Choreographic Thinking and Plastic Vocabulary in the Space of the Modern Dramatic Performance (By the Example of “Bloody Wedding”)

The article examines the ways and techniques to “fit” choreographic and plastic expressive means into the dramatic performance in the context of analyzing the director-choreographer’s thinking. The author identifies certain similarity with the processes that occurred in choreographic art and plastic theatre of the turn of the XX-XXI centuries. But the interaction with the “texts” of the dramatic performance obliges the director-choreographer to use the “tools” of different arts, and the specificity of actors’ choreographic and plastic potentials makes him to develop a different language of motion vocabulary.