INTERDISCIPLINARY CULTURAL AND

Vol. 3, No. 1

HUMANITIES REVIEW
2024

Journal homepage: https://interculture.com.ua/

UDC 792 DOI: 10.59214/cultural/1.2024.46

Myroslava Melnyk*
PhD in Sciences, Professor
Kyiv National University of Culture and Arts
01601, 36 Yevhen Konovalets Str., Kyiv, Ukraine
https://orcid.org/0000-0002-2553-5509

Theatre art: Conceptual and categorical problems

Abstract. Theatre art is a fundamental component of modern culture and requires a detailed analysis of the problems
of a set of interrelated concepts, which will reflect the key substantive and functional aspects concerning theatre art.
The research relevance is determined by the description of the problems of the conceptual and categorical apparatus
of theatrical art for the first time is subjected to a complex structural and semantic analysis, which is necessary to
determine the study of ways of forming new terms, which will make it possible to present the system of modern
theatrical terminology in a holistic form. The study aims to analyse and describe the contemporary problems
of the conceptual and categorical apparatus of theatrical art. General scientific methods of art history were used:
method of analysis, comparative analysis, synthesis, analogy, and classification. The article investigates the whole
stage space as one of the components in the context of the conceptual categorical apparatus of modern art history.
Contemporary theatre art is undergoing an active evolution, with artists striving for innovation, using interactive
elements, multimedia technology and art installations to create a deep and rich experience for the audience. An
important aspect is to involve the viewer in the experience, where the traditional boundaries between actors and
audience are blurred and the viewer becomes an active participant. Theatres also emphasise diversity, aiming to
reflect different cultures and identities on stage. However, there are problems with the conceptual and categorical
apparatus, requiring the development of new terms to accurately describe contemporary phenomena in theatre.
Sarcasm and irony prevail, artists seek new directions, and all this happens in the context of the diversity of theatre
traditions, creating challenges in the exchange of experiences between cultures. The materials discussed in this article
can be applied by both theorists and practitioners of contemporary art history in their writings and as material for
teaching in the educational process when training specialists in the field of contemporary art

Keywords: theatre studies; theatre genre; term; theatre history; theatre performance; scenography

Article’s History: Received: 18.11.2023; Revised: 05.02.2024; Accepted: 07.03.2024

INTRODUCTION
In the current society, one of the most important tasks in a new cultural generation without considering the artistic
a developed society is the formation of an individuality values accumulated by society over its history. To fully un-
culture. The research relevance of this task concerns not derstand the art of a particular era, it is necessary to study
only the radical transformation of the life system but also the basics of art history. For a person to fully appreciate
the aesthetic values of a person. It is impossible to form the art of a particular epoch, he needs to master artistic

Suggested Citation:
Melnyk, M. (2023). Theatre art: Conceptual and categorical problems. Interdisciplinary Cultural and Humanities Review, 3(1), 46-52.
doi: 10.59214/cultural/1.2024.46.
*Corresponding author

Copyright © The Author(s). This is an open access article distributed under the terms of the
Creative Commons Attribution License 4.0 (https://creativecommons.org/licenses/by/4.0/)
 M. Melnyk

expression, to understand the essence of each manifesta- nature, structure, creative process, the role of the audi-
tion of art in the world. For this purpose, mastering the ence, and conceptual and categorical apparatus. In devel-
conceptual and categorical apparatus of theatre art is key. oping this topic, general scientific methods of cognition in
There is a definite system and classification of art in the field of contemporary art were used, such as analysis
the current literature, although all these classifications of literature on the selected topic, comparative analysis,
are relative evaluations. The study by G. Côté et al. (2019) synthesis, classification, and analogy. In this study, the
states that each scientific study is conducted using a char- methods of empirical analysis were also used, based on
acteristic conceptual and categorical apparatus specific to observations of the theory and practice of modern thea-
the chosen topic. This apparatus is designed to represent tre art, which allowed us to understand and describe the
the ontological side of scientific knowledge in the field of diversity of modern conceptual and categorical appara-
the issues under consideration. As well as scientific gener- tus of theatre art. The main method in this study was the
alisations, research concepts are impossible without the method of analysis. The method of comparative analysis
language of concepts. Therefore, the system of established was used and derived in the study of this topic from such
terms, judgements, and conclusions in the field of the a general scientific method of analogy. The main purpose
studied topic is an integral part of scientific research. of these comparisons is not only to form new facts from
Contemporary art is a way of understanding and ap- all kinds of correlated characteristics of certain objects or
preciating reality by creating a unique product, a work that phenomena but also to analyse all kinds of interrelations
can evoke emotional reactions from viewers. In addition, of these characteristics. Comparative analysis was useful
art helps people to correctly perceive and understand the in discovering the characteristics of the issues that are
world around them. The most important task of art is to characteristic of a particular period. Analogy is a method
satisfy two spiritual needs of a person: love for the beau- of scientific research, with the help of the similarity of the
tiful and the desire for aesthetic enjoyment. It can take studied objects of the selected topic in some features to
many forms and serve a variety of purposes, according to develop a conclusion about their similarity in all features.
V. Rauta and S. Monaghan (2021). The method of classification was focused on the parsing
Art in general is the creative embodiment and expres- of a separate set of studied objects into ordered and classi-
sion of reality through artistic creation. This phenomenon fied groups of theatre art based on certain properties.
develops as a system including various genres, reflecting
the diversity of the real world in the artistic process. There THE ROLE AND RELEVANCE OF TERMINOLOGY
is a historically established art form, which is a creative ac- IN THE CONTEXT OF THEATRE ARTS
tivity capable of artistically interpreting the meaning of life Terminology nowadays fulfils a very important commu-
using a variety of material means such as art words, mu- nicative function: it ensures mutual understanding be-
sic, plastic, colours, and others. N.T. van Pelt (2019) noted tween representatives of different fields of knowledge and
that different types of art are broadcast and disseminated, scientific disciplines. Terminology represents a large part
transmitted in space and time. Perhaps, a combination of of the vocabulary. However, there is currently no univer-
space and time, then art belongs to both space and time. sally accepted definition of the concept of “term”. Interest
Temporal art is art stretched in time: music, dance, in the study of theatre terminology has not arisen for the
mimicry. Time has nothing to do with sculpture, architec- first time, and the reasons for this interest are related to the
ture, or painting, as they belong to the group of spatial arts. rapid development of art based on new theories, which is
Spatial arts include fine arts, graphics, architecture, sculp- accompanied by the rapid development of terminology in
ture, etc. Theatre, as well as cinema, occupies an interme- this field. In this context, it is worth highlighting studies in
diate position between the art of the temporal group, and the field of theatre terminology in general, considering the
the art of the spatial group. It is a synthetic art, which is a current trends.
complex combination of various elements. When analys- Terms are special units used to correctly designate
ing theatre as a phenomenon, its rich history can be high- terms of a certain profession and other unfamiliar (or lit-
lighted. Finding the national roots of this art seems to be a tle-known) terms of the native language. Terms function
difficult task and there are many points of view. Despite its as part of a special system - terminology. Terminology
long history, theatre remains relevant. Interest in the per- in a narrower sense is a system of terms for a particular
forming arts may fluctuate, but generally, it shows stabili- field of knowledge. Terminology in this sense is a part of
ty, as pointed out by J.C. Harper et al. (2021) in their study. the vocabulary of a language, especially specialised vo-
V. Anderson (2012) stated that the history of thea- cabulary related to human activity. In this study, the con-
tre spans millennia. During this time, theatre has gone cept of “terminology” is understood in a narrower sense
through many changes and metamorphoses, been influ- than a conceptual system in the field of theatre. The main
enced by different cultures, and diversified many original characteristics of terms are such properties as accuracy,
methods of organising and staging theatrical performanc- uniqueness, originality, consistency, and stylistic neutral-
es. The diversity of theatrical means has always contrib- ity. They fulfil obligatory nominative, semantic, commu-
uted to the popularisation of historical theatre art. Mod- nicative, pragmatic, and optional, heuristic and classifi-
ern art develops as a system of interrelated types, and its cation functions. The term is usually not characterised by
diversity reflects the diversity of the real world, which is emotionally expressive and modal functions. Thus, in the
embodied in the artistic and creative process. modern context, terminology performs a key role in scien-
The study aims to examine the roles of terminology in tific cognition, providing a means for obtaining, systema-
various fields including theatre and art, and in considering tising, and preserving information. The component analy-
theatre from various perspectives including its collective sis is applied to theatre concepts as a method to reveal the

Interdisciplinary Cultural and Humanities Review. 2024. Vol. 3, No. 1 47

Theatre Art...

structural components of the phenomenon, which con- scientific fields of knowledge, terminological changes in
tributes to its deeper understanding, as it is written about the theatrical lexicon for the modern era are quite rapid.
in the book by P. Faber and M.C. L’Homme (2022).
The issue of terminology in theatre studies is one of THEATRICAL TERMINOLOGY AND THE
the most important. According to S.L. Fischer (2020), these SYNTHETIC NATURE OF THEATRE ARTS
concepts are firmly accepted as modern principles in art The problem of creating new dictionaries is one of the
history. There is a coherent system and a perfect definition most acute in modern linguistics. Terminology occupies a
of the world in theatre art, but there are other descriptions special place in lexicography. Terminology as a part of lexi-
that characterise the individual style of the artistic envi- cography is based on a thorough study of the lexicon of the
ronment with art. subject implication using methods and techniques of lexi-
cology and terminology. General problems in modern ter-
THEATRE STUDIES AND VOCABULARY minological science are acute in the question of the place of
IN THEATRE: STRUCTURE, DEVELOPMENT, terminological lexicon in the system of modern theatre art.
AND RELATIONSHIP TO SOCIAL CHANGE The origin of the modern term “theatre” is associat-
D.A. Smith and B. Coleman (2021) noted that theatre ed with the ancient Greek antique theatre, so-called seats
studies are the science of theatre, the study of which is on the viewing platform (from the Greek verb “theaomai”,
devoted to the theory and history of stage art. Theatre which means – to see). Nowadays, however, the term “the-
studies are not the result of the accumulation of special- atre” has a varied meaning and is used in different con-
ised knowledge; it is the creation of a new subject with texts. In the first case, it refers to the theatre as a “house”
its field of study and language. The structuring of thea- specially designed or adapted for performances. This also
tre terms is a complex issue. At different stages of theatre includes the aspect of theatre as an institution, encom-
development, different components of theatre studies passing the company employed in production as well as
come to the fore. At the same time, theatre studies as a all the personnel responsible for organising theatrical per-
science are connected in different ways with related hu- formances. In another context, theatre is seen as a work of
manities such as philosophy, history and sociology. The art, including a series of dramatic or stage compositions
main area of theatre studies is performance. History has constructed according to different principles. The term
left fine examples of reproductive criticism, but this criti- theatre retains its old meaning in theatre-technical jargon,
cism does not reflect the entire theatre heritage worthy of referring to a stage. In the latter context, theatre can have
study. For a long time, theatre studies have not had clear a figurative meaning as a place of development of each
terms and boundaries, which caused controversy and event, which is noted in the study of J.H. Park (2016).
different interpretations. Theatre art has several unique features that give its
Language responds to all changes in society. The re- works uniqueness and set them apart from other genres
lationship between language and society is most clearly and art forms. The main characteristic is the synthetic na-
manifested in the vocabulary of the language, which di- ture of theatre, which encompasses various genres of art
rectly responds to social processes and phenomena. Tech- such as literature, music, visual arts, vocal and choreogra-
nical vocabulary has a great, impartial influence, as it is phy. This synthesis creates a unique artificial space where
the most dynamic part of speech, quickly responding to each element interacts to achieve harmony. Theatre also
changes in objective reality. Modern vocabulary is a com- incorporates advances from various sciences and techni-
plex system, including various groups of words, different in cal fields such as psychology, semiotics, history, sociology,
origin, and style, belonging to the active or passive part, as physiology, and medicine. Acting and directing draw on
well as in volume according to T.H.M. Gellar-Goad (2021). these studies. In addition, theatre artists often incorporate
A special place among the limited vocabulary is de- new technologies and experiment with different creative
voted to lexical units related to modern theatre art. Thea- approaches, which gives each performance a unique and
tre can embody contemporary themes and societal issues, contemporary feel. Experimentation with theatre sound,
which can lead to new vocabulary adapted to the circum- lighting, and the creation of new stage effects (e.g. smoke) is
stances. Different theatre genres and specific works can an important part of technological development in theatre.
contribute to the formation of unique vocabularies. For
example, terms associated with tragedy, comedy or dra- THEATRE DRAMATURGY:
ma may have specific meanings in a theatre context. The WORD, ACTION, AND STAGECRAFT
vocabulary of theatre is also affected by changes in the J. Reed (2018) noted that synthetic art is a form of artis-
language of directing and acting. Terms related to acting tic creation where there is an organic fusion or economic
methods, directing and theatre technique may evolve in combination of different art forms, creating a qualitatively
line with new trends in the art. new and unique aesthetic whole. This concept is particu-
The lexicon in theatre actively develops under the in- larly evident in theatre, including drama and opera, as
fluence of changes in society and culture, reflecting actual well as in ballet, which combines dance, music, painting,
phenomena and ideas in an artistic form. Such a lexicon and sculpture through the use of the natural plasticity of
as a separate lexical group certainly exists only “inside the the human body. Synthetic art is also evident in pop art,
theatre”, which is the lexical core without which theatre which depicts various creative fields such as singing, the-
art is incomprehensible. The theatre lexicon contains lin- atre, dance, illusions, and elements of gymnastics asso-
guistic units, some of which describe concepts of theatre ciated with conferences. In circus, synthetic art includes
art, some of which are internationally accepted and retain sports and entertainment elements as well as perfor-
their old lexical meaning. In theatre studies, as one of the mances involving animal life. Synthetic art differs from

48 Interdisciplinary Cultural and Humanities Review. 2024. Vol. 3, No. 1

 M. Melnyk

the stricter concept of artistic synthesis, such as in archi- In musical theatre, musical drama works follow the
tecture, where different art forms are integrated into a sin- general rules of drama, where there is a struggle between
gle object, such as a decorated building with statues and opposing forces and a clear central conflict that unfolds
paintings surrounded by a landscape. through dramatic scenes. In each musical genre, these
Theatre is a form of social consciousness inseparable general patterns take on specific characteristics in per-
from people’s lives, national history, and culture. Success formance, where the events on stage are reflected in the
in stage art is usually achieved when one endeavours to music, the actors’ singing and their voices. Regardless of
change the perception of the times, leaning towards hu- the specific musical genre, music plays a key role in unify-
manistic ideals and revealing the subtleties of the inner ing all elements of a performance, whether it be dialogue,
world and human desires in a deeply realistic way. Life ide- song, or operetta. L. Nomeikaite (2020) in her study indi-
as, philosophical considerations and different worldviews cated that musical genres include theatre, opera and cho-
concerning the theatre stage find expression in the form reography, variety, and percussion. Opera as a work is part
of dramatic actions that actors perform in front of the au- of the stage art. The most common form of acting can be
dience. Theatre works are often based on the struggle of characterised as acting where people sing without speak-
the characters, within which the social and psychological ing. Singing is an integral part of the art form.
conflicts that shape the characters’ destinies, and their In contemporary theatre practice, the organisation
relationships are revealed. The unique nature of theatre of musical theatre performances is becoming more than
requires the creation of an emotional and spiritual unity a simple act of combining music, dialogue, and operetta.
between the stage and the audience, as well as a commu- This represents a harmonious interaction of various arti-
nity of interest between the creators of the production ficial elements such as acting, music, visual effects, and
and the audience. Theatre plays an important role in the technology, creating unique and multifaceted shows.
aesthetic, moral and political education of society. It has Contemporary theatre studies are a multidisciplinary field
significant resources available to it for artistic synthesis, that combines theoretical studies, practical analysis and
visualisation, and the engagement of a wide audience. research in theatre history and criticism. Theatre theory
The basis of the play is dramaturgy. Theatre turns a not only addresses the general regularities of theatre art
literary work first of all into a theatrical image. In clear per- but also studies its evolution and influence on socio-cul-
sonalities and actions, dramatic characters and conflicts tural processes. Theatre history provides an overview of
are revealed. Words play a key role in theatre and are the the evolution of stage performances, allowing a better un-
most important means of conveying and expressing ideas, derstanding of the context and significance of past theat-
emotions, and plot. In theatre, words are the laws of dra- rical movements. Theatre criticism plays a key role in the
matic action. In some cases, the word becomes the overall contemporary theatre world, providing analysis and eval-
image and in others, through a web of words, it reveals the uation of works, shaping audience tastes, and contribut-
role of the main character in complex consciousnesses ing to theatre culture. This interplay of different aspects
and psychological conflicts. The form of a scene can be in highlights the complexity and multifaceted nature of the-
the form of a long speech (i.e., a monologue), in the form atre in contemporary society.
of a conversation with a partner (dialogue), with the audi-
ence, or through the presentation of a character, his “inner THEATRE AS A COLLECTIVE ART: STRUCTURE,
monologue” etc. In addition, intonation, rhythm, tempo, CREATIVITY, AND THE ROLE OF THE AUDIENCE
and other aspects of the pronunciation of words can signif- Theatre is also a collective art. It is the result of the co-
icantly influence the perception and impact on the audi- herent efforts of various artistic figures such as directors,
ence. Thus, words in theatre are not just a means of convey- actors, set designers, composers, and choreographers.
ing information but are also a powerful tool for creating an They all contribute to the overall artistic unity of the per-
artistic impression and involving the audience in the story. formance while going through a process of compromise
and harmonisation of different ideas. The director plays
MUSICAL THEATRE: a key role in the creation of the performance, providing
DRAMA, SOUND, AND DANCE his interpretation of the work, and defining the genre and
Theatre art is a special form of artistic and creative activity style. At the same time, the actors, set designers and others
where an initial creative idea becomes part of a particular involved in the project contribute their talents and ideas
sign system and often seeks to express a particular theme. to give the work a unique look. The script of the play is or-
Performing arts include creative activities: actors and di- ganised in time and space, considering rhythm, emotional
rectors who portray the works of writers and playwrights swings, stage layout and visual elements. Artistic means
on stage, circus, radio, film, and television; readers who such as facial expressions, gestures, speech art and artistic
translate literary works into living language. Musicians, and rhythmic elements are used to create expressiveness
singers, instrumentalists, and directors reproducing the and harmony in the performance. In this way, theatre be-
works of composers. Dancers perform the designs of cho- comes an example of creative collaboration where each
reographers, composers, and librettists. Performing arts participant contributes to the overall work of art.
are evaluated by the degree of their artistic and creative This is not just the joint efforts of a large theatre team
activity, as they are based not only on the mechanical em- (from the cast of the play to the representatives of tech-
bodiment of a work in another form but also on its crea- nical workshops, whose coordinated work largely deter-
tive transformation, including its use in the spiritual mat- mines the purity of the performance). In every work of
ter of the work, according to N.B. Sayfullaev (2021) and theatrical art, another full-fledged and main co-author is
T. Boiko et al. (2023) note. the spectator, whose perception of the play corrects and

Interdisciplinary Cultural and Humanities Review. 2024. Vol. 3, No. 1 49

Theatre Art...

transforms, places different accents, and sometimes rad- rather than talent”. Unlike other closely related concepts,
ically changes the general content and idea of the play. A genre most accurately reflects the relevance of contem-
theatrical performance is impossible without an audience. porary theatre art, the response of artists’ creative aspira-
The perception of acting is a serious creative endeavour tions to the requirements of time and historical situations.
that aims to involve the audience. In this context, another Thus, genre is a subjective functional concept, its bound-
important aspect of the performing arts is their instanta- aries are mobile, and heterogeneous genres are constantly
neity: each work exists only at the moment of its perfor- merging and diverging.
mance. This quality is inherent in all performing arts. For Concerning certain specific phenomena of social life,
example, in the circus, on demand of art, the main factor nature, etc., art develops specific forms of reflection of
is the technical purity of performing stunts by artists: an these phenomena (genres and types), constantly chang-
injury is dangerous for the life of a circus artist regardless ing depending on historical conditions, but retaining
of the presence or absence of spectators. At the same time, certain stability and continuity. The genre of tragedy
one kind of theatre - theatrical clowning, which develops includes, for example, ancient tragedy, Shakespearean
according to laws close to circus theatre, and another – tragedy, tragedy of the neoclassical era, and tragedy with
general theatre, according to P. Smith (2021). all its historical and specific differences. The fables of Ae-
The aesthetic problems of contemporary theatre and sop and La Fontaine differ in their ideological content,
acting, which have attracted critical attention in recent themes, and social orientation, but they have common
decades, continue to be of interest to researchers. There features of the fable genre: allegorisation, circumlocu-
are discussions on a variety of topics, in one way or an- tion, laconic and extended plot, and the presence of mo-
other related to such terms as “theatre repertoire” and rality. And although it is a work of art, regardless of the
“new drama”. Contemporary theatre and its role in the genre its content is always unique, the main genre char-
sociocultural space, the term “experimental theatre”, the acteristics are stable and characterise works of different
relationship between theatre and contemporary drama, centuries. This is mainly because they are the product
its demand for domestic and foreign theatre, and the rela- of a long historical development of art, which was men-
tionship between theatre, playwright, critic, and audience tioned by A.J. Kachuck (2018).
- this is not a complete list of the topics most actively dis- The book by R. Mosse and A. Street (2023) points out
cussed by contemporary criticism. that the interaction of genres in contemporary theatre
L. Senelick (2017) pointed out that the subject of the- art is particularly complex. The active, fluid artistic pro-
atre criticism is the modern theatre process, the current cess makes all attempts at categorisation impossible. The
state of the stage. In addition to the theoretical-histori- boundaries of the genre seem to blur as if they are about
cal and critical sides of theatre criticism, it is important to disappear altogether. Genres in the understanding of
to consider its methodological side, which includes many the drama of the XVIII century no longer exist. The es-
problems of organisation and the construction of scien- sence of the genre category first manifested itself in the
tific foundations that have historical and practical signifi- New Age, acquiring an effective character as genre rela-
cance. Such sciences include disciplines such as the soci- tions are increasingly integrated into the creative process
ology of theatre, psychology of creativity, stage technique, and the spectator. Genre is an artistic category related to
theatre economics and organisation, and others. Literary the perception of theatre art. Thus, the artistic experi-
criticism is often regarded as an independent form of lit- ence of the spectator interacts with the structure of the
erary creativity as a part of literature itself. theatre work. For neoclassical theatre drama, the genre is
correlated with a system of stable features. Now the most
DYNAMICS AND INTERACTION traditional form acquires the character of a process. All
OF GENRES IN THEATRE ART relationships in contemporary theatre art are not prede-
The question of genre and thematic typology of contem- termined, but individually created. The viewer must be
porary theatre art remains open. One of the most impor- actively familiar with the genre of the theatre work. In
tant components of the artistic form is the theatre genre. addition, original elements may consist of different ar-
The genre of work is a necessary condition for compli- eas. Modern theatre art adopts all ready-made designs,
ance with certain factual and formal norms and empiri- down to the most archaic. Theatre art acquires original
cal rules in the process of holistic development of mod- forms from related branches: prose and poetry. Cinema
ern theatre. Genre is a historically changeable category has had a great influence on the process of genre forma-
existing in the reality of changeable consciousness. Gen- tion in modern theatre arts.
re is a relatively stable form of poetic consciousness that
reveals the peculiarities of cultural memory and implies EVOLUTION OF THEATRE ART
the creation of close links between literary works, while AND PROBLEMS OF TERMINOLOGY
the study of one work implies the cognition of another. The classical theatre artist creates the necessary circum-
Genre is a model that is always reproduced, according to stances for the actors; he forms a spatio-temporal world
P. Steadman (2020). in which it is necessary to find a certain path that will be
M. Mainsbridge (2018) noted that genre reflects the interesting to the spectator. The modern artist also offers
selectivity of art and its pragmatic, utilitarian side of the audience the conditions that will be interesting in
adapting to life circumstances. The artist is usually forced real-time: he creates filters through which the spectator
to choose the most realistic, achievable ideas from a vari- must look at the stage; he organises the point of view, the
ety of paths, solutions, and ways of realisation. The defini- “intonation” of the spectator’s perception. Modern the-
tion of the genre is therefore largely a “function of ability atre seeks not only to offer the spectator an interesting

50 Interdisciplinary Cultural and Humanities Review. 2024. Vol. 3, No. 1

 M. Melnyk

performance on stage but also to actively interact with his CONCLUSIONS

perception. This happens through the use of various tech- Art plays a key role in the formation of individual images
niques that affect not only vision but also other senses, as and perceptions of the world. It is the carrier of emotion-
well as the viewer’s thinking. Directors and playwrights are al, moral, and evaluative experiences of mankind. Theatre
looking for new approaches to the structure of the perfor- is a collective art where various creative individuals such
mance, sometimes ignoring traditional forms in favour of as actors, directors, set designers, composers and oth-
more unconventional and innovative ones. ers join hands to create a work of art. Theatre combines
The audience becomes not only a participant in the various art forms such as word, action, music, and dance
performance but also responsible for its perception. For into a synthetic and harmonious structure. This synthesis
example, theatres often use non-standard productions, creates a unique artificial space where each element in-
interactive elements, the use of multimedia technol- teracts with the other.
ogy, art installations and other innovative methods to The problem of the conceptual and categorical appa-
create a deeper and richer experience for the audience. ratus of theatre art has become a topical issue for many
These techniques make it possible to not only draw the sociologists, philosophers, culturologists, and art histori-
audience into the world of the work but also to actively ans of our time. The conceptual and categorical apparatus
include them in the experience. Theatres also focus on of theatrical art is multifaceted and covers a wide range of
diversity, aiming to present different cultures, identities, terms that allow describing and analysing various aspects
and perspectives on stage. This is important to ensure of this unique art format. A term in the study of this topic
that audiences can recognise themselves in the diversity provides a certain notion that distinguishes or unites spa-
of theatre characters and stories. tio-temporal art forms, emphasising their common and
I. Loring Wallace (2023) noted the problem of con- characteristic properties. Art, as a creative reflection, the
ceptual and categorical apparatus in theatre art and that transition of the real world into artistic images, exists and
it is directly related to the nature of theatre activity. Cur- develops as a system of integral genres and categories.
rently, new forms and new meanings are being sought in The diversity of theatre arts is explained by the need
all forms of theatre art. Sarcasm and irony have become for a complex reflection of a holistic picture of the world.
the main tone of contemporary theatre culture. Artists Modern art is capable of creating unique images through
are searching for new confessional directives: when val- mood, sound, and movement, taking various forms of ex-
ue consistency is broken, and a new creed must be found. pression. Each artistic image is unique and depends on the
The era of universal irony is coming to an end. material from which it is created. Art, as a figurative under-
This problem encompasses several aspects. In- standing of reality, exists in different forms of expression
terpretation of art: theatre is an art form where creative designed to reflect the uniqueness of the creative process.
concepts and ideas must be communicated through var- Theatre or theatrical action is an essential means of
ious means such as dialogue, gestures, facial expressions, expression with a unique ability to grapple with circum-
and stage elements. Understanding and interpretation of stances and influence the audience in various forms in
these elements can vary among audiences, as well as be- time and space. To this end, the artist’s work sets up a
tween directors, actors, and critics. The development of team and reveals the goals, inner world, and concept of
common and understandable theatre terms and concepts the work. The stage is a space where the performer (art-
can facilitate more accurate discussion and appreciation ist) can see, hear, move, think, and speak in the intended
of artworks. Evolution of theatre forms: theatre forms and situations. Action, in turn, requires the coherent work of
techniques continue to evolve, with innovation becom- elements such as stage movement, attention, emotional
ing an integral part of the process. In this context, exist- memory and performance skills.
ing terms may not be able to fully capture new phenom-
ena and trends in theatre. Diversity of theatre traditions: ACKNOWLEDGEMENTS
theatre traditions vary across cultures and eras. Different None.
cultural contexts may have their unique terms and catego-
ries, which can make it difficult to share experiences and CONFLICT OF INTEREST
understanding between different theatre communities. None.

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Мирослава Мельник
Кандидат наук, професор
Київський національний університет культури і мистецтв
01601, вул. Євгена Коновальця, 36, м. Київ, Україна
https://orcid.org/0000-0002-2553-5509

Театральне мистецтво: Понятійно-категоріальні проблеми

Анотація. Театральне мистецтво є фундаментальною складовою сучасної культури і потребує детального
аналізу проблематики комплексу взаємопов›язаних понять, які відображатимуть ключові змістовні та
функціональні аспекти, що стосуються театрального мистецтва. Актуальність дослідження визначається
тим, що опис проблем понятійно-категоріального апарату театрального мистецтва вперше піддається
комплексному структурно-семантичному аналізу, який необхідний для визначення шляхів утворення нових
термінів, що дасть змогу представити систему сучасної театральної термінології в цілісному вигляді. Метою
дослідження є аналіз та опис сучасних проблем понятійно-категоріального апарату театрального мистецтва.
Використано загальнонаукові мистецтвознавчі методи: метод аналізу, порівняльного аналізу, синтезу, аналогії,
класифікації. У статті досліджено цілісний сценічний простір як одну зі складових у контексті понятійно-
категоріального апарату сучасного мистецтвознавства. Сучасне театральне мистецтво переживає активну
еволюцію, митці прагнуть до інновацій, використовують інтерактивні елементи, мультимедійні технології
та художні інсталяції для створення глибокого та насиченого досвіду для глядачів. Важливим аспектом
є залучення глядача до досвіду, де традиційні кордони між акторами та глядачами розмиваються, і глядач
стає активним учасником. Театри також наголошують на різноманітності, прагнучи відобразити на сцені
різні культури та ідентичності. Однак існують проблеми з понятійно-категоріальним апаратом, що вимагає
розробки нових термінів для точного опису сучасних явищ у театрі. Сарказм та іронія переважають, митці
шукають нові напрямки, і все це відбувається в контексті розмаїття театральних традицій, створюючи виклики
в обміні досвідом між культурами. Розглянуті в статті матеріали можуть бути застосовані як теоретиками, так і
практиками сучасного мистецтвознавства у своїх працях, а також як матеріал для викладання в навчальному
процесі при підготовці фахівців у галузі сучасного мистецтва

Ключові слова: театрознавство; театральний жанр; термін; історія театру; театральна вистава; сценографія

52 Interdisciplinary Cultural and Humanities Review. 2024. Vol. 3, No. 1