PHILOSOPHICAL AND AESTHETIC DISCOURSE OF MALLEABLE LANGUAGE IN DRAMA THEATER PERFORMANCES

The searching of new means of expressing dramatic action in the theatrical art of the 20th-21st century, directors are increasingly resorting to experiments of synthesizing and developing formsof actor's existence in performances. The use of malleable language, which opens up a new area ofexpression, is becoming an increasingly relevant means of solving this issue. The expressive feature ofmalleable language is a peculiar way of communicating without words at the level of perception of feelingsand thoughts. It forms the basis of malleable art in the art of the actor, as a person primarily acting, notspeaking. In addition, this is another way of transmitting information on a subtle level in the disclosure andunderstanding of aesthetic categories of the philosophy of choreographic art in the modern theatre space.The dramatic action of the 21st century, where the main outline is the existence of a malleable language thatobeys the clear drama of the entire performance, develops and is enriched by the bold experiences ofcreative associates ‒ the director and choreographer.In this paper, the author attempts to cover the main aspects of the interpretation ofmalleable language from the point of view of philosophical and aesthetic reflection onthe example of some dramatic performances that arose in the 20th-21st centuries in therepertoire at the State Academic Korean theatre.