with physical perfection. Following him on stage, Bob Fosse (Bob Fosse) discovered a completely new vocabulary in choreography - body isolation (moving only one part of the body: the pelvis, shoulder, head, or forearm in a deliberately detached position), asymmetrical poses, bent knees (turned-in knees), and broken, angular lines. Her productions in musicals such as "Chicago" and "Sweet Charity" showcased the plot of crime, passion, betrayal, and the darkness of the human psyche through the language of dance. The renowned art historian K. Winkler writes about this period: "Jas dance on the Broadway stage is not only a complex of smooth movements, but also a powerful dramatic instrument that visually conveys the inner experiences, passions, and conflicts of the character" [1, 45]. CONCLUSION: author's scientific analysis and approach: The concept of the "dramatic instrument," put forward by K. Winkler, has an extremely broad scope from the point of view of art history and theater studies, which means the literal birth of the traditions of "character dance" (character dance) directly on the pop scene. As a researcher of the sciences of choreography, I would like to emphasize that it was the stage of Broadway musicals that boldly abandoned the strictly vertical, elevated, and symmetrical patterns of classical ballet academy. Instead, he brought jazz-modern plasticity onto the stage, focusing body weight on the ground (grounded), lowering the center of gravity. Expanding Winkler's scientific thought on the visual expression of the hero's passions and inner conflicts with practical examples, we see that legendary creators like Bob Foss or Jerome Robbins elevated the dancer from a mere performer of beautiful movements to a full-fledged dramatic actor, a plot driver.
ResearcherUz