The semiotics of pain in ballet art

The article discusses the semiotization of pain in ballet art. It is noted that pain acts not only as a signification of the cultural code of the human condition, but it affects the essence of being. The consequence of the sign of pain in primitive semiotics is the restriction of one's bodily self, the narrowing of the circle of movements. However, the sign of pain in art, especially in ballet, has a positive meaning, contributes to solving the artistic task of creating an image. There is a whole spectrum of attitudes to pain as a "test", "punishment", "discovery". The choice of a personal attitude to pain in a performer, a choreographer depends on cultural traditions. The system of education in the hospital assumes not so much insensitivity to pain as the development of abilities to overcome it. The bodily sensation of pain in ballet goes beyond the boundaries of its content, acquires significance in the plastic expressiveness of the performer. In complex semiotics, the physiology of pain does not matter much. The state of the performer, I include the "torments of creativity", the experience of failure is semiotic in nature and requires reflection. Analysis of the semiotics of pain in ballet makes it possible to reorient artistic creativity from an "object" to a "personality". The emotional attitude to pain in ballet precedes its comprehension, image. The article argues that the transpersonal experience of living with pain acquires a meaningful meaning in ballet. A highly artistic work of ballet art is able to absorb pain and release from pain.