Theoretical And Practical Aspects Of Using Kinetics In Creating The Scenic Design Image Of A Dramatic Performance

The article explores the artistic-aesthetic and methodological potential of kinetics as one of the significant means of shaping a scenographic image in dramatic theatre. The paper clarifies the content and polysemy of the term “kinetics” within the context of performing arts and identifies the fundamental differences between kinetic and mechanical movement in scenography. The study outlines the main stages of development and artistic trends in twentieth- and twenty-first-century theatre in which kinetics gained the status of a key expressive tool of scenographic thinking. Using interpretations of William Shakespeare’s Hamlet in productions by leading directors and scenographers, the article analyses the artistic and technological features of creating different types of kinetic scenographic images. The findings substantiate the distinctive characteristics of kinetic scenography and suggest that it can be regarded as an independent artistic direction—relevant to contemporary theatre and promising under the conditions of advancing stage technologies, including within the theatrical practice of the Republic of Uzbekistan.

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