Music as a Communication Factor in Foreign Policy

The relevance of this study is conditioned by the increasing importance of cultural channels of communication in the context of the globalisation of international socio-cultural space. The realities of the 21st century require a comprehensive analysis, considering the new foreign policy environment where multidirectional flows of international communication, including of media character, such as cinematography, theatre, TV, streaming, and music, are playing a qualitatively new role. This paper will therefore focus on the growing role of “cultural diplomacy” (hereafter without the quotes), expressed through the media interaction of sovereign and supranational actors at the international level. The purpose of the study is to establish or deny the impact of cultural diplomacy, including through musical performance, on foreign policy and political discourse at the international level. In the course of the study, primary data from original research by European and American authors was analysed and the heterogeneous structure of cultural diplomacy theory, expressed through the dialectical nature of positivism and theory criticism, was represented. The methodological basis used during the study is expressed in general scientific methods, which include the method of analysis, synthesis, generalisation, deduction and induction, and special – sociocultural, cultural-anthropological, and cultural-historical. The theoretical approach to the study of the multidimensional phenomenon of cultural diplomacy was based on constructivism, which best meets the objectives. Conclusions regarding the effectiveness of cultural diplomacy were drawn from the research. The field of music and diplomacy is far from being exhausted by the recent surge in scholarly attention and has the potential to grow exponentially. Coordinating a better understanding of past practices with an innovative and flexible approach to contemporary policy-making will create new opportunities to reconsider and redefine the role of music in the pursuit of sustainable diplomatic ties in the international arena

Physical Theatre as a Form of Theatrical Art: Ukrainian Context

<p>The article is devoted to the consideration of one of the newest experimental forms of performing arts – physical theatre. Physical theatre is a theatrical form that emerged and spread in the late twentieth and early twenty-first centuries in several European countries and the United States and is little studied in Ukrainian art history. <strong>The purpose of the study </strong>is to analyse the artistic and social experience of physical theatre in the context of artistic practices of the late twentieth and early twenty-first centuries, and identify its achievements and problem areas. This phenomenon is studied on the basis of Western European, American, and national creative experience and in the context of other current artistic trends. The genesis of physical theatre, the peculiarities of its expressive means, and thematic priorities are determined. <strong>Research methodology. </strong>The methodological basis is theatre anthropology, in particular, the work of one of the authors of the basic edition of the "A Dictionary of Theatre Anthropology. The Secret Art of the Performer" by Eugenio Barba and Nicola Savarese. Particular attention is paid to the figures of directors and choreographers who have led the theatre form under study on various stages of the world. In particular, the article analyses the iconic work "May B" by French choreographer Maguy Marin. Understanding the Ukrainian experience of physical theater is carried out chronologically. Directors and choreographers have been identified, including Radu Poklitaru, Larysa Venediktova, Yurii Paskar, as well as individual theatre groups that were actively mastering the form of physical theatre. <strong>The scientific novelty </strong>of the research lies in the original perspective of studying physical theatre, in particular, tracing its genesis and peculiarities of functioning in Ukraine and abroad. <strong>Conclusions. </strong>In conclusion, it is noted that physical theatre has developed a special performance technique due to the priority of the body as an expressive medium. Much attention is paid to social issues. Accordingly, several physical theatre performances in Ukraine in recent years have presented a plastic generalised image of Soviet totalitarianism and the human being deformed by it.</p><p><a href="http://artonscene.knukim.edu.ua/article/view/288151">http://artonscene.knukim.edu.ua/article/view/288151</a></p&gt