ISSN 2411-0795
ISSN 2411-0795
Keywords: methodology of analysis of contemporary musical stage forms, complex study, new syncretism, post-dramatic theatre, dialogue of arts, symphonization of performance, technology of constructing dramaturgy, contrapuntal thinking, interaction of music and spectacle, sound score of a production, mixed shapes, rhythmic score with precision organized time, reconstruction of musical stage forms, music as part of the dramaturgy of the performance, the principle of correspondence of all expressive means to the word, blurring of genre boundaries, specific art site, immersive theater, artist's theater, participatory theater, Sound theater, counterpoint of the visible and audible
Bakshi L.S. To the Question of Methodology of Analysis of Modern Musical Stage Genres. // Theory and History of Art. 2023. N 3/4, p.265-280
The article is devoted to the problem of the methodology of analysis of new musical stage forms at the turn of the 20th–21st centuries. During this period, such types of theater as immersive, participatory, walker, imagination theater, theater without an actor, theater of Sound, sound drama, theater of changing hierarchies and a number of others were born. Various mixed performances have become the norm, in which drama is combined with circus, dance, opera, instrumental theater, jazz, and video art. Often the relationship with the viewer changes. The fourth wall is destroyed, and the viewer becomes an accomplice of the performance. There are other principles of dramaturgy here. They are fundamentally different from those known in the director's interpretive theater of the twentieth century. Determining the directions of searches is at the center of the proposed work.
The analysis of these diverse phenomena is complicated by the fact that such a familiar factor as a play, a narrative, that is, a linear presentation, disappears. Dramaturgy often arises on the basis of a generally significant myth. Classical works, historical events, characters of history, heroes of popular works become myths, which gives directors and performers freedom of interpretation. Therefore, prequels and sequels based on famous works have spread in artistic practice and not only in the theater, but also in literature, cinema, computer games. This topic requires a separate study. At the present stage, the specifics of classical opera and ballet productions have been studied to a greater extent. Musical performances on the dramatic stage are an unexplored area. But they establish their own laws of organization of the whole, a dialogue of different arts arises. The traditional hierarchical vertical is replaced by a polyphonic horizontal. The principle of correspondence of all expressive means of the theater to the word is being replaced by the contrapuntal way of organizing the artistic resources used in this particular performance. As an example, let's highlight such areas as the Theater of Sound, the Theater of Imagination, Sound drama, the theater of changing hierarchies. The dramaturgy of counterpoint of heterogeneous means of expression is another problem that needs to be studied. A new polyphonic thinking is emerging before our very eyes. Established other relations with the public. Vivid images, not connected by a narrative, provoke the audience to complete their connection, awaken the fantasy. Changes in artistic thinking, understanding of the role of the composer and director at a new stage in the development of theatrical art were clearly manifested in their statements, which are given in this article.
Problems identified in the study: the rejection of the narrative, the turn to a generally significant myth (mythologems) as the basis of stage interpretation; the change of the principle of correspondence of all expressive means to the word by the counterpoint of the arts; the emergence of new non-genre formations and areas of creativity record a change in artistic thinking. And this is a global topic, It requires a comprehensive study and consolidation of the efforts of researchers from various fields of art.