


































Education, Society and Human Studies 
ISSN 2690-3679 (Print) ISSN 2690-3687 (Online) 

Vol. 5, No. 2, 2024 

www.scholink.org/ojs/index.php/eshs 

6 

Original Paper 

Structural and Functional Concept of Formation of Interpretative 

Competence of Future Teachers of Choreography in the Process 

of Professional Training 

Volodymyr Cherkasov
1* 

1 
Department of Musical Art of the Communal Institution of Higher Education, “Academy of Culture 

and Arts” of the Transcarpathian Regional Council, Uzhgorod city, Ukraine 

* 
Volodymyr Cherkasov, Department of Musical Art of the Communal Institution of Higher Education 

“Academy of Culture and Arts” of the Transcarpathian Regional Council, Uzhgorod city, Ukraine 

 

Received: March 22, 2024         Accepted: April 8, 2024        Online Published: April 22, 2024 

doi:10.22158/eshs.v5n2p6                         URL: http://dx.doi.org/10.22158/eshs.v5n2p6 

 

Abstract 

The study characterized the structural and functional concept of the formation of interpretive 

competence of future teachers of choreography in the process of professional training, investigated the 

essence of definitions, “interpretation”, “competence”, and also proved that the effectiveness of the 

formation of the specified phenomenon depends on the teacher’s mastery of the method of 

compositional construction of a choreographic work, objectivity in the interpretation of works of 

choreographic art, the professional and practical experience of the interpreter, the intellectual and 

creative nature of the director’s activity, as well as the level of development of his artistic and creative 

thinking. 

Keywords 

structural-functional concept, interpretive competence, future teachers of choreography 

 

1. Introduction 

The integration of artistic education of Ukraine into the global European space makes it possible to create 

the necessary conditions for the preservation and functioning, as well as the development of domestic 

choreographic education. First of all, this process is aimed at the professional and pedagogical training of 

the future teacher of choreography in the conditions of higher pedagogical educational institutions of the 

artistic direction. Under such a situation, the substantiation of the structural-functional concept of the 



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formation of the interpretive competence of future choreography teachers in the process of professional 

training is relevant and timely. 

The analysis of the sources of pedagogical and artistic direction confirms that domestic and foreign 

scientists, including: L. M. Androschuk, T. O. Blahova, V. S. Bosiy, O. S. Goldrych, O. Yu. Zakharova, 

A Ye. Nikitin, A. M. Pidlypska, O. A. Plahotnyuk, V. F. Pokhilenko, O. E. Rebrova, O. S. Skrypnyk, I. V. 

Spinul, A. O. Stryzhakov, N. I. Tarasov, S. S. Tverdokhlib, V. F. Cherkasov, V.T. Shevchenko, to 

varying extents, certain questions regarding the formation of interpretation skills of future choreography 

teachers in the process of working on a choreographic piece were investigated and revealed. The topic of 

our scientific search significantly complements the research of the named authors, enables the realization 

of the structural and functional concept of the formation of interpretative competence of future teachers 

of choreography in the process of professional training. 

 

2. Method 

Theoretical methods, the purpose of which was to establish precedents and determine external 

connections between them. With their help, it was possible to find out what exactly caused these 

connections and why they are needed. 

Empirical methods of observation and research of contact phenomena, experiment, as well as 

generalization, classification and description of the results of experimental research, their 

implementation in practical human activity. 

2.1 Definition of the Key Concepts of the Study  

To clarify the content of any phenomenon in the artistic environment, it is advisable to determine the 

essence of the main concepts that characterize the content component of the phenomenon under study. 

With this approach, it is worth noting that the term “interpretation” comes from the Latin 

“interpretatio”—clarification, interpretation of scientific and literary texts. Regarding the nature of 

choreographic art, it is an explanation and interpretation of choreographic art works. 

Delineating the essential nature of the term “competence”, in pedagogical science, depending on the field 

of activity, we find many interpretations of this concept. Competence translated from the Latin 

“competentia” means a range of issues in which a person is well-versed, has knowledge and experience. 

First of all, competence means awareness, awareness, and authority. We agree with the definitions of 

scientists regarding the stated definition and believe that competence consists of a complex of knowledge, 

abilities and skills in a certain type of professional activity, experience and moral and aesthetic values, 

worldviews and way of thinking. Competence determines a person’s ability to have an active position in 

life and successfully carry out professional activities. 

In the context of the subject field of our research, we believe that the interpretive competence of the 

future choreography teachers is knowledge and experience that stimulate a complex communicative 

process, an artistic interpretation of an author’s work or folklore traditions based on the hermeneutic 



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theory of knowledge, the process of reproducing a meaningful storyline, taking into account genre, 

stylistic, compositional and rhythmic features, the result of which is the appearance of new dance 

compositions or works of choreographic art. 

2.2 Factors of Formation of Interpretative Competence 

According to this approach, the task of the interpreter is to help the participants of the choreographic 

action to understand the author’s idea, content and meaning of the work, to depict an action or character 

in the dance, to embody a certain idea through the true expression of feelings. The choice of methodology, 

method and methods of interpretation should always be motivated and foreseen by the nature of the work 

and the purpose of interpretation. 

Choreographic interpretation is a multifaceted artistic phenomenon that occurs through the integration of 

a number of factors that contribute to the formation of new dance compositions that interact with each 

other and contribute to the creative development of the interpreter’s choreographic skill, the formation of 

the interpretive competence of the future choreography teachers. Among such factors, it is worth 

highlighting: mastery of the technique of compositional construction of a choreographic work; 

objectivity in the interpretation of works of choreographic art; professional and practical experience of 

the interpreter; the intellectual and creative nature of the director’s activity; the level of development of 

artistic and creative thinking of the teacher-choreographer. 

 

3. Result 

3.1 Methodology of the Compositional Construction of a Choreographic Work 

It deserves special attention that future teachers of choreography should perfectly master the method of 

compositional construction of a choreographic work. According to the laws of dramaturgy, the 

compositional structure of a choreographic number consists of five parts, namely: exposition, beginning, 

action development, climax, denouement. First of all, it is the emergence of an idea or a theme of a 

choreographic piece in the mind of a future choreography teacher. According to the defined idea, the 

most optimal options for creating a compositional plan of a choreographic work or a miniature are 

selected, in which the production is divided into parts, the time, place of action, nature of music and 

precise timing are precisely indicated. 

It is also worth remembering the correspondence of the musical material to the director’s choreographic 

idea, correlation with it. If a choreographic piece is set to specially written music, the director interprets it 

in accordance with the composer’s intention, as well as in accordance with the traditions and 

requirements of choreographic art. Having decided on the musical accompaniment, the 

teacher-choreographer begins to create the choreography of the performance and interpret it according to 

the laws of drama. 

An important stage in the creation of a choreographic work is the preliminary work on studying and 

summarizing the materials that characterize the main characters, the preparation of the choreographic 



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text and the recording of this text. This leads to the creation in the imagination of the director of an artistic 

idea regarding the interpretation of the content of the choreographic work. The most responsible stage is 

staging and rehearsal work in the choreographic team, showing and studying solo parts and cardio ballet 

with the team members. And in the end, the final stage is considered the presentation of a choreographic 

work on the stage or inclusion in a concert program presented at the discretion of the audience. 

3.2 Objectivity in the Interpretation of Works of Choreographic Art 

Objectivity in the interpretation of works of choreographic art is characterized by a generally accepted 

system of concepts and assessments that function in the field of choreographic art and enable the 

interpreter to create a certain choreographic composition that corresponds to the laws of creating an 

artistic image in which the character of the hero is revealed on stage in his behavior and actions means of 

choreographic art. In addition, with the help of certain movements and musical accompaniment, the color 

of the dance is reproduced, which is the embodiment of the cultural traditions of this or that people, 

complemented by inherent stage attributes and appropriate costumes. Objectivity in the interpretation of 

works of choreographic art is ensured by unwavering adherence to the principles of scientific knowledge, 

multifacetedness of the cognitive process, systematicity, complexity and comprehensiveness of the study 

of a choreographic work. 

It is appropriate to emphasize that objectivity in the interpretation of works of choreographic art is based 

on universal human values, which help the interpreter to objectively reproduce the general picture and 

compositional structure of the choreographic work, to place emphasis on the main and culminating 

episodes of the stage action, to preserve synchronicity and clarity in mass scenes, faithfully interpret solo 

episodes and create positive motivation and motivation for success, which will allow the audience to get 

aesthetic pleasure from communicating and perceiving choreographic compositions and the concert 

program in general. 

There is no doubt that in the process of objective interpretation of works of choreographic art, the 

creative intuition of the interpreter is of great importance, the ability to grasp the truth by directly 

understanding it without justification and any evidence. The process of creativity, making sense of the 

data of sensory perception is often carried out through a momentary generalization, a kind of mental 

closure, directly from the initial data to the result. There is a rapid mobilization of previous experience to 

understand the essence of any episode or stage-artistic image. 

A sharpened intuitive feeling is usually gained by the interpreter, based on a solid foundation of 

professional and life experience, through inspiration. Most scientists and choreographers believe that 

moments of inspiration are the most fruitful in the creative process. After some, perhaps long and painful 

searches, suddenly there is a strange feeling of creative impulse and clarity of consciousness. At this 

moment, the director works quickly and himself feels that he is doing professionally and qualitatively, 

exactly as needed, as he wanted. It is quite clear that intuition and inspiration prompt the future teacher of 



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choreography to create a finished artistic image, which is a confirmation of the high level of skill of the 

interpreter of the choreographic work. 

3.3 Professional and Practical Experience 

An eloquent evidence of the formation of the director’s interpretive competence is his professional and 

practical experience, which is formed as a result of the theoretical and practical training of the future 

teacher of choreography within the framework of a higher educational institution, and above all, in the 

process of studying a number of disciplines, among which: mastering the basics of classical, folk and 

stage and modern ballroom dancing, introduction of rhythmic gymnastics, performance of parterre 

exercises. The formation of a worldview and choreographic thinking takes place during the study of the 

history of the emergence and formation of choreographic art, folklore and ethnographic traditions and 

choreographic culture of different regions of Ukraine, the activities of professional, amateur and 

children’s and youth choreographic groups, the formation and development of choreographic education 

in Ukraine in different periods of historical development. In addition, the basics of the theory of 

domestic and foreign dance art, folk choreography, dance art methodology. In addition, future 

specialists in the field of choreographic art study the method of choreographic work with children of 

different age groups in preschool education institutions, general educational institutions and 

extracurricular institutions of aesthetic orientation. A certain role is played by the study of elementary 

musical literacy, learning to play a musical instrument, and the development of vocal and creative 

abilities. 

There is no doubt that the practice of working in choreographic groups, participation in the work of 

educational dance groups, and performances in concert programs of various levels, festivals, 

competitions, and Olympiads are of great importance. The practical experience gained by university 

students has a positive effect on their professional development and enables the formation of universal 

and professional values, is a significant factor in solving the problems of artistic and aesthetic 

education of young people and the formation of interpretive competence of the future choreography 

teacher. 

It is quite clear that an important factor in the formation of interpretative competence is participation in 

joint creative projects and observation of performances, analysis of stage performances and the level of 

choreographic skill of other professional and amateur groups. 

There is no doubt that the involvement of future teachers of choreography in active creative activity in 

choreographic collectives enables the development of a creative idea regarding the creation of a 

choreographic work with a certain dance image, which includes the choice of expressive means, the 

search for a compositional solution, the search for a unified style, the use of possible artistic and 

choreographic techniques. 

It is quite natural that in the process of active creative activity, the experience of stage performance 

skills is formed in future teachers of choreography, which has a positive effect on the development of 



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choreographic thinking. In addition, the experience of collective responsibility, creativity, the ability to 

work in a team and to treat the suggestions and opinions of one’s comrades with respect, to show 

creative initiative in discussing certain problematic issues, and to treat folklore traditions and the 

heritage of previous generations with respect are formed. 

3.4 Intellectual and Creative Nature of the Choreographer’s Activity 

Special attention should be paid to the intellectual and creative nature of the activity of a choreographer 

who accumulates experience working with choreographic groups, acquired knowledge, skills and 

abilities in the field of choreographic art and the ability to quickly and appropriately use them in the 

staging of new choreographic performances, as well as in the interpretation of a stage and artistic image 

or the compositional construction of a choreographic action. 

Note that the basis of intellectual and creative activity is a genetically determined property of the 

nervous system, which determines the speed and accuracy of information processing, the representation 

of the process and the final result, with the help of which the stage-art image is constructed. Therefore, 

it is quite clear that during the production of dance numbers, the individual level of intelligence of the 

choreographer is revealed, its influence on the participants of the creative process is determined, who 

intuitively perceive the intellectual and creative energy of their leader and, under the influence of 

energy impulses, reproduce the individual style of the author of the work or the peculiarities of folklore 

traditions of representatives of different nationalities and countries of the world. 

It is quite natural that the experience of the intellectual and creative activity of a choreography teacher 

is formed in the process of creative work with a choreographic team, during which the activation of 

emotional and volitional processes takes place, which require the activation of thinking, imagination, 

attention, memory, perception, feeling, that is, those mental processes that affect the final result of the 

product of creativity, the creation of a new choreographic composition that is unique, original, and 

unique. The famous psychologist L. Vygotsky emphasized that “we call creative activity that creates 

something new”. Therefore, it is natural that the higher the intellectual and creative potential of an artist, 

the more original and unique the consequences of his creative activity. This is evidenced by the 

performances of choreographic compositions and dances by famous choreographers, including: V. S. 

Bosiy, M. M. Vantukh, P. P. Virskyi, A. E. Korotkov, A. M. Kryvokhizha, O. I. Litvinov, D. V. 

Matvienko, R. V. Poklitaru, V. F. Pokhilenko, H. M. Chapkis, V. M. Yama. 

Valuable from the point of view of the study of the mentioned definition is the opinion that the 

formation of the interpretive competence of future teachers of choreography depends on the 

development of their artistic thinking, the essence of which is to foresee and forecast a situation of 

success, in which the viewer receives aesthetic pleasure from communication with works of 

choreographic art. The level of development of artistic thinking, i.e., thinking in terms of categories and 

symbols of choreographic art, determines the extent to which the teacher-choreographer is oriented in 

the issues of theory and practice of choreographic art. The final result of staging a stage action depends 



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on the depth and scope of artistic thinking. 

The essence, main characteristics and functions of artistic thinking are revealed through aesthetic 

culture, through the peculiarities of perception and evaluation of works of choreographic art, through 

the identification of the commonality and specificity of various types and genres of choreography. 

The study of the specified aspects of the intellectual and creative nature of the activity of choreography 

teachers makes it possible to determine the essence of artistic-figurative thinking as a type of 

associative-figurative thinking related to this or that genre of choreography, musical accompaniment or 

reproduction of a stage image in a musical performance. At the same time, it is a process of 

manipulating thoughts and feelings through the perception of a choreographic-artistic image and 

personal life experience. 

 

4. Discussion 

In view of what has been said and taking into account the insufficient development of the mentioned 

issues, let us emphasize that the structural-functional concept of the formation of the interpretive 

competence of future teachers of choreography in the process of professional training depends to a 

certain extent on mastering the method of compositional construction of a choreographic work; 

objectivity in the interpretation of works of choreographic art; professional and practical experience of 

the interpreter; the intellectual and creative nature of the director’s activity; the level of development of 

artistic and creative thinking of the teacher-choreographer. 

Prospects for further scientific research may be related to the formation of interpretative competence in 

certain genres of choreographic art. 

 

Acknowledgement 

We are grateful to institutions of higher education and heads of structural divisions for the opportunity 

to conduct our research with future teachers of choreography for the purpose of forming their 

interpretive competence in working on choreographic repertoire. 

 

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