Mythologem of the «dancing god»: representation of the human body in musical art

The purpose of this article is a philosophical analysis of the ways of representing human corporeality in the art of music. The result of the research is the disclosure of the aesthetic and mythical content of classical ballet as a sphere in which human corporeality receives maximum musical expression. The author substantiates the thesis that the main content of ballet is music. The dance movements are subordinated to the development of the musical theme. The dancer's body acts as both a musical instrument and a musical image. The mythical content of the ballet lies in the affirmation of the symbolic unity of the physical and spiritual, bodily and divine principles. The article applies the methodological principles and principles of dialectics of G. V. F. Hegel and A. F. Losev, semiotic approach. The main result of the study is the development of an approach to the philosophical understanding of the phenomenon of academic dance.